unacahill2blr

[unacahill2blr]

Anselm Kiefer’s, “Margarete” based on the Paul Celan poem ‘DeathFugue’

[unacahill2blr]

inspirtation for Anselm Kiefers painting, ‘Margarete’.

 “The speakers of this poem are Jewish prisoners. They describe drinking "black milk," a symbol for the un-nourishing life of a concentration camps. They drink this toxic brew all day long. They also dig mass graves under the orders of one of the Nazi guards.

The guard lives in a house and thinks about classic German literature a lot. He has a thing for Marguerite, the innocent blond-haired heroine of Goethe's Faust. He also beats the Jewish prisoners and makes some of them play music while the others work: the "Deathfugue" or "Death Tango." The poem begins repeating itself – this is the "fugue" form. Each stanza sounds faster and more disorienting. Marguerite is compared with Shulamith, a symbol for a Jewish feminine ideal. References to death and the Nazi crematoriums add a sense of menace. The speaker claims that "Death is a master from Germany." The guard executes some of the prisoners with gunfire and turns his vicious dogs on others. The poem ends with a repetition of three mysterious phrases that explore the fractured identity of the German and Jewish cultures.”

[unacahill2blr]

John O’Grady - Irish artist who concentrates on the Irish landscape and boglands

[unacahill2blr]

[unacahill2blr]

[unacahill2blr]

Materiality project

[unacahill2blr]

Sunlight study

[unacahill2blr]

[unacahill2blr]

[unacahill2blr]

photos I have taken from the past concentrating on sunlight

[unacahill2blr]

In 1968–70, at a time when he was relying increasingly on his own photographs as the basis for representational paintings, Richter produced his first series of seascapes. He returned to the theme in 1975, and again in 1998, when he executed two larger-sized seascapes based on photographs he had taken on Tenerife, in the Canary Islands. While one of these paintings, now in the collection of the San Francisco Museum of Modern Art, reveals a rocky shoreline in the foreground, the Guggenheim Museum Bilbao's Seascape (Seestück) presents the viewer with a limitless expanse of ocean punctuated only by waves, beneath a subtly modulated sky.

[unacahill2blr]

[unacahill2blr]

[unacahill2blr]

But my motivation was more a matter of wanting to create order – to keep track of things. All those boxes full of photographs and sketches weigh you down, because they have something unfinished, incomplete, about them. So it's better to present the usable material in an orderly fashion and throw the other stuff away. That's how the Atlas came to be, and I exhibited it a few times.

Interview with Stefan Koldehoff, 1999

Gerard Richter: text, writings, interviews and letters 1961 - 2007, Thames & Hudson, London, 2009 p. 332

[unacahill2blr]

In the beginning I tried to accommodate everything that there was  somewhere between art and garbage and that somehow served important to me and a pity to throw away. After a while, some sheets in the Atlas acquired another value, after all - that is, it seemed to me that they could stand on their own terms, not only under the protection of the Atlas

Interview with Dieter Schwarz, 1999

Gerard Richter: text, writings, interviews and letters 1961 - 2007, Thames & Hudson, London, 2009 p. 332

[unacahill2blr]

Gerard Richter’s Atlas Project

German artist that grew up within Hitlers era.  Richter was conscripted into the Pimpfe, the organisation that prepared children to join Hitler Youth.  Hildegard and the children move to rural Waltersdorf to escape the growing dangers of the Second World War. Horst was transferred to the Western Front, where he was captured by the Allies and spends the rest of the war in an American prisoner of war camp. He received a simple plate camera from his mother. He learned how to develop and print photographs, a skill which he would continue to use as an aid to painting and as a means of recording his own work.

He then began mural painting after working for a sign painter. He begins to get enough commissons after attending college to become a professional artist. He used photography the whole way through his work. he then paints a photo painting in oils of his uncle who was killed in the way entitled “Uncle Rudi”. He then paints “Dog”, and from there starts using his photographs as a source material for his photo paintings.

He paints his first painting from a colour photograph - “Ema” and paints first coulor charts, based on pop art.

He then has his first exhibition of “Atlas”

[unacahill2blr]

Painting - Identifying Subject Matter 2015

Identifying a subject matter - in my case - I have decided to use my interest in Sunlight. And translate this subject into a body of work. This can be sourced through observational drawing, photography, ephemera, monoprints, etc.