ARTISTS
Franz Gertsch: The Sea
The exhibition space on the ground floor of the Museum Franz Gertsch is devoted entirely to the theme of the 鈥淪ea.鈥� The show, which features the premiere of a new woodcut, brings together woodcuts and a painting from diverse phases of the artist鈥檚 career that deal with water and waterfronts in France (Saintes-Maries-de-la-Mer) and Spain (Ibiza).
The artist鈥檚 recently completed painting 鈥淢eer 2017鈥� [Sea] (2016/17) will continue to be shown on the front wall. The occupation with the churning sea after a tempestuous morning storm goes back to Franz Gertsch鈥檚 earlier works from Saintes-Maries-de-la-Mer in the South of France (鈥淪aintes Maries de la Mer I鈥揑II,鈥� 1971鈥�72). In 2013, he produced a woodcut on this theme that, based on a 1971 photograph, varies a motif familiar from his paintings (鈥淪aintes Maries de la Mer,鈥� 2013). The painting here shown, however, does not depict the girls on the beach (that can be seen in the woodcut) but concentrates on an atmospheric seascape without human figures in a free dynamic painting style.
鈥淐ima del Mar,鈥� an early woodcut from 1990 that can be seen here in colour variants, depicts a nearly inaccessible bay at Ibiza and invites the viewer to an intense observation. Franz Gertsch鈥檚 newest woodcut derives from models from the same period of time: In 鈥淢aria II鈥� (2017/18), a female figure rises Venus-like from the frothy sea.
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The exhibition space on the ground floor of the Museum Franz Gertsch is devoted entirely to the theme of the 鈥淪ea.鈥� The show, which features the premiere of a new woodcut, brings together woodcuts and a painting from diverse phases of the artist鈥檚 career that deal with water and waterfronts in France (Saintes-Maries-de-la-Mer) and Spain (Ibiza).
The artist鈥檚 recently completed painting 鈥淢eer 2017鈥� [Sea] (2016/17) will continue to be shown on the front wall. The occupation with the churning sea after a tempestuous morning storm goes back to Franz Gertsch鈥檚 earlier works from Saintes-Maries-de-la-Mer in the South of France (鈥淪aintes Maries de la Mer I鈥揑II,鈥� 1971鈥�72). In 2013, he produced a woodcut on this theme that, based on a 1971 photograph, varies a motif familiar from his paintings (鈥淪aintes Maries de la Mer,鈥� 2013). The painting here shown, however, does not depict the girls on the beach (that can be seen in the woodcut) but concentrates on an atmospheric seascape without human figures in a free dynamic painting style.
鈥淐ima del Mar,鈥� an early woodcut from 1990 that can be seen here in colour variants, depicts a nearly inaccessible bay at Ibiza and invites the viewer to an intense observation. Franz Gertsch鈥檚 newest woodcut derives from models from the same period of time: In 鈥淢aria II鈥� (2017/18), a female figure rises Venus-like from the frothy sea.
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