Tooth-Tooth / - The Reality of Artistic Fantasy -

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Michael Schwarze
Tooth-Tooth / - The Reality of Artistic Fantasy -
1969

About the Item

Michael Schwarze (*1939 Krefeld), Tooth-Tooth, 1968, gold-colored patinated bronze on cast plinth, 69 cm (height) x 40 cm (width) x 20 cm (width), weight 30 kg. Monogrammed “MS” on the plinth and identified as copy number 3/3. - In excellent condition with intentionally irregular patina. - The Reality of Artistic Fantasy - This bronze dates from Michael Schwarze's early Berlin period and is a key work for his further artistic oeuvre. Schwarze takes up the tradition of hybrid creatures. However, the chimeras of mythology, such as the sphinx or the centaur, usually combine an animal body with a human head. Schwarze, on the other hand, merges a human body with an animal head. An animalization similar to that found in the grotesque drawings of the Renaissance, which later became a form of caricature. Both spheres, mythology and the grotesque, represent the realm of artistically inspired fantasy. Schwarze draws from this phantasmagorical reservoir and creates a completely new creature that can neither be classified mythologically nor falls into the category of the grotesque. Even the question of which animal has joined with the human being cannot be resolved, as here we are confronted with a completely unique creature, even if Schwarze makes a reference to the crab's claws and gives the figure a crab-like face. Both spheres, mythology and the grotesque, represent the realm of artistically inspired fantasy. Schwarze draws from this phantasmagorical reservoir and creates a completely new creature that can neither be classified mythologically nor falls into the category of the grotesque. Even the question of which animal has joined with the human being cannot be resolved, as here we are confronted with a completely unique creature, even if Schwarze makes a reference to the crab's claws and gives the figure a crab-like face. Instead of feeling trapped in its composite being, the creature smiles inscrutably and continues on its way. This makes it appear sympathetic rather than monstrous. Even if it can by no means be described as 'beautiful' or even 'cute', its charisma means that it is not ugly either. It is precisely because it cannot be categorized in any way that the independence of this lively-looking work of art comes to the fore, which, due to its monumental appearance for private spaces, unfolds an extraordinary presence. This effect is heightened by the almost overly clear body design characteristic of Schwarze's work, as exemplified by the powerful feet. With his mysterious and very real fantasy creature, Schwarze also creates a manifesto of artistic imagination. It is capable of producing creations of its very own that are not even intended in the divine plan of creation. About the artist After an apprenticeship as a carpenter, Michael Schwarze studied architecture at the Werkkunstschule Krefeld from 1957 to 1959 and sculpture at the Hochschule der Künste Berlin from 1959 to 1964. There he became a master student of Karl Hartung. He then worked as a freelance sculptor, first in Berlin and from 1969 in Nümbrecht. He finally settled in Bahlingen am Kaiserstuhl in 1989. Michael Schwarze has realized numerous sculptures for public spaces, such as " Column fountain" (1974, Nümbrecht), "Bookseller" (1985, Darmstadt and 1987, Düsseldorf), " Rhythm of life" (1988, Dortmund) or " Listening into the future" (2004, Cologne). He has received numerous awards for his unmistakably imaginative work, winning the Villa Romana Prize in Florence in 1967, the Critics' Prize of the Association of German Critics in Berlin in 1969, and the Art Prize of the City of Krefeld in the same year. Since 1968 Michael Schwarze's work has been shown in numerous solo and group exhibitions in internationally renowned galleries. Selected Bibliography Ulrich von Poschinger-Camphausen (Hrsg.): Michael Schwarze. Werkbuch, Freiburg im Breisgau 2009, p. 31. Gerd-Wolfgang Essen: Michael Schwarze. Skulpturen. Hamburg 1985. GERMAN VERSION Michael Schwarze (*1939 Krefeld), Zahn-Zahn, 1968. Goldfarben patinierte Bronze auf mitgegossener Plinthe, 69 cm (Höhe) x 40 cm (Breite) x 20 cm (Breite), Gewicht 30 kg. Auf der Plinthe mit „MS“ monogrammiert und als Exemplar Nummer 3/3 ausgewiesen. - in ausgezeichnetem Zustand mit gewollt unregelmäßig gestalteter Patina - Die Realität der künstlerischen Phantasie - Die Bronze stammt aus Michael Schwarzes frühen Berliner Zeit und ist ein Schlüsselwerk für sein weiteres künstlerisches Oeuvre. Schwarze greift die Tradition der Mischwesen auf. Allerdings ist bei den Chimären der Mythologie, wie der Sphinx oder dem Kentaur, zumeist ein Tierkörper mit einem menschlichen Kopf verbunden. Schwarze hingegen lässt einen menschlichen Körper in einen Tierkopf übergehen. Ein Animalisieren wie es sich bei den mit der Renaissance aufgekommenen grotesken Zeichnungen findet, aus denen später eine Form der Karikatur hervorging. Beide Sphären, die Mythologie wie die Groteske, stehen für das Reich der künstlerisch inspirierten Phantasie ein. Aus diesem phantasmagorischen Reservoir schöpft Schwarze und schafft ein ganz neues Wesen, das sich weder mythologisch einordnen lässt noch in die Kategorie der Groteske fällt. Selbst die Bestimmung, welches Tier sich mit dem Menschen verbunden hat, lässt sich nicht auflösen, da hier eben ein ganz eigenes Wesen vor Augen steht, auch wenn Schwarze einen Bezug zur Schere der Krabbe herstellt und der Figur ein krabbenartiges Antlitz verleiht. Statt sich in seiner zusammengesetzten „Unförmigkeit“ gefangen zu fühlen, lächelt das Wesen auf unergründliche Weise und schreitet auf seinem Weg voran. Dadurch wirkt es keineswegs monströs, sondern sympathisch. Auch wenn es mitnichten als ‚schön‘ oder gar ‚niedlich‘ zu bezeichnet ist, ist es aufgrund seiner Ausstrahlung aber auch nicht hässlich. Gerade indem es sich also auf keinerlei Weise einordnen lässt, tritt die Eigenständigkeit dieses überaus lebendig wirkenden Kunstwesens zutage, das aufgrund seiner für Privaträume monumentalen Erscheinung eine ungemeine Präsenz entfaltet. Gesteigert wird diese Wirkung durch die für Schwarzes Werk charakteristische beinahe überdeutliche Körpergestaltung, wie sie sich exemplarisch in den mächtigen Füßen kundtut. Mit seinem geheimnisvollen ganz realen Phantasiewesen schafft Schwarze zugleich ein Manifest der künstlerischen Phantasie. Sie vermag ganz eigene Schöpfungen hervorzubringen, die im Schöpfungsplan gar nicht vorgesehen sind. zum Künstler Nach einer Tischlerlehre absolvierte Michael Schwarze von 1957-1959 ein Architekturstudium an der Werkkunstschule Krefeld und studierte im Anschluss von 1959-1964 Bildhauerei an der Berliner Hochschule für Bildende Künste. Dort wurde er Meisterschüler von Karl Hartung. Im Anschluss war er als freier Bildhauer tätig, zunächst in Berlin und ab 1969 in Nümbrecht im Oberbergischen Kreis. 1989 ließ er sich schließlich in Bahlingen am Kaiserstuhl nieder. Michael Schwarze hat zahlreiche Skulpturen für den öffentlichen Raum realisiert, wie den „Säulenbrunnen“ (1974, Nümbrecht), den „Buchhändler“ (1985, Darmstadt und 1987, Düsseldorf), den „Lebensrhythmus“ (1988, Dortmund) oder „In die Zukunft horchen“ (2004, Köln). Für sein unverwechselbares phantasiereiches Werk ist er mehrfach ausgezeichnet worden, so gewann er 1967 in Florenz den Villa Romana-Preis und 1969 den Kritikerpreis des Verbandes Deutscher Kritiker in Berlin und im selben Jahre den Kunstpreis der Stadt Krefeld. Seit 1968 wird Michael Schwarzes Werk ist zahlreichen Einzel- und Gruppenausstellungen international renommierter Galerien präsentiert. Auswahlbibliographie Ulrich von Poschinger-Camphausen (Hrsg.): Michael Schwarze. Werkbuch, Freiburg im Breisgau 2009, S. 31. Gerd-Wolfgang Essen: Michael Schwarze. Skulpturen. Hamburg 1985.

Creator:
Michael Schwarze (1939, German)
Creation Year:
1969
Dimensions:
Height: 27.17 in (69 cm)Width: 15.75 in (40 cm)Depth: 7.88 in (20 cm)
Medium:
Bronze
Movement & Style:
Surrealist
Period:
1960-1969
Condition:
Gallery Location:
Berlin, DE
Reference Number:
1stDibs: LU2438215269462

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