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Herrmann SchütteWhite Mask on Violet Ground - Mythic mask mountain -1962
1962
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About the Item
Hermann Schütte (1893 Osnabrück - 1973 Hamburg), White Mask on Violet Ground. Enameled copper plate on wooden base, 37 x 29.5 cm, monogrammed and dated "S[chütte] [19]62" in the lower right corner of the fire, inscribed on the reverse (by another hand?) with "Hermann Schütte", titled as "Mask" and dated "1962".
- upper corner slightly creased, otherwise very good condition
- Mythic mask mountain -
About the artwork
In his late work, Hermann Schütte discovered the enamel technique for his artistic work, thus establishing a genre between painting and sculpture, which at the same time has something architectural about it through the wall-like structure of the background. But because the 'stone offset' runs vertically, the 'wall' is a 'surreal wall'. It is this fantastic dimension that feeds the mysterious effect of the work. The Prussian blue background is related to the unfathomable depth of Yves Klein's blue. The pronounced craquelé created by the firing also gives the blue an organic vibrancy. It seems to have contracted by itself. The resulting cracks reveal the reddish-brown copper underneath, giving the blue a deep ground on which it seems to 'float'.
Above the moving, vibrant blue ground, which nevertheless appears solid because of the stone-like structure, is a mountain-like formation with two eye slits and a nose, revealing itself - as the title suggests - to be a mask. However, this is not a mask that can be put on, it has a life of its own and is thus in the tradition of medieval leaf masks, the most prominent example of which can be seen on the pedestal of the Bamberg Rider (around 1230).
Shaped like a mountain and equipped with its own nose, the mask also displays its own organic liveliness through the gray surfaces, which are also vertically aligned and seem to have grown, which is further intensified by the sand-like ghostly structure of the white surfaces. The fact that the eye openings remain black and thus blind, yet appear deeper in color than the blue, adds to the mysterious dimension of this enigmatic creature.
The white "mountain mask" and the blue ground create a pattern-ground relationship that is ornamentally enlivened by the craquelure. The vibrant blue ground, reminiscent of Babylonian tiles, and the anthropomorphic mountain mask unfold an archaic, fairy-tale dimension that lends depth to the mysterious and at the same time spreads as a surface sheen.
With the yellow monogramand the year in complementary contrast to the blue, the artist inscribes himself in this mystery.
About the artist
Hermann Schütte grew up in the era of the avant-garde and, like so many artists, volunteered for World War I, only to return home a convinced pacifist after the horrors he had witnessed. Inspired by literary expressionism, he wrote the book "Mensch! God! Ich!". Its cover was illustrated by the spiritus rector of the Worpswede artists' colony, Heinrich Vogeler. After becoming friends with Kurt Schwitters, Schütte created sculptures and installations in the spirit of the Dada movement initiated by Schwitters. During the Nazi era, Schütte withdrew into inner emigration, only to return to intense artistic activity after the Second World War.
Since 1948, Schütte has participated in numerous exhibitions, including those at the Hamburger Kunsthalle, in Oldenburg, Bremen, Worpswede, Witten, Bad Soden, Düsseldorf, and Osnabrück. In 1967, his hometown of Osnabrück dedicated a large monographic exhibition to him, in which 120 of his works provided an overview of his oeuvre.
Selected Bibliography
Rabe, Hanns-Gerd (Einleitung): Hermann Schütte. Ölgemälde, Emailbilder, Federzeichnungen. Katalog zur Ausstellung vom 29. Oktober bis 3. Dezember 1967, Städtisches Museum Osnabrück, Osnabrück 1967.
GERMAN VERSION
Hermann Schütte (1893 Osnabrück - 1973 Hamburg), Weiße Maske auf violettem Grund. Emaillierte Kupferplatten auf Holzgrund, 37 x 29,5 cm, rechts unten im Brand monogrammiert und datiert „S[chütte] [19]62“, rückseitig (von fremder Hand?) mit „Hermann Schütte“ bezeichnet, als „Maske“ betitelt und mit „1962“ datiert.
- obere Ecke leicht bestoßen, sonst in sehr gutem Zustand
Exposé als PDF
- Mystischer Maskenberg -
zum Kunstwerk
In seinem Spätwerk hat Hermann Schütte die Emailtechnik für sein künstlerisches Schaffen entdeckt und damit eine Gattung zwischen Gemälde und Skulptur etabliert, die durch die mauerverbundartige Struktur des Hintergrundes hier zugleich etwas Architektonisches hat. Indem der ‚Steinversatz‘ aber vertikal verläuft, ist die ‚Mauer‘ eine ‚surreale Mauer‘. Aus eben dieser phantastischen Dimension speist sich die geheimnisvolle Wirkung des Kunstwerks. Der in Preußisch Blau gehaltene Hintergrund weist eine Verwandtschaft mit der unergründlichen Tiefe des Blaus von Yves Klein auf. Durch das beim Brand entstandene ausgeprägte Craquelé gewinnt das Blau zudem eine organische Lebendigkeit. Es hat sich scheinbar von sich aus zusammengezogen. Die dabei entstandenen Risse geben das darunterliegende braunrote Kupfer frei, wodurch dem Blau ein Tiefengrund verliehen wird, auf dem es zu ‚schwimmen‘ scheint.
Über dem bewegt lebendigen blauen Grund, der vermittels der steinversatzartigen Struktur dennoch solide erscheint, ist eine bergartige Formation zu sehen, die zwei Augenschlitze und eine Nase aufweist und sich damit – dem Titel entsprechend – als Maske zu erkennen gibt. Diese Maske ist aber keine Maske, die zum Aufsetzen bereitliegen würde, vielmehr führt auch sie ein Eigenleben und steht damit in der Tradition mittelalterlicher Blattmasken, deren prominentesten Beispiel am Postament des Bamberger Reiter (um 1230) zu sehen ist.
Wie ein Berg ausgebildet und mit einer eigenen Nase versehen, weist auch die Maske durch die ebenfalls vertikal ausgerichteten und wie gewachsen wirkenden grauen Flächen eine eigene organische Lebendigkeit auf, die von der sandartig gespengelten Struktur der weißen Flächen noch intensiviert wird. Dass die Augenöffnungen schwarz bleiben und damit blind sind, farblich aber dennoch tiefer als das Blau wirken, befördert die geheimnisvolle Dimension dieses rätselhaften Wesens.
Die weiße ‚Bergmaske‘ und der blaue Grund schließen sich zu einem Muster-Grund-Verhältnis zusammen, das vom Craquelé ornamental belebt wird. Der an babylonische Fliesen gemahnende, lebendige blaue Grund und die anthropomorphe Bergmaske entfalten eine archaisch-märchenhafte Dimension, die dem Geheimnisvollen ihre Tiefe verleiht und sich zugleich als Oberflächenglanz verbreitet.
Mit dem gelben zum Blau in Komplementärkontrast stehenden Monogramm und der Jahreszahl schreibt sich der Künstler selbst in dieses Geheimnis ein.
zum Künstler
Hermann Schütte wuchs in die Zeit der Avantgarden hinein und meldete sich – wie so viele Künstler – freiwillig zum ersten Weltkrieg, um nach den durchlebten Schrecken als überzeugter Pazifist heimzukehren. Vom literarischen Expressionismus erfasst, schrieb er 1919 das Buch "Mensch! Gott! Ich!", dessen Umschlag der Spiritus rector der Künstlerkolonie Worpswede, Heinrich Vogeler, illustrierte. Nachdem Schütte mit Kurt Schwitters in freundschaftlichen Kontakt getreten war, schuf er Plastiken und Installationen im Geiste der von Schwitters initiierten Dada-Bewegung. Während der Zeit des Nationalsozialismus zog sich Schütte in die innere Emigration zurück, um nach dem zweiten Weltkrieg wieder intensiv künstlerisch tätig zu werden.
Seit 1948 nahm Schütte an einer Vielzahl von Ausstellungen teil, u.a. in der Hamburger Kunsthalle, in Oldenburg, Bremen, Worpswede, Witten, Bad Soden, Düsseldorf und Osnabrück. 1967 widmete ihm seine Vaterstadt Osnabrück eine große monographische Ausstellung, auf der 120 seiner Werke eine Übersicht über sein Schaffen vermittelten.
Auswahlbibliographie
Rabe, Hanns-Gerd (Einleitung): Hermann Schütte. Ölgemälde, Emailbilder, Federzeichnungen. Katalog zur Ausstellung vom 29. Oktober bis 3. Dezember 1967, Städtisches Museum Osnabrück, Osnabrück 1967.
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