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Reiner SchwarzUnder the mask of the Venetian girl / - Monstrous Reality -1968
1968
About the Item
Reiner Schwarz (*1940 Hirschberg), Under the mask of the Venetian girl, 1968. Lithograph, 30 cm x 24 (image), 59 cm x 42 cm (sheet size), signed “R.[einer] Schwarz” in pencil lower right, dated “[19]68”, identified as copy no. 78/80 lower left and inscribed “Unter der Maske des venezianischen Mädchens” in the center.
- in very good condition
- Monstrous Reality -
Inspired by the art of Guiseppe Arcimboldo, Reiner Schwarz creates heads from interlocking parts, except that these are not elements of flora and fauna, but parts of the human body. The monstrous effect is heightened by the fact that one of the faces is a raised mask behind which the true face is revealed. The mask of the Venetian Renaissance beauty is much blander than the actual ugly face satirized by the peacock feathers, which nevertheless displays an expressive and mysterious beauty in its own way, even if it contradicts the formulated ideal of the mask. By addressing the art of the Renaissance with the beautiful female mask, the painting is also a commentary on art history, which, instead of recognizing the monstrous reality, depicts the fantasy world of ideal beauty.
About the artist
After being expelled from Hirschberg in Silesia, Reiner Schwarz spent his youth in Hannover. In 1960 he began studying at the Hochschule der Künste in Berlin with Mac Zimmermann and produced his first lithographs. In 1962 he made study trips to Florence and Venice, and in 1965 to Rome. He was particularly fascinated by Italian art, Sienese painting, and Mannerism. His first solo exhibition at the Galerie Schnoor in Bremen in 1964 was the beginning of more than 150 exhibitions in Germany and abroad.
In 1974 Reiner Schwarz established a print studio in Berlin, where he perfected the technique of lithography, using up to 17 colors on various tone papers. In 1987, his artistic encounter with Rolf Münzer and Peter Schnürpel at the Kätelhön print studio inspired him to explore the world of "abandoned and lonely" everyday objects as melancholy traces of memory instead of people. Initially, he used large-format wrapping paper from the GDR. In 1990 Schwarz became a member of the Künstlersonderbund in Germany.
Galerie Brusberg, which represented the artist for more than 20 years, published a catalogue raisonné of Reiner Schwarz's lithographs in 1984.
"He does not want to be just a draughtsman, but an interpreter, a reinterpreter, a metaphorist who creates mutants and thus visualizes the invisible, the known and the seemingly banal that is about to be transformed into eternity; the brief moment of an all too fleeting present, nature next to nature, reality next to reality. It is therefore a subversive realism that questions our everyday thinking, that refuses to grasp things quickly by means of exaggerated precision, that thwarts cognition, denatures the world and melts it into a pictorial puzzle [...]".
Edwin Kratschmer
GERMAN VERSION
Reiner Schwarz (*1940 Hirschberg), Unter der Maske des venezianischen Mädchens, 1968. Lithographie, 30 cm x 24 (Darstellung), 59 cm x 42 cm (Blattgröße), unten rechts in Blei mit „R.[einer] Schwarz“ signiert, auf „[19]68“ datiert, unten links als Exemplar Nr. 78/80 ausgewiesen und mittig als „Unter der Maske des venezianischen Mädchens“ bezeichnet.
- in sehr gutem Zustand
- Monströse Realität -
Von der Kunst eines Guiseppe Arcimboldo inspiriert schafft Reiner Schwarz Köpfe aus sich ineinanderfügenden Versatzstücke, nur dass es sich dabei nicht um Elemente der Flora und Fauna handelt, sondern um menschliche Körperteile. Die monströse Wirkung wird noch zugespitzt, indem das eine Antlitz eine nach oben geschobene Maske ist, hinter der sich das wahre Gesicht offenbart. Die Maske der venezianischen Renaissance-Schönheit fällt deutlich fader aus als das eigentliche von den Pfauenfedern persiflierte hässliche Gesicht, das auf seine Weise dennoch eine ausdrucksstarke wie geheimnisvolle Schönheit aufweist, die allerdings das formulierte Ideal der Maske konterkariert. Indem der Künstler mit der schönen Frauenmaske die Kunst der Renaissance adressiert, ist das Bild zugleich ein Kommentar auf die Kunstgeschichte, die, statt die monströse Realität zu gewahren, die Fantasiewelt idealer Schönheit zur Darstellung bringt.
zum Künstler
Nach der Vertreibung aus der schlesischen Hirschberg verlebte Reiner Schwarz seine Jugend in Hannover. 1960 nahm er ein Studium an der Berliner Hochschule der Künste bei Mac Zimmermann auf und begann erste Lithographien anzufertigen. 1962 unternahm er Studienreisen nach Florenz und Venedig und 1965 nach Rom. An der italienischen Kunst faszinierte ihn insbesondere die sienesische Malerei und der Manierismus. 1964 erfolgte die erste Einzelausstellung in der Bremen Galerie Schnoor als Auftakt von über 150 Ausstellungen im In- und Ausland.
1974 richtete sich Reiner Schwarz in Berlin eine Druckerwerkstatt ein, in der er die Technik der Lithographie perfektionierte und bis zu 17 Farben auf verschieden Tonpapieren einsetzte. 1987 inspirierte ihn die künstlerische Begegnung mit Rolf Münzer und Peter Schnürpel in der Druckwerkstatt Kätelhön dazu, statt des Menschen Mensch die Welt der ‚verlassenen und vereinsamten‘ Alltagsgegenstände als melancholische Erinnerungspuren zu erschließen. Dazu verwendete er zunächst großformatige Packpapiere aus der DDR. 1990 wird Schwarz Mitglied des Künstlersonderbundes in Deutschland.
Die Galerie Brusberg, die den Künstler über 20 Jahre vertrat, hat 1984 ein Werkverzeichnis der Lithographien von Reiner Schwarz erstellt.
„Zeichner allein wolle er nicht sein, sondern ein Deuter, Umdeuter, Neudeuter, ein Metaphoriker, der Mutanten kreiert und damit so noch nicht gesehenes Allbekanntes und scheinbar Banales zur Anschauung bringt, das eben dabei ist, in die Ewigkeit zu wechseln; eben der langkurze Augenblick einer allzu flüchtigen Gegenwart, einer Natur neben der Natur, einer Realität neben der Realität. Es ist daher ein subversiver Realismus, der unser Alltagsdenken in Frage stellt, der die Din¬ge mittels überfeinerter Akkuratesse einem raschen Zugriff verweigert, der das Erken¬nen hintertreibt, die Welt denaturiert und zu Vexierbild umschmilzt […].“
Edwin Kratschmer
- Creator:Reiner Schwarz (1940)
- Creation Year:1968
- Dimensions:Height: 23.23 in (59 cm)Width: 16.54 in (42 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438216132042
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