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27. GERMAN EXPRESSIONISM IN THE METZGER COLLECTION,
23 September - 18 November 1984
An exhibition of New Painting from the Federal Republic
of Germany was held on the upper floor of the museum from 23 September
- 18 November 1984. The exhibition, which was compiled from works belonging
to the Metzger Collection, was organized in cooperation with the Folkwang
Museum in Essen. Dr. Zdenek Felix was responsible for organizing the exhibition
for the Folkwang Museum. A total of 80 paintings and drawings were on
display.
The following artists were represented: Hans Peter Adamski,
Siegfried Anzinger, Ina Barfuss, Michael Bauch, Peter Bömmels, Werner
Büttner, Walter Dahn, Georg Jiri Dokoupil, Rainer Fetting, Gerard
Kever, Martin Kippenberger, Helmut Middendorf, Gerhard Naschberger, Albert
Oehlen, Markus Oehlen, Andreas Schulze, Isolde Wawrin and Bernd Zimmer.
The Berlin-based "Heftige Malerei" (Violent Painters) represented a direction
which, perhaps at its strongest, brings
to mind German Expressionism at the beginning of this century. With his
strong colours, powerful contrasts and wide brushstrokes, Helmut Middendorf
pictures night life in a big city, with people dancing to the beat of
ear-splitting rock music, surrounded by the frenzied atmosphere of the
streets and dance clubs. Characteristic themes of Rainer Fetting include
his highly charged figure studies, his figures in the shower and his variations
on the theme of the portrait. Bernd Zimmer, the third Moritzplatz artist,
paints monumental animal themes and landscape studies in glowing colours.
Ina Barfuss and Martin Kippenberger represent Berlin-based
New Painting which has a critical attitude and a more social approach
towards the overall expressive objectives of the "Violent Painters".
The emphasis on social and political subjects is a characteristic feature
in the work of Albert Oehlen and Werner Büttner, both of whom work
in Hamburg. The works incorporate symbolism, references to literature
and to themes which deeply affect mankind, such as destruction,
pollution, war, violence and loneliness. The primitive features of the painting are
accentuated, for the message is of principal importance rather than technical
ability.
The third most important centre in New German Painting
is in Cologne, whose "Mülheimer Freiheit" group of artists
are represented by Hans Peter Adamski, Peter Bömmels, Walter Dahn,
Georg Jiri Dokoupil, Gerard Kever and Gerhard Naschberger.
Characteristic features of these work of these artists
include free variation in the style and contents of the paintings and
an abundance of pictorial associations based on the subconscious and on
chance. This has, in some case, taken abstract painting to its limits
and introduced working methods similar to the Automatism of the
Surrealists.
These large-scale paintings are often inspired by a small spontaneous
drawing. The artists in this group have also been interested in the opportunities
afforded by collaboration.
When the exhibition ended in Tampere, it transferred to
the Kunstnernes Hus in Oslo, where it was opened to the public at the
beginning of 1985.
Works belonging to the collection of the Sara Hildén
Foundation were exhibited on the lower floor of the museum during the
same period.
Catalogue:
The Metzger Collection
1984, 139 pages
Museum Folkwang, Essen
Not on sale
The exhibition was attended by 13,296 visitors.
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