Ladislav Postupa

Je vous propose encore une fois particulièrement les nus, mais comme ci mentionné plus haut, une large place aux objets est laissé dans son oeuvre, Il a également beaucoup travaillé  sur des installations architecturales à grande échelle de photographies.

 

 

Ladislav Postupa – Conscience, Variant (Female Nude), 1966

Ladislav Postupa – Conscience, Variant (Female Nude), 1966

Ladislav Postupa - Conscience,1966

Ladislav Postupa – Conscience,1966

Ladislav Postupa - Punition, double exposure, 1960s

Ladislav Postupa – Punition, double exposure, 1960s

Ladislav Postupa- le mensonge (Ležící ),1963

Ladislav Postupa- le mensonge (Ležící ),1963

 

Ladislav Postupa - Clair-obscur ,1964

Ladislav Postupa – Clair-obscur ,1964

 

Ladislav Postupa-Ladislav Postupa - Ladislav Postupa - Female Nude (detail),1970s

Ladislav Postupa-Ladislav Postupa – Ladislav Postupa – Female Nude (detail),1970s

Ladislav Postupa - Female Nude  with Chair, 1970

Ladislav Postupa – Female Nude with Chair, 1970

Ladislav Postupa - Female Nude  with Chair, 1970

Ladislav Postupa – Female Nude with Chair, 1970

 

Ladislav Postupa - Female Nude (detail), 1970s. (2)

Ladislav Postupa – Female Nude (detail), 1970s.

Ladislav Postupa- photomontage ,1964

Ladislav Postupa- photomontage ,1964

Ladislav Postupa -( Agir avec pondération)  Akt s váhami, 1960s

Ladislav Postupa -( Agir avec pondération) Akt s váhami, 1960s

 

 

Ladislav Postupa - Punition, 1965-1969

Ladislav Postupa – Punition, 1965-1969

Ladislav Postupa-Female Nude, 1969

Ladislav Postupa-Female Nude, 1969

Ladislav Postupa - Female Nude (detail),1970s

Ladislav Postupa – Female Nude (detail),1970s

Ladislav Postupa -Female nude in shadow, 1960-1969

Ladislav Postupa -Female nude in shadow, 1960-1969

Ladislav Postupa Zakletá, nd

Ladislav Postupa Zakletá, nd

Ladislav Postupa -Pohádka,nd

Ladislav Postupa -Pohádka,nd

Ladislav Postupa -Memory, 2005

Ladislav Postupa -Memory, 2005

Ladislav Postupa Light Bulb, 1968

Ladislav Postupa Light Bulb, 1968

Postupa Ladislav - Gymnastika 2010

Postupa Ladislav – Gymnastika 2010

Source ici  et  Ici

 

Robert Heinecken (1931-2006)

“Many pictures turn out to be limp translations of the known world instead of vital objects which create an intrinsic world of their own. There is a vast difference between taking a picture and making a photograph.”  Robert Heinecken

Au cours de sa carrière, Robert Heinecken , a beaucoup amusé, instruit et souvent choqué à travers ses œuvres photographiques pointues et  irrévérencieuses. En effet ses sujets étaient  très provocateurs – la Guerre du Viêt Nam, la politique pornographique, sexuelle, le marché médiatique, que beaucoup de critiques et d’autres observateurs ont detesté ou adoré. Il a toujours  était  difficile de l’appeler “un photographe” au sens strict du terme , parce qu’il utilisait rarement un appareil photo pour faire ses images. Heinecken utilisait des moyens photographiques qu’ on pourrait considérer en marge, comme un artiste qui aurait utilisé la photographie seulement comme le moyen à une fin artistique. Les rares fois où  qu’il utilisait appareil photo, c’était  un Polaroïd pour ensuite re-photographier  ces tirages avec d’autres photographies.

Heinecken est né à Denver, dans le Colorado, et fût le seul enfant d’un ministre Luthérien. En 1942 la famille déménage en Californie du Sud, où Heinecken, apres  le lycée et ensuite le collège, il obtiendra un DEUG en Art en 1951. Pendant les deux annnéess suivantes, il étudie à l’Université de la Californie, à Los Angeles.  En 1953, il fait son servive Militaire dans la  Marine, où il  apprend à piloter des avions. En 1954, il rejoint le Corps de la Marine comme un pilote de chasse.

En 1957, une fois dégagé de ses obligations, il integre l’université  G.I. Bill, obtenant ainsi in,  BA dans l’art en 1959 et MA l’année suivante. Tandis qu’ à l’ Université Heinecken se concentre surtout sur le travail  du développement, il présentera pour son diplôme diplômé, il présentera  un travail photographique aux idées pré pop art de Robert Rauschenberg et d’autres artistes qui utilisaient des images photographiques.

En 1960, Heinecken  est nommé  assistant formateur dans le Département d’Art à UCLA, enseignant le dessin, le design(la conception) et développement . En deux ans,  il introduit un programme d’études photographiques pour le département et est nommé Professeur adjoint en 1962, pour les Licences. Pendant les trois décennies suivantes, l’influence d’Heinecken en tant que  professeur fût profonde; il a encouragé ses étudiants à s’approcher de l’art – et particulièrement la photographie – dans un  esprit d’expérimentation avec lequel,  il s’est abordé de son propre travail. Favorisé en partie par les événements sociaux et politiques du jour – la Guerre du Viêt Nam, le mouvement de femme et la croissance de la contreculture – sa salle de cours est devenue un endroit  pour le dialogue et l’auto-évaluation.

Quand Heinecken est apparu sur  la scène de l’art de Californie du Sud au milieu des années 1960, il éxistait un nombre croissant d’ artistes qui avaient commencé à incorporer des photographies et d’autres images dans leur art comme une façon de renégocier la nature et la signification d’art contemporain. D’autres artistes de Los Angeles, comme Ed Ruscha et John Baldessari, pratiquaient la photographie  comme un moyen d’art conceptuel. Inspiré par ces nouvelles approches, Heinecken a saisi l’occasion de transformer un moyen restreint et retenu par les principes  d’un  modernisme puriste en l’entrelaçant   avec la culture populaire.

Pour arriver au-dessous de la surface, il crée une oeuvre qui regarde souvent au-delà de l’image que nous voyons initialement.  Par exemple, en créant les copies de contact de pages de magazines, il présente une image qui est un composé des deux côtés de la page avec les résultats qui sont surréalistes, embrouillants, satiriques, comiques et culturellement critiques.
Il utilise un Cibachrome ou une technique Ilfochrome qui est une façon d’imprimer des images positives d’autre positif (traditionnellement une diapositive, mais aussi d’une empreinte de contact).
Heinecken a aussi conçu un système dans lequel il plaçait le film photographique sur l’écran de télévision et capturerait une image d’empreinte de contact de l’émission. Il a ainsi créé une série de ces “vidéogrammes” basés autour du discours inaugural de Ronald Reagan en 1980.

j’ai choisi de proposer principalement ses travaux tirés de ” Are You Rea” , d”Autoeroticism”, ainsi que ses “Etudes” qui me semblent être un bel exemple de son œuvre, plus quelques autres travaux.

[Throughout his career, Robert Heinecken (1931–2006) amused, educated, and often shocked viewers with his pointed, irreverent photographic works. So provocative were Heinecken’s subjects—the Vietnam War, pornography, sexual politics, the media marketplace—that many critics and other observers rank either as avid fans or staunch detractors. It has always been difficult to call him a “photographer” in the strict sense of the word, because he rarely used a camera to make his pictures. Rather, Heinecken worked on the fringes of the photographic medium, and in the margins of what might be considered acceptable subject matter, as an artist who used photography only as a means to an artistic end.

Heinecken was born in Denver, Colorado, the only child of a Lutheran minister. In 1942 the family moved to Southern California, where Heinecken attended public high school and then community college in Riverside, earning an Associate’s Degree in Art in 1951. For the next two years, Heinecken studied at the University of California, Los Angeles. He dropped out in 1953 to enlist in the United States Navy, where he learned to fly airplanes. In 1954 he joined the Marine Corps as a fighter pilot. When he was discharged in 1957, he returned to university on the GI Bill, earning a BA in art in 1959 and an MA the following year. While in school, Heinecken concentrated mostly on printmaking, but by the end of his graduate study, he was introduced to photography and to the pre–Pop art ideas of Robert Rauschenberg and other artists who were using photographic imagery.

In 1960, Heinecken was appointed as an instructor in the Department of Art at UCLA, teaching drawing, design, and printmaking. Within two years he had initiated a photographic curriculum for the department and was appointed Assistant Professor in 1962, overseeing a regular series of courses in undergraduate photography. Over the next three decades, Heinecken’s influence as a teacher was profound; he encouraged his students to approach art—and particularly photography—in the same spirit of experimentation with which he approached his own work. Fostered in part by social and political events of the day—the Vietnam war, the women’s movement, and the growth of the counterculture—the classroom became a place for dialogue and self-evaluation.

When Heinecken emerged in the Southern California art scene in the mid-1960s, he was one of a growing number of artists who had begun to incorporate photographs and other images into their art as a way to renegotiate the nature and meaning of contemporary art. Other Los Angeles artists, like Ed Ruscha and John Baldessari, practiced photography as a medium of conceptual art. Inspired by these new approaches, Heinecken seized the opportunity to transform a medium restrained at one time by the purist principles of modernism into one increasingly intertwined with popular culture.]

Robert Heinecken, Cliche Vary: Lesbianism, 1974

Robert Heinecken- Cliche-Verre, Autoeroticism, 1975.

Robert Heinecken, Cliché Vary, Autoeroticism, 1974, photographic emulsion on canvas and pastel chalk

Robert Heinecken, Cliché Vary, Autoeroticism, 1974, photographic emulsion on canvas and pastel chalk

Robert Heinecken, Cliche Vary: Lesbianism 1974 (photographic lithograph)

Robert Heinecken - from 12 Figure Squares #2, 1967

Robert Heinecken – from 12 Figure Squares #2, 1967

Robert Heinecken -Invitation to Metamorphosis 1975

Robert Heinecken -Invitation to Metamorphosis 1975

Robert Heinecken -Film Strip #2 & #4 ,1972 Transparent lithographic film

Robert Heinecken -Film Strip #2 & #4 ,1972 Transparent lithographic film

Robert Heinecken- Porno film strip #2 & #4 , 1974

Robert Heinecken- Porno film strip #2 & #4 , 1974

Robert Heinecken - Breast Bomb, 1967

Robert Heinecken – Breast Bomb, 1967

Are You Rea by Robert Heinecken, 1964

Are You Rea by Robert Heinecken, 1964

Robert Heinecken from the portfolio Are You Rea 1969

Robert Heinecken from the portfolio Are You Rea 1969

Robert Heinecken- Are You Rea #20, 1964-68

Robert Heinecken- Are You Rea #20, 1964-68

Robert Heinecken- Are You Rea #17, 1964-68

Robert Heinecken- Are You Rea #17, 1964-68

Robert Heinecken- Are You Rea #4, 1964-68

Robert Heinecken- Are You Rea #4, 1964-68

Robert Heinecken- Are You Rea #2,1964-68

Robert Heinecken- Are You Rea #2,1964-68

Robert Heinecken - Are You Rea #13 , 1967

Robert Heinecken – Are You Rea #13 , 1967

© robert heinecken (1931-2006) - are you rea, 1968

Robert Heinecken – Are you rea, 1968

Robert Heinecken- Are You Rea #12,1964-68

Robert Heinecken- Are You Rea #12,1964-68

Robert Heinecken- Are You Rea #11,1964-68

Robert Heinecken- Are You Rea #11,1964-68

Robert Heinecken- Cream six single, 1970

Robert Heinecken- Cream six single, 1970

Robert Heinecken- Study 31 ,1970 ,Black and white photogram

Robert Heinecken- Study 31 ,1970 ,Black and white photogram

Robert Heinecken -Study #25 ,1970

Robert Heinecken -Study #25 ,1970

Robert Heinecken -Study #21 by Robert Heinecken, 1970

Robert Heinecken -Study #21 by Robert Heinecken, 1970

Robert-Heinecken-Study# , 1970

Robert-Heinecken-Study#7 , 1970

Robert Heinecken- Study 1970s

Robert Heinecken- Study 1970s

Robert Heinecken Jay Girls, 1972

Robert Heinecken Jay Girls, 1972

Robert Heinecken - Mademoiselle 1972

Robert Heinecken – Mademoiselle 1972

Robert Heinecken, 1970’s

 

Robert Heinecken - Untitled, July 1974

Robert Heinecken – Untitled, July 1974

Robert Heinecken - typographic nude, 1965

Robert Heinecken – typographic nude, 1965

Robert Heinecken - Figure Parts Hair 1967

Robert Heinecken – Figure Parts Hair 1967

Robert Heinecken - Figure Parts Hair 1967

Robert Heinecken – Figure Parts Hair 1967

Robert Heinecken -Lingerie for a Feminist Suntan #5, 1973

Robert Heinecken -Lingerie for a Feminist Suntan #5, 1973

The Big Lie” project.

mocp.org

Sowiński Michał

 Michał Sowiński- Akt ,1970

Michał Sowiński- Akt ,1970

Michał Sowiński-  Nude (Akt), 1964

Michał Sowiński- Nude (Akt), 1964

Michał Sowiński- Untitled, 1970s

Michał Sowiński- Untitled, 1970s

Michał Sowiński-Untitled, 1970s

Michał Sowiński-Untitled, 1970s

 Michał Sowiński-Untitled ,1960s

Michał Sowiński-Untitled ,1960s

 Michał Sowiński- The human form I ,1963

Michał Sowiński- The human form I ,1963

 Michał Sowiński- The human form  ,1963

Michał Sowiński- The human form ,1963

Michał Sowiński- The human form  ,1963

Michał Sowiński- The human form ,1963

Michał Sowiński-The human forms III ,1963

Michał Sowiński-The human forms III ,1963

 Michał Sowiński-Demitologizacje I ( demysthifier I), 1970s

Michał Sowiński-Demitologizacje I ( demysthifier I), 1970s

Michał Sowiński-Untitled, 1980 2

Michał Sowiński-Untitled, 1980

Michał Sowiński-Untitled, 1975

Michał Sowiński-Untitled, 1975

Michał Sowiński-Untitled, 1980

Michał Sowiński-Untitled, 1980

Michał Sowiński-  Halb-akt (semi nude) nd

Michał Sowiński- Halb-akt (semi nude) nd

Michał Sowiński- Akt, 1958

 Michał Sowiński- Akt Multiplikacje ,1980

Michał Sowiński- Akt Multiplikacje ,1980

Michał Sowiński-Untitled, 1980

Michał Sowiński-Untitled, 1980

Michał Sowiński-Dezintegracje  (Désintégration), 1985

Michał Sowiński-Dezintegracje (Désintégration), 1985

Michał Sowiński- Nude ( Akt),  1970

Michał Sowiński- Nude ( Akt), 1970

 

Michał Sowiński-Untitled, 1994

Michał Sowiński-Untitled, 1994

Michał Sowiński- Odejscia - powroty (  leaving - Returns) , 1985

Michał Sowiński- Odejscia – powroty ( leaving – Returns) , 1985

 

Zbigniew Łagocki (1927-2009)

Zbigniew ŁagockiAerotica I,  (or found V in another place?) 1960s

 

 

Zbigniew Łagocki Aerotica XII, 1965s

Zbigniew Łagocki Aerotica XII, 1965s

Zbigniew Łagocki  Aerotica VI , 1967

Zbigniew Łagocki Aerotica VI , 1967

 

Zbigniew Łagocki Nude from Poliformia series

Zbigniew Łagocki Nude from Poliformia series

Zbigniew Łagocki- Akt, nd

Zbigniew Łagocki- Akt, nd

Galerie Serie Body Bulding Ici

Lire Ici ( traduction google en français du polonais )et Ici ( anglais) Ici ( traduction google)

Ernst Fuchs ( 1930)

Un peintre Autrichien  influencé par  Gustav Klimt, Egon Schiele, Pablo Picasso et Max Ernst et qui n’a jamais cessé de se renouveler tout au long de sa vie et son acte créatif. Il a utilisé l’encre, la peinture, le crayon, la scupture comme techniques.  Il a composé tout au long de sa vie de grandes series intitulées Cycle,  telles que « Stadt-Zyklus » 1945 ou  der « Bikini-Atoll-Zyklus » 1947. “Metamorphose der Kreatur“ et « Einhorn-Zyklus“ dans le debut des années 50 , à cette époque il vit à paris, et  Jean-Paul Sartre, Jean Cocteau et surtout Salvadore Dali admire ses peintures.  Il est l’un des fondateurs de l’École de Vienne du réalisme fantastique  avec Arik Brauer, Wolfgang Hutter, Rudolph Hausner and Anton Lehmden, en 1948
Biographie détaillée en anglais ou allemand Ici sur le site du Musée qui lui est dédié  ou sur wilkipedia

Mais choix sont minimes quant à l’étendue de son oeuvre et de sa diversité. Je vous ai mis tous les lien musées galerie, site… je ne me fie pas à wikipainting, (le dernier tableau  qui est présenté ici est credité 1978 et il est noté sur la toile 1977, çà ne me parait pas trop compliqué de regarder une toile, sutout si on la publie, donc j’ai volontairement zappé le lien..; mais vous trouverez si vous voulez.. )

Ernst Fuchs- Im Bett (die Große Nana) Dans le lit (la Grande Nana), 1972

Ernst Fuchs- Im Bett (die Große Nana) Dans le lit (la Grande Nana), 1972

Ernst Fuchs - Hochzeit des Todes  - Deadly Vows - Etching for Die Symbolik des Traumes Belser Verlag, Stuttgart; Limited Edition (1968)

Ernst Fuchs –  Deadly Vows – Etching for Die Symbolik des Traumes Belser Verlag, Stuttgart; Limited Edition (1968)

Ernst Fuchs  - The Star  - Etching for Die Symbolik des Traumes Belser Verlag, Stuttgart; Limited Edition (1968)

Ernst Fuchs – The Star – Etching for Die Symbolik des Traumes Belser Verlag, Stuttgart; Limited Edition (1968)

Ernst Fuchs - Weiblicher Torso , nd dessin au crayon (Galerie-F)

Ernst Fuchs – Weiblicher Torso , nd dessin au crayon (Galerie-F)

Ernst Fuchs -Vorhang auf  (Giclee sur des lignes) , 2012 Galerie-F

Ernst Fuchs -Vorhang auf (Giclee sur des lignes) , 2012 Galerie-F

Ernst Fuchs -Salomé  colour etching and aquatint, 1991  Galerie-F

Ernst Fuchs -Salomé colour etching and aquatint, 1991 Galerie-F

Ernst Fuchs -Nixe colour etching and aquatint, 1991  Galerie-F

Ernst Fuchs -Nixe colour etching and aquatint, 1991 Galerie-F

Ernst Fuchs -in the sheets of the night, etching,  1966

Ernst Fuchs -in the sheets of the night, etching, 1966 ici

Ernst Fuchs - May Picture, 1949, etching mutal art ou site

Ernst Fuchs – May Picture, 1949, etching mutual art ouici pour une autre couleur

Ernst Fuchs - Abschied des Mars, Radierung 1976 ( musée)

Ernst Fuchs – Abschied des Mars, Radierung 1976 ( musée)

Ernst Fuchs -  Eva Triptych - 1967

Ernst Fuchs – Eva Triptych – 1967

Ernst Fuchs -Akt auf Chaisselonge, technique  Giclée , 1977 Galerie-F

Ernst Fuchs -Akt auf Chaisselonge, technique Giclée , 1977 (Galerie-F)

Source

Galerie-F: Ernst Fuchs

Son Site

Musée

Galerie

Sur Fb

Zdzisław Beksiński ( 1929-2005)

Zdzisław Beksiński est un peintre, photographe, dessinateur et sculpteur polonais illustre.( plus sur wilkipedia)

Il a débuté par la photographie et le collage ( voir autre article Ici) qu’il arrêtent au début des années 60 s, pour se consacrer à la peinture  plus particulièrement ainsi qu’au dessin. Si vous souhaitez voir ce versant de son œuvre vous pouvez le retrouvez Ici par exemple. Il  ya beaucoup de dessins et illustrations qui sont vraiment dans la veine d’Hans Bellmer par exemple, Son travail en temps que photographe est plutôt novateur et reste relativement majeur pour la culture Polonaise. Lire par exemple  Ici ( traduction approximative) pour plus d’informations 

Zdzisław Beksiński- Akt, 1959

Zdzisław Beksiński- Akt, 1959

Zdzisław Beksiński -Akt, 1957

Zdzisław Beksiński -Akt, 1957

Zdzisław Beksiński- Untitled, 1956

Zdzisław Beksiński- Untitled, 1956

Zdzisław Beksiński, Sadist's Corset , 1957

Zdzisław Beksiński, Sadist’s Corset , 1957

Zdzisław Beksiński, Study for the Sadist's Corset 3 ,1957

Zdzisław Beksiński, Study for the Sadist’s Corset 3 ,1957

Zdzisław Beksiński,  -Study for the Sadist's Corset 5, 1957

Zdzisław Beksiński, -Study for the Sadist’s Corset 5, 1957

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1955-60

Zdzisław Beksiński, Akt, 1955-60

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1955-57

Zdzisław Beksiński, Akt, 1955-57

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1959

Zdzisław Beksiński, Akt, 1955-57

Zdzisław Beksiński, Akt, 1955-57

Zdzisław Beksiński- Zone II, nd( before 60)

Zdzisław Beksiński- Zone II, nd( before 60)

Zdzisław Beksiński- portrait 1957

Zdzisław Beksiński- portrait 1957

Zdzisław Beksiński- portrait 1957

Zdzisław Beksiński- portrait 1957

Zdzisław Beksiński- portrait 1957

Zdzisław Beksiński- portrait 1957

Zdzisław Beksiński- portrait 1950-60

Zdzisław Beksiński- portrait 1950-60

Zdzisław Beksiński- portrait 1950-60

Zdzisław Beksiński- portrait 1950-60

Zdzisław Beksiński- portrait 1950-60

Zdzisław Beksiński- portrait 1950-60

Zdzisław Beksiński- phtomontage, 1955-60

Zdzisław Beksiński- phtomontage, 1955-60

Son site

Une Galerie

 

Paul Wunderlich German (1927 – 2010)

« Born in Germany in 1927, painter, sculptor and printmaker Paul Wunderlich studied at the Hamburg Academy and after a three year stay in Paris returned to be Professor of the Art Academy there. He now lives and works in Hamburg and for part of the year in France. The German painter studied at the Kunstschule in the orangery of the castle of Eutin. In 1947 he went to the Hochschule fur Bildende Kunste, Hamburg, and studied graphic art. He extended his training by another semester to work under Willem Gremm. In 1951 he was offered a teaching post at the school, which he held until 1961.

In 1963 he became Professor for the Graphic Arts and Painting. Between 1951 and 1952, under the instruction of Emil Nolde and Oskar Kokoschka, he produced prints after their originals. In 1957 he created a series of Tachist paintings, for example S111/57 but he destroyed most of them later.

Towards the end of the 1950s he produced his first figurative prints and paintings. In the beginning their subjects were events from more recent German history, for example the set of lithographs 20 July 1944 (1959; Berlin, Gal. Brusberg), which depicted the execution of the men who had conspired against Adolf Hitler. This subject-matter was increasingly replaced by an eroticism that is partly Surrealist, partly decorative. In 1960 the public prosecutor of Hamburg confiscated such a series of prints.

Paul Wunderlich is professor of graphic art and painting at the University of Fine Arts, Hamburg, is a painter, sculptor and lithographer who lives and works for part of the year in Hamburg and the rest in France.

Married in 1963 to the photojournalist and fine art photographer Karin Szekessy (b. 1939, Essen), he sometimes paints and makes prints from the nude photographs made by Szekessy. Wunderlich belongs to the second generation of Fantastic Realists, sometimes called Magical Realists. These artists have remained faithful to the tradition although the imagery has remained contemporary.

Karin Székessy  Paul Wunderlich Portrait, realist and surrealist. 1965  by Karin Székessy

Karin Székessy Paul Wunderlich Portrait, realist and surrealist. 1965 by Karin Székessy

Karin Székessy  Sans titre [Dans l'atelier de Paul Wunderlich]. 1969

Karin Székessy Sans titre [Dans l’atelier de Paul Wunderlich]. 1969  her Site

Paul Wunderlich-Twilight , 3 lithographs in colours and 3 photography of Karin Székessy 1971

Paul Wunderlich-Twilight , 3 lithographs in colours and 3 photography of Karin Székessy 1971

Paul Wunderlich, the most prominent among them, has developed a style slightly cooler in temperament and more analytical. Often borrowing from classical mythology, he emphasizes the human form within a context that blends together contemporary and historical references. With cool aloofness, Wunderlich transports the viewer into a world of surreal eroticism and aesthetic symbolism. Again and again, Wunderlich spices his Fantastic Realism with a startling dose of irony.

After Picasso and Max Ernst no other artist has contributed as much to the sculpture of painters as Paul Wunderlich. The themes for his sculptures and objects are closely linked to his paintings, drawings and lithographs. Wunderlich sculptures and objects combine the simplicity of an idea with the refinement of the material, and imagination with perfection in shaping something into a perfect form. As an artist, Paul Wunderlich has remained faithful to his own artistic visions.

Over a period of several decades, Wunderlich’s complex and comprehensive body of work has led to numerous exhibitions in museums worldwide. In 1994-95, he had retrospectives in several Japanese museums (Tokyo, Osaka, Hokkaido, Gifu). Wunderlich has been successful in numerous international print competitions and has received many awards. In 1964, he was awarded the Japan Cultural Forum Award, Tokyo; in 1967, he received the Award Premio Marzotti, Italy; in 1970, he was awarded the Gold-Medal in Florence, Italy; in 1978, he received Gold-Medals at the Grafik-Biennale in Taiwan and in Bulgaria.

He lived and worked in Hamburg and Saint-Pierre-de-Vassols (Provence), where he died after a short illnes »Rogallery

 

 

http://av.vimeo.com/19860/143/66595069.mp4?token2=1399131673_c60ef8a783dee2d8bde4a7ec39071d3f&aksessionid=37e22cacba82faf1%5D

 

 

Paul Wunderlich Liebeszauber Lithographie in 3 Farben aus , 1983

Paul Wunderlich Liebeszauber Lithographie in 3 Farben aus , 1983

Paul Wunderlich Le vieux monsieur Lithographie , 1962

Paul Wunderlich Le vieux monsieur Lithographie , 1962

Paul Wunderlich -Untitled , Lithograph 1962

Paul Wunderlich -Untitled , Lithograph 1962

Paul Wunderlich Lolita Lithographie in 2 Farben 1962

Paul Wunderlich Lolita Lithographie in 2 Farben 1962

Paul Wunderlich Aus meinem Skizzenbuch, 1962 Aquarellierte Original-Lithographie für La Lune en Rodage

Paul Wunderlich Aus meinem Skizzenbuch, 1962 Aquarellierte Original-Lithographie für La Lune en Rodage

Paul Wunderlich- Joanna Posing for Redfern, litho inches,  1968

Paul Wunderlich- Joanna Posing for Redfern, litho inches, 1968

Paul Wunderlich- Bosomfriends II (Goldfinger), 1965

Paul Wunderlich- Bosomfriends II (Goldfinger), 1965

Paul Wunderlich-  Daniela and Ulrike,  gouache, 1971

Paul Wunderlich- Daniela and Ulrike, gouache, 1971

Paul Wunderlich Das Blatt , Lithographie 1971

Paul Wunderlich Das Blatt , Lithographie 1971

 

Paul Wunderlich -Schwarse Wiese , Etching with handcolouring , 1972

Paul Wunderlich -Schwarse Wiese , Etching with handcolouring , 1972

Paul Wunderlich Eine Nymphe Aus Wien , Lithographie 1970

Paul Wunderlich Eine Nymphe Aus Wien , Lithographie 1970

Paul Wunderlich Bien Assise , Lithographie 1970

Paul Wunderlich Bien Assise , Lithographie 1970

 

Paul Wunderlich Hingegossen II, Lithographie 1968 //an example of its job inspired  by that of his wife Karin

Paul Wunderlich Hingegossen II, Lithographie 1968//an example of its job inspired by that of his wife Karin

Paul Wunderlich-Poster art for the Munich Olympic Games in 1972

Paul Wunderlich-Poster art for the Munich Olympic Games in 1972

Paul Wunderlich En Larmes , Lithographie 1972

Paul Wunderlich En Larmes , Lithographie 1972

*****The Song of Songs Which is Solomon’s Aquarius Press, France, publisher. ten color lithographs *****

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate I with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate I with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate II with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate II with poems

 

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate III with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate III with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate IV with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate IV with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate V with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate V with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate VI with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate VI with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate VII with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate VII with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate VIII with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate VIII with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate IX with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate IX with poems

Paul Wunderlich - From The Song of Songs  Which is Solomon's, 1970 plate  X with poems

Paul Wunderlich – From The Song of Songs Which is Solomon’s, 1970 plate X with poems

 

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Paul Wunderlich -Adam und Eva (nach Ingres), 1981

Paul Wunderlich -Adam und Eva (nach Ingres), 1981

Paul Wunderlich -Adam und Eva (nach Durer), 1981.

Paul Wunderlich -Adam und Eva (nach Durer), 1981

Paul Wunderlich -Strabenszene, 1981

Paul Wunderlich -Strabenszene, 1981

 

Paul Wunderlich in his studio by Karin Szekessy, 2000

Paul Wunderlich in his studio by Karin Szekessy, 2000

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