In Autumn Fire, the titular painting of this exhibition, Johannes Heisig and his wife Barbara look serious and a bit skeptical as they participate in the annual custom of their village at the beginning of autumn. The work not only heralds the end of our spectacular anniversary year but also seizes thematically upon an important aspect highly relevant to the exhibition: the examination of the transience of things, and the scrutinisation of one's own mortality, are central thematic facets of Johannes Heisig's artistic expression. Still lifes such as Memento Mori or Fish Dish testify to a profound and perceptive engagement with existential issues. Large canvases shift the perspective, anomalous image cropping reshapes the seen. Perhaps the intention is to assist us in giving the miniscule, the unnoted, the apparently useless, and the supposedly unprepossessing more space and attention. That the assistance rendered is both useful and enriching is proven by what is now Heisig's fourth solo exhibition at DIE GALERIE. In addition to his pensive still lifes, there are also numerous landscapes of Brandenburg and the South of France, sophisticated self-portraits, and snapshots of current events – a sublime selection of work bearing undeniable witness to the ingenious spirit and skillful artistry of one of the great talents of our time.
13. November 2019, 18:30 Uhr, nur nach vorheriger Anmeldung
Prof. Dr. Bernd Küster, Director of Museumslandschaft Hessen Kassel, ret.
The artist is present.
All the paintings from André Masson’s “American period” are characterised by an explosive chromaticity, which powerfully erupts from the dark. The artist had immigrated to the USA after staying on Martinique Island for several months. He settled down in New Preston, Connecticut, New England. According to his own descriptions, the intense colours of nature in the surrounding landscape impressed Masson greatly: "When the Indian summer arrives, in October, the variety of colours is endless. There are the maples, under an enamel blue sky; they go from yellow to violet, from purple to orange, and to vermilion, as if the sky had poured pots of paint over the vegetation."
In the first months of 1942, André Masson once more felt attracted from the surrealist idea of psychic automatism. In his opinion, he did not turn away from surrealism, but found a new language for his principles which he call ed 'triumphant tellurism'. His mythology of nature, the telluric and cosmic becoming and passing by, is based on these experiences. He said, the paintings of that period were "symbols of blooming and germination. But aggression and destruction have their place there too: the assault of the caterpillars, devouring insects."
André Masson's 1942 work La Victime is part of the exhibition André Masson: Zwischen Welten | Entremondes and will be displayed at the Kunstsammlungen Chemnitz until . Don't miss this wonderful exhibition!