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Veit Hofmann
Rare Animal / - Abstract figuration -

1987

About the Item

Veit Hofmann (*1944 Dresden), Rare Animal, 1987. Oil on light card, 42 cm (height) x 30 cm (width), monogrammed “V[eit]H[ofmann]” lower right and dated “[19]87”, titled “Seltenes Tier” and dated again on the verso. - in good condition - Abstract figuration - In the formal language of wild abstract expressionism, the "Rare Animal" sits like an idol amidst material color energies. It appears to have emerged from this color landscape and to dominate it. The strong blue lines and the orange line structure inscribed in it form the most intense color contrast in the picture, which also manifests figuratively. The title is an ironic commentary on non-figurative figuration that plays with the viewer's expectations. About the artist Veit Hofmann, the son of artist Werner Hofmann, grew up in the Künstlerhaus Dresden-Loschwitz. There, he was influenced by fellow residents Helmut Schmidt-Kirstein, Wilhelm Lachnit, Hermann Glöckner, and Hans Jüchser. After completing an apprenticeship as a book printer, Hofmann studied at the Dresden Academy of Fine Arts from 1967 to 1972 under Gerhard Kettner and Herbert Kunze. There, he learned various printmaking techniques. Since then, he has worked as a freelance artist. Accompanied mostly by his artist friends Helge Leiberg, Stefan Plenkers, and Rainer Zille, Hofmann undertook numerous study trips to Eastern Europe. In 1985, Hofmann moved back to the Künstlerhaus Dresden-Loschwitz, where he developed a collage technique involving the tearing up of his own older works. In 1988, he and Otto Sander Tischbein established telephone art, in which the two artists created pictures in parallel during telephone conversations. Around this time, Hofmann began an ongoing collaboration with graphics publisher Ulrich Grimm, resulting in the production of numerous artist books. In 1992, Hofmann acquired a studio in Pannonhalma, Hungary, where he worked intensively on large-format woodcuts. In 1993, Hofmann and Max Uhlig founded the fund "Künstler helfen Künstler." In addition to paintings and prints, Hofmann created musical installations and stage sets. GERMAN VERSION Veit Hofmann (*1944 Dresden), Seltenes Tier, 1987. Öl auf leichtem Karton, 42 cm (Höhe) x 30 cm (Breite), unten rechts mit „V[eit]H[ofmann]“ monogrammiert und auf „[19]87“ datiert, verso mit „Seltenes Tier“ betitelt und nochmals datiert. - in gutem Zustand - Abstrakte Figürlichkeit - In der Formensprache eines wilden abstrakten Expressionismus sitzt das ‚Seltene Tier‘ wie ein Götze in einem Raum aus materiellen Farbenergien. Es scheint gleichermaßen aus dieser Farblandschaft hervorgegangen zu sein wie über diese zu herrschen. Die kräftige blaue Lineatur bildet zusammen mit dem ihr eingeschriebenen orangen Liniengefüge den intensivsten Farbkontrast im Bild, der sich zudem figürlich manifestiert. Der Titel ist zugleich ein ironischer Kommentar auf die mit der Erwartung des Betrachters spielende nicht-figürliche Figürlichkeit. zum Künstler Als Sohn des Künstlers Werner Hofmann wuchs Veit Hofmann im Künstlerhaus Dresden-Loschwitz auf, wo er von Mitbewohnern Helmut Schmidt-Kirstein, Wilhelm Lachnit, Hermann Glöckner und Hans Jüchser künstlerisch geprägt wurde. Nach einer Lehre als Buchdrucker studierte Hofmann von 1967 bis 1972 an der Hochschule für Bildende Künste Dresden bei Gerhard Kettner und Herbert Kunze und erlernte dort verschiedene druckgraphische Techniken. Seitdem ist Hofmann als freischaffender Künstler tätig. Zumeist in Begleitung seiner Künstlerfreude Helge Leiberg, Stefan Plenkers und Rainer Zille unternahm Hofmann zahlreiche Studienreisen nach Osteuropa. 1985 zog er wieder ins Künstlerhaus Dresden-Loschwitz und entwickelte dort eine Collagetechnik, für die er eigene ältere Werke zerriss. 1988 etablierte er zusammen mit Otto Sander Tischbein die Telefonkunst, bei der beide Künstler während des telefonischen Austauschs parallel Bilder kreierten. In dieser Zeit begann eine anhaltende Zusammenarbeit mit dem Grafikverleger Ulrich Grimm, was zur Produktion zahlreicher Künstlerbücher führte. 1992 erwarb er im ungarischen Pannonhalma ein Atelier und beschäftigte sich dort intensiv mit großformatigen Holzschnitten. Zusammen mit Max Uhlig gründete Hofmann 1993 den Fond „Künstler helfen Künstler“. Neben Gemälden und Grafiken schuf Veit Hofmann auch musikalische ausgerichtete Installationen und Bühnenbilder.
  • Creator:
    Veit Hofmann (1944, German)
  • Creation Year:
    1987
  • Dimensions:
    Height: 16.54 in (42 cm)Width: 11.82 in (30 cm)Depth: 0.4 in (1 cm)
  • Medium:
    Oil
  • Movement & Style:
    Abstract Expressionist
  • Period:
    1980-1989
  • Condition:
  • Gallery Location:
    Berlin, DE
  • Reference Number:
    1stDibs: LU2438216342232

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Black form surfaces on red painterly ground / - The Double Origin of Painting -
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The diagonal layers of red strokes merge into the upper white area, which oscillates between brushwork and homogeneous flatness, while the central white field, into which a black bar protrudes, has a decidedly planar character. The sharp contrast between the autonomous black surface forms, reminiscent of Kasimir Malevich, and the free brushstroke, which is not bound to any motif, creates an enormous pictorial tension, which is conveyed by the white, but at the same time is intensified by the virulent black-and-white contrast. In addition to the tense contrast of form and color, there is also a contrast between the dynamic of the brushstroke and the static of the black surface forms, whereby the diagonal alignment of these forms also gives the static a dynamic, while at the same time the layered brushstrokes have something static about them. Added to this structure of tension is the fact that the painting ground, the unprepared hardboard, is clearly present as such in the picture. In this way, it becomes clear once again that we are not dealing with an autonomous cosmos of form and color, as in Suprematism, but with a painting created by the artist's hand. With this work, Jürgen Möbius explores the possibilities of painting and thematizes painting in terms of its twofold origin, the trace of the guided brush and the painterly form, which gains its independence precisely by absorbing the brushstroke into itself. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...
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