Anselm kiefer. Reviews and Articles on the Anselm Kiefer retrospective at the Royal Academy London

Anselm Kiefer Painter

Anselm kiefer

In 1971, Kiefer had a studio in the Oden Forest. He commanded his architects to build in stone because he wanted his buildings to project beauty and power long after the society that built them had expired. Imbued with life, vigor, poetry, imagination and drama, the work is woven with a multitude of referential signifiers, thrusting the viewer into a stratosphere of associative cultural and personal histories. Every layer is thick with these elements, heavily with both material and meaning. The painting bears the spiritual magnificence of the greatest works of Abstract Expressionism. The Kieferworld is in the process of perpetual transformation. Exhibited at the German Pavilion at the 1980 Venice Biennale, this monumental painting created controversy and was met with widely conflicting opinions.

Nächster

Biography of Anselm Kiefer

Anselm kiefer

His family moved to Ottersdorf in 1951 and Kiefer attended grammar school in Rastatt. Impressed by Kiefer's use of irony in reference to Germany's past, Beuys saw great potential in the young artist and urged him to explore painting. He has covered his works in earth, and has even been known to strafe his paintings with bullets. In a corner of his studio in Croissy, on the outskirts of Paris, he has a jet aircraft half-buried in sand. The notion is stomach churning.

Nächster

Anselm Kiefer: 'When I make a truly great painting, then I feel real'

Anselm kiefer

Hitler, too, cherished the poetry of ruins. Over time Kiefer transformed the space into a that included towers, tunnels, and buildings. Through the ominous depiction of the empty room, the painting engenders an unsettling feeling in the viewer, suggesting that something is amiss. Teaching English and writing for a living. The son of an art teacher, Kiefer was drawn to art and saw himself as an artist. Studiously parsed, they trigger a kind of spiritual-historical giddiness. The painting investigates the myth of Balder, the god of innocence, beauty, peace, and purity, whose death released the final destruction of the Gods at Ragnarök.

Nächster

Biography of Anselm Kiefer

Anselm kiefer

Lead is almost impenetrable, and yet it is also poisonous. Stone made for beautiful ruins. This quixotic, historical might-have-been both amuses and inspires Kiefer. As in Friedrich's painting Wanderer Above the Sea of Fog 1818 , Kiefer's image depicts a man with his gaze turned outward, simultaneously dominating the landscape before him while being engulfed by it. Margarete and her blonde hair and Shulamite, a Jewish woman with black hair are the central figures who serve as an apt metaphor in the poem. But Kiefer, whose work is the subject of a large-scale retrospective at the Royal Academy of Arts this autumn, just shrugs. Such paintings have a spectral, sinister magnificence.

Nächster

Reviews and Articles on the Anselm Kiefer retrospective at the Royal Academy London

Anselm kiefer

Their art acts upon us like a course of treatment that is not always agreeable. The result is monumental, inexhaustible, unmissable. It is described there as part totem, part funeral pyre. At the time — and for some people still — it was an outrageous and illegal thing to do. The Kieferworld is rich and strange, boundless and immersive, elemental and metaphysical. But the point, he says, was to confront Germany's silence on its Nazi past.

Nächster

Anselm Kiefer

Anselm kiefer

Oil, acrylic, emulsion, straw, and photo on canvas was exhibited in Venice. As with the Occupations series, Kiefer sought to break the silence regarding the Holocaust to encourage regeneration and growth beyond it, thus the presentation here of an empty room waiting to be filled with new heroes. As Neo-Expressionism rose to prominence during the late 1970s and 1980s, Kiefer quickly gained worldwide fame, and in 1980 he was chosen to represent Germany at the Venice Biennale along with Baselitz. Throughout his career, though, the artist has reenacted the Nazi salute — banned in his native Germany since 1945 — in photographs throughout Europe, recreated the buildings of in thick lashes of paint, and suffused his canvases with the cultural language wielded by Nazi propaganda: the forests, the ruins, the Wagnerian heroes. But where most saw ruins, the young Kiefer saw raw material for creation. As I move closer still the alarm begins to scream and it becomes apparent that Kiefer has placed hundreds of little diamonds into the night sky.

Nächster