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Sale: 458 / Post War II, Dec. 08. 2017 in Munich Lot 302

Lot description
die Genesis des jungen Adlers mit der alten Schlange. 1968.
Object . Acrylic on damask on fiberboard with PVC-hoses and acrylic in plexiglass cups on plexiglass plate.
Hoehme 68-12. Verso signed, dated, titled and inscribed as well as with installation instructions. 110 x 60 x 11 cm (43.3 x 23.6 x 4.3 in).

PROVENANCE: Private collection.
Galerie Thimme, Karlsruhe (verso with two stamps).

EXHIBITION: Gerhard Hoehme. Visuelle Instrumente, Städtische Galerie, Lüdenscheid 1981, black and white illu. on p. 27.
Gerhard Hoehme. in ein ander über, Kunstverein im Steinernen Haus am Römerberg, Frankfurt a. M. 1985, illu. on p. 27.
Gerhard Hoehme. Damastbilder 1968-1977, Galerie Karin Fesel, Dusseldorf 1987.

LITERATURE: Gerhard Hoehme. "Relationen von 1968", in: Kunst magazin, 1981, N.F. 2-4, black and white illu. on p. 195.
Giulio Carlo Argan and Hans Peter Thurn, Gerhard Hoehme. Werk und Zeit 1948-1983, Stuttgart and Zurich 1983, black and white illu. on p. 165.

Gerhard Hoehme’s abstract oeuvre is remarkably versatile and not bound to any sort of materiality. It covers gestic paintings and shaped canvases from the 1950s, the characteristic "Fensterbilder" (Window Pictures) and "Schnittmusterkästen" (Sewing Pattern Boxes) from the 1960s, as well as the "Schnurplastiken" (String Plastics) and the "Damastbildern" (Damask Pictures), of which we proudly offer a remarkably expressive and fine work here. Following an early period of creation during which the artist produced only pictorial works, the 1960s, when Hoehme taught at the Düsseldorf Art Academy, saw the beginning of an examination of three-dimensionality in combination of painted surface and spatial elements. As of 1964 the artist made spatial objects, which, in addition to the classic canvas, also integrated wood, gauze and nylon strings. Hoehme discovered the "Schnittmusterbögen" (Sewing Patterns) the same year, as of 1968 installations and the first "Damastbilder" (Damask Pictures) followed, they were a step in the development of the "offenes Bild" (open picture). Hoehme released the significant manifesto "Relationen" (Relations) in1968. The intention of Hoehme’s work is to abolish the separation between image surface and observer. The artist reduces the spatial gap between work and recipient through the integration of strings and cords that extend beyond the traditional limits of the image. "The string is a kind of sensing device. It leaves the image and stretches out towards the observer in order to touch him and to abolish the gap between observer and picture, to take him into the picture. This way the picture is no longer a strange vis-à-vis. The string creates a kind of passage between image apace and real world.'" (Walter Biemel, in: Begegnung mit Gerhard Hoehme, ex. cat. Düsseldorf 1992, p. 91). [StM]
Gerhard Hoehme
die Genesis des jungen Adlers mit der alten Schlange, 1968.
€ 7,000 / $ 7,910
€ 7,750 / $ 8.757

(incl. 25% surcharge)

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Gerhard Hoehme - die Genesis des jungen Adlers mit der alten Schlange - Back side
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