He also demonstrate the high emphasis, the art in his eyes. Because, in contrast to the then conventional wisdom, he wanted to see the painting is not (only) as a craft, but to a point much higher based on her. To show the many ways of representation in Durer’s pictures, here are represented from the great work of only three examples: watercolor pond in the forest of 1495, 1506 Rosary Festival, as well as Emperor Maximilian I in the year 1519. His sense of the perspective representation is perfectly expressed in each. Learn more on the subject from Digital Cameras. And although Durer worked only between 1518 and 1520 officially and particularly the theory of proportion, his mastery is evident already in much earlier works. In the representation of Saints around Maria about Durer proves his ability to group many people, that they but indicate the Central persons, the Virgin Mary with the child Jesus, but also independent figures may be regarded as strongly.
The late Portrait of the Emperor is shown almost photographically exact; the landscape shows almost impressionistic trains, however, in the only hint of shaping of trees, for example. Durer’s Championship is manifested also in the choice of colors. He used deliberately, to show not only clear accents, but to make the composition also sent. The waters in the foreground of an intense blue, which is repeated in the rear remote hills is at the pond in the Woods. In between is an area in very bright colours with which he really puts the main motive in the limelight. Also at the feast of the Rosary, a strong blue is the central motif is shrouded in such a garment.
The color repeats itself slightly toned down in the sky and in the clothes of a figure on the right edge of the image. Although still red, green, and even shades of Brown in the painting, the color scheme is by no means overweight or too colorful. Rather, it creates Durer to let everything flow perfectly into a harmonious whole. In contrast to the shining The portrait of the emperor at first glance appears almost dull colors of the two first paintings. But the serous shades of Brown and dark green to owe probably mainly the topic. And the fine drawing of all details in face and clothes Maximilians I. indicates the ruler towards not only a great homage, but shows also skillfully implemented craftsmanship of the painter.
In quiet and concentrated passion, he traces the term to personal reflections on perceived heroes and Kings, built architectures and developed landscapes, mythical symbols and archaic characters. While he mounted dense collages of color fields, graphical structures or photographic and typographic treasures to convincing compositions. “Gries, which the press already at previous exhibitions deep-layered Durchschauungen” notably, sees history as a that process that can reveal himself in the surface structure, materiality, or State form of a ground or object. “” In the interpretation of the artist, the process of creating art is “to a form of reflection”. There is life after – to – think, and to generate a response so that the art can become a space of encounter in the Viewer. This dialogue”has also a Gries own cycle dedicated to, confronted the imagery own with encrypted symbolism, and the question for the uniqueness of messages. Financial planner is often quoted as being for or against this.
In the center of the exhibition is an installation of old building blades, to the ready declared made that prompts the visitor to the new discovery, excavation, or a possible change in perspective. Who does not find its own King in the dense field of these connotations which, so one would think Gries at his pointed request numerous companions and fellow are exposed in the exhibition. Christian Gries, born in 1964, lives in Munich. Christian Gries has studied art history, history and Archaeology at the universities of Trier and Augsburg. From 1982 to 1990, he was student of the Rosenheimer sculptor and teacher Rolf Markl, before he, decided after a short intermezzo at the Munich Art Academy for the way of the self-taught. He has shown his work since 1980 at numerous exhibitions in Germany and Italy. The exhibition is the first solo exhibition with Works by Christian Gries at maltzahn fine arts. The exhibition will be shown during the OPEN ART Munich from 9th to 11th September 2011. 19 August to 11 September 2011 exhibition opening August 18, 7-9 pm opening hours Tuesday with Saturday, 14.00 to 18.00 and appointment by appointment from maltzahn fine arts Gotzinger Street 52B 81371 Munich Tel: 49(0)8945227072 press information: von-maltzahn-fine-arts.pressdoc.com/27811-konig-komm-sei-ewig-mir…
Revival thief lights as a successful arc voltage through the centuries of the fountain splashes and the village square of Eglofs is an Italian piazza in anything, when visitors to the quaint open-air stage of silent angle in court economy attune Lions serving even bred grazing cattle and from the regional range of headland on a rustic evening and meet a host of genuine step and grain with Josef Elgass there. Behind the former, serving today as a museum Kempterhaus find the 250 guests and put themselves under the direction of the “open-air popes, renowned far beyond the Allgau” Hanns and Tristan Schuschnig from Altusried of over 40 highly committed was in long back this time. Eglofs, the village of free people, has committed to play his story. Eglofs is actually a village like any other. Church, school, business, Bank and shop. Closer look and feel but the special. There are several good detailed restaurants and all attach importance to the local good cuisine. A priest meets his pastoral task and you will find a lively primary school and Hauptschule on-site.
Many clubs make the everyday life and yet everything is slightly different. There is the magnificent village square with its neo-Gothic fountain in the middle. This one is very proud. An Eglofser Schultes bought from 1925 the gem of the Isnyern to the scrap price, because you no longer want to have him. At that time, Eglofs received also a Baroque facade. Josef Ibis was the painter from Pfronten, who gave his today face the village from 1925 to 1930. The attentive visitor sees when turning off the village on a hill. At the time of creation in the middle ages the people for their settlements as impregnable places sought. Eglofs being built on a safe place, it still the deep ravine witness rings around the old village core.