Maximilian Hutlett German Abstract Vintage Bronze Sculpture Guss Zimmer

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Maximilian Hutlett German Abstract Vintage Bronze Sculpture Guss Zimmer

About the Item

An amazing abstract bronze by German artist Maximilian Hutlett. Signed on the bottom, Hutlett 1983 2/10 Casting Room Cave and on a piece of tape See Stick III 2/10. From the Maximilian Hutlett catalog: Maximilian Hutlett. Plastic signs and landscapes. 25 August-29 September 1985. Palatinate Gallery Kaiserslautern. Plastic signs and landscapes. Although it's a distinct spatial motif, the landscape is primarily a theme of painting and not plastic. In sculpture, the closed form, the cohesive form complex, dominates the figure, which mostly finds its origin in the human image. When a sculptor such as Maximilian Hutlett forms three-dimensional landscapes, He conquers a spatial dimension that is alien to the classical concept of sculpture. When the landscape is concerned, it is usually only a backdrop for acting figures, eg in the Christmas cribs or calvary mountains. It is only in the twentieth century, with the tendency to add plastic forms to an ensemble, and to make room covers. For example, the country style of the 1960s and 1970s accentuated, in a rough dimension, landscaped spaces as plastic volumes, structured or simply encircled. The sculptural work of Hutletts proceeds from a very similar concept of landscape, but leads to other results. Mountains, hills, furrows, rocks, trees, waves, water surfaces, towers, houses and paths. The individual forms can be found in the Following examples: This is a small, sparsely accentuated, strictly landscapes and private worlds, and the "Hortus conclusus" With a "wall" But a place of asceticism His sculptural spaces. The most important thing in the history of the world is the fact of the world. At the beginning are wooden figures, abstract, often composed of several parts, but conceived as a closed body. Maximilian Hutlett, born in Zweibrucken, has been living in the Palatinate since 1977. He spent twelve years, 1965-1977, in Berlin. After a carpentry apprenticeship and his training as a wood sculptor at the master school in Kaiserslautern, he studied at the Saarbrucken school of painting at Theo Siegle. In 1965, he is a new character, a very characteristic 'handwriting' Themes and forms. First and foremost, as a result of the development of the human body, and the development of the human body as a whole, as an abstract body, a symbolic form, rounded and corporeal. But also still-life, fruitforms arise, the basis of the plastic work is broadened, small individual figures protrude monolithically into the high. The sculpture comes to the depth of space, to play with their figures, to direct them on a stage with them. The work of the Hutletts is usually small, even if the individual forms have a monumental effect in their reduction. The artist is not concerned with coarse, and not with the overwork of the observer by gross dimensions, what he has to say, he says quietly but definitely, and whoever understands the coarse form in the small sculpture. - Gisela Fiedler-Bender Maximilian Hutlett Plastic characters and landscapes 25 August-29 September, 1985. Pfalzgalerie Kaiserslautern. Plastic characters and landscapes. Although it is a matter of time, the motif of the painting is not the same. In sculpture dominates the closed form, The cohesive form complex, the figure that usually finds its origin in the human image. When a sculptor as Maximilian Hutlett formed three-dimensional landscapes, so he enters the artistic territory he conquered a spatial dimension, which is the classical concept of sculpture alien. If landscape is depicted in the nativity or crucifixes, it is usually just a backdrop for operating figures. Only in the 20th century, With the tendency additive compile plastic forms to ensemble and to make room covers. Thus, for example, has been the land of the 1960s and 1970s. Although the sculptural works of Hutletts are a very similar concept of landscape, But lead to different results. Mountains, hills, furrows, rocks, trees, waves, water surfaces, towers, houses and roads. The individual molds are approaching in their own way. These abstracted landscapes are self-sufficient, no human or animal form demoted items builds, which is the character of plastic. These small, economical accentuated, Strictly landscapes are private worlds. But the place for a 'Hermitage', - no lovely area but a place asceticism. "Landscape for a hermit" has also called one of his plastic space of the artist. The landscape is not the only one in the world, but it is not the only one. It starts with wooden figures, abstract, often composed of several items, but designed as a closed body. Maximilian Hutlett, born in Zweibrucken, lives since 1977 again in the Palatinate. Twelve years 1965-1977 he spent in Berlin. After an apprenticeship as a carpenter and his training as a wood sculptor at the Master School in Kaiserslautern, he studied at the Art School in Saarbruecken in Theo Siegle. In 1965 he was a fond settled in Berlin and in this time. First of all, in the form of parts of the human body, but it is also an abstract form of the body, a symbolic form, rounded and corporeal. But even still life, fruitforms arise, The base of the plastic work widens, small single figures protrude monolithically in the high, on wide surfaces, there are different parts of an ensemble ordered. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. Small single figures protrude monolithically in the high, on wide surfaces, there are different parts of an ensemble ordered. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. Small single figures protrude monolithically in the high, on wide surfaces, there are different parts of an ensemble ordered. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. There are parts of an ensemble ordered. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. There are different parts of an ensemble ordered. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. , Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. , Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. , The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. . The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. - Gisela Fiedler-Bender. The sculpture erupts the depth of space. Work Hutletts are small, Even if the individual forms appear monumental in their reduction. It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. , - Gisela Fiedler-Bender. , - Gisela Fiedler-Bender. . It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. , - Gisela Fiedler-Bender. , - Gisela Fiedler-Bender. . It is the artist who is the artist of the artist. - Gisela Fiedler-Bender. , - Gisela Fiedler-Bender. , - Gisela Fiedler-Bender. .

Dimensions:
Height: 2.25 in (5.72 cm)Width: 9.38 in (23.83 cm)Depth: 5.25 in (13.34 cm)
Materials and Techniques:
Bronze
Place of Origin:
Germany
Period:
20th Century
Date of Manufacture:
circa 1983
Condition:
Wear consistent with age and use.
Seller Location:
New York, NY
Reference Number:
1stDibs: LU151024725533