THE ART IS PRAISED HERE!
The Art Report from ars mundi

Contents:
A Point of View On Pictures
Art as an Order
Andy Warhol - “Thirty are better than one”
Art in East and West
Move Your Soul with Colors
In the Open Air! About Landscape Aat
Crisis-Proof – The Greek Sculpture
The Colors of Summer
Model and Image in the Garden Art
Diversity of spieces. Arthistory as Zoology
Nature and Art – Art and Nature
The Old, the New and the Art of Repetition
Present Joy
A Piece of Jewerly History



Trends
From Revolutions and Traditions
A Quote from Karl Valentin
What Art Can
A Livling Past. The Art of the Middle Ages
Eartbound and Fearlight: Sculptures
Art and Sun: Sculpture Parks
Worth More than Money: The Luck of Success
Use Caution when Spring Cleaning
2012. A Year in the Sprint of Gustav Klimt
Van Gogh's ear: Another Christmas Story
The Most Difficult: Simple
Painting and Book
Goethe Again? Yes, Time and Again...


Picture Setting

Do those who hang the copies of classics in a living room have no taste at all? This point of view is quite widespread among museum workers. The praise for copies.
BY WOLF SCHNEIDER
 
Would you risk to tell people in Grunewald or Hamburg-Blankenese during, let’s say, a supper that you have hung Van Gogh’s “Red Wine Mountings at Arles” over your desk. You love the picture and the way to Moscow in the Pushkin Museum is a little bit too long.

What are you going to go through? Some of your company will try to hide a smile. Others will teach you that reproductions are made for people who cannot afford a trip to Moscow, for example students, poor people or peasants. The real art admirers should keep originals, something real, feel their aura through looking at brushstrokes.

You already know everything from those legends, you reply, and the museum directors must say things like these, but isn’t it remarkable that the most passionate preachers of uniqueness belong to those holders of originals or auction houses workers who earn millions selling originals? At least some hesitate. And you threaten to disapprove the need to have “originals as they are” at the closest mutual supper.

You gather some information and can, for an example, start like this: I have prepared two arguments. The first one: modern experts in fine arts cannot differentiate perfect reproductions, which are as close to originals as possible as well as non-professionals. Does it bother the hundreds of thousands that admire “David” in the Piazza della Signoria in Florence that they are looking merely at a copy? It was established in 1910 in order to protect the masterpiece of Michelangelo from further pollution (it is in a museum now). And they hardly know that a sculptor made a plaster copy of the statue with the help of pointing machine and later created the exact to centimeter marble reproduction. On the Piazzale Michelangelo there is the third “David” in bronze.
 
The exhibition “Identic with Originals” in the Vienna Museum of Art History.
The exhibition “Identic with Originals” in the Vienna Museum of Art History.      

And here is the second argument: what is that eventually, an “original”? Bronze casting belongs to the job of an artist, and a lot of exemplars have the “rang of originals”, said the Brockhaus. The so called original graphics are sold in Dutzend – and when they have a signature of an artist we quickly have to deal with twenty or thirty originals. What if Andy Warhole with his screen prints from cans to Monna Lisa didn’t get to series production sticking to the commercial model accepted in the branch?
 
And who can explain me what is an original in music? Is it the sheet with notes, or a hundred of variations, that appear every time when an orchestra puts those notes into music? In literature we also do not care much about originals: who reads one thousand pages of Thomas Mann’s handwriting?

Should we regret when they have recently been kept away from us? Since 1879 in the Altamira cave in the northern coast of Spain the fantastic wall pictures from the Stone Age were discovered, the evaporations, caused by the crowds of visitors, affected the pictures so badly, that the cave has been closed to all visitors since 1979. In the neighboring town Santillana del Mar there are the exact copies of the stone pictures. We can enjoy watching them without descending into a cave with heavy rucksacks and with much better illumination now. For people the question “copy” or “original” is doubtedly important, resumed the art critic J. Brembeck in 2007 in the Suddeutschen Zeitung (the South German Newspaper).
 
The exhibition “Identic with Originals” in the Vienna Museum of Art History.
The exhibition “Identic with Originals” in the Vienna Museum of Art History.  

Museums, galleries, art sellers there once were bad times. As well as for the living artists. The trends of time became stronger. Since the 19th century the social standing of the artists changed drastically: the God, Jesus, Holy Mary were painted thousands of times before that time and their worshippers became less numerous. The photography ruined the primacy of portrait art as it was not too expensive for popes, cardinals, emperors, patricians. The orders like the one Maria Medici gave to Peter Paul Rubens – to paint the history of her life in 21 portraits, did not appear any more. Rubens also prepared many colossal works. They were sent to Louvre. And did anyone bother, that Rubens had crowds of students and assistants?

Today fine arts need their preachers to revive. They do all the possible to highlight the “emotional quality of the originals”, the time specificity, the atmosphere, originality. For USD 107 mln. that the Auction House Sotheby reached in May for “The Scream” by Edward Munch, those who wanted to but it should have dug deelply in their pocket. The originals are inexpressibly important and those who are satisfied with mere copies are ignorant.

But the good sense makes its way. The newspaper SZ (Suddeutsche Zeitung) wrote about the billions paid by the buyer of “The Scream”: “The prices on the art market are absurdly high. Very often the admiration by art supersedes the sound calculations: those who buy expensive artworks get acknowledgment in the highest spheres of society.” That’s where the dog is buried.

When the original really has such an unbelievable value, shouldn’t we, the artistic society, rebel against the fact, that someone monopolized “The Scream” and hid it from people? Shouldn’t we bother to turn round the mood and declare: ok, the technique of the original was made almost unnecessary! Let’s enjoy these elaborate reproductions. Should it remain unchanged that 800 works by Van Gogh, believe it or not, are distributed among 171 museums round the world? Who can visit all of them? I would like to have a museum of Van Gogh reproductions of all his works! Go on, Unesco! Nobody would laugh at you for that.
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ART AS AN ORDER
 
 Emil Nolde: 'The Java Dancer'  
We have been loving art for 65 years already. Why? Does it give us something beautiful, for example love to work of people without collaborating in its creation? With the artist who wants to share their works and their world view with you, with the gallerists, which vehemently engage with the represented artist and, at last, with museums, foundations and societies, that represent the legacy of the great artists with passion and seriousness.

Through collaboration with foundations and art groups, we can offer special certified editions of great artworks – for example the bronze works by Barlach, which can be realized through The Ernst Barlach Community, in Wedel. In the meantime they represent the city collection, and are very demanded between art collectors as they have strictly limited editions. They organize a yearly exhibition of originals and castings to the life of Barlach. The works are rarely affordable.
Cooperations like these often lead to the so-called classic win-win situation: the foundations give you the chance to own the artworks that in general remain hardly achievable.

At ars mundi you can find the results of the new fruitful collaboration: together with The Foundation of Seebull Ada and Emil Nolde we have got the bronze statue “Tha Java Dancer” by Emil Nolde. The great sculptor created that masterpiece during his trip to the New Guinea in 1913/1914









Emil Nolde: “The Java Dancer”
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ANDY WARHOL -
"THIRTY ARE BETTER THAN ONE"

 
Thirty are better than one – that was the name of the famous repeated thirty times reproduction of Mona Lisa. The simple postcards   Nowadays, oil paintings themselves are so precisely reproduced thanks to elaborate illustration techniques that even specialists cannot differentiate between the original and the copy.
It is known that this work brought him fame in the 60-s. The artistic world was excited as in Warhol’s works they saw profoundly depicted media theory. It is hardly possible to imagine the rebellion in the modern art which would be similar to the one, started with the provocative world view of Andy Warhol. In course of time he became an iconic personality fot the art.

In the core Andy Warhol was really right: “thirty are better that one” – this is true every time when a high value reproduction was contributed to the distribution of an artwork. The artists themselves are interested in the corresponding appliances and implement every new technique in their art. Very soon woodcut printing, cold needle copper etchings and lithographs were both: a mean of expression and a means of distribution.
 
Andy Warhol: 'Shot Orange Marilyn'
A. Warhol: "Shot Orange Marilyn"
  They make the artistic utopia come to reality - and when a man wants to admire Mona Lisa, they shouldn’t break through crowded halls of Louvre and take a short look on the picture through the finger-thick protective glass.
The cult of original is anyway doubtful, mentioned in Suddeutschen Zeitung. This actually concerns museum directors, bug gallerists, auction houses owners and investing multimillionaires. The author finishes his praise for reproductions with the words: “Well, the technology has made the original almost unnecessary!”

*Wolf Schneider: Images of a setting (A Point of View On Pictures) , SZ-Magazin 42/2012
   
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Art in East and West
 
In 1989 the Wall that separated not only two different states, but two different cultures fell. Music, literature and fine arts flooded both parts of Germany and began the new era of their development. When the artists in the East and in the West worked, exhibited or promoted under different conditions, on both sides of the wall they never lost interst to the happenings from the other side of the divided world and tried to learn about colleagues working there.

The life story of no other artist is that much characterized by the east and the west than that of Armin Mueller-Stahl. He was born in Brandenburg, and although he lived in West Berlin, he later stood on the scene of People's Theatre in East Berlin. After building the Wall he represented the DDR films and to the end of the 1970s he became a famous western actor. He was also famous as a musician, writer and since his first exhibition in 2001 as a painter. You can learn about his works at ars mundi.
   HP Zimmer: 'November,9 1989'
HP Zimmer: "November, 9 1989"
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MOVE
YOUR SOUL WITH COLORS

 
For the physicists and neurologists everything is clear: the colors appear from our perception of the length of the light waves. When light waves with the length from 450 to 482 nanometers are reflected we get the red light, the waves between 620 and 780 nanometers look blue.

In the art the things are a little bit different. Starting from whitewash, ash and red chalk the art history has undergone a profound widening of color spectrum. New pigments and appliances widened the palettes of artists. A lot of them were developed by chemists as a part of their search for new shades of colors and expressive means. The famous Titian red that was discovered by the Dutch Jan van Eyck has such a strong red color thanks to mixing red pigments with oil and eggs.
And even in modern times the artist Yves Klein gave the world the ultramarine-blue, which he himself developed and patented.

But first of all whether the colors are connected with nature or art, they are always connected with emotions and feelings. This plays an eminent role in the art: choosing the color an artist tries to evoke some emotions rather than make the picture close to reality. So ars mundi offers you not just art, jewellery and accessories in thousands of colors but a picture of artistic world full of feelings – a world where your souls are moved.
Romero Britto: 'Big Apple''
Romero Britto: "Big Apple"
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IN THE OPEN AIR!
ABOUT LANDSCAPE ART

 
 Claude Monet: Painting "Promenade at Argenteuil" (1873)
Claude Monet: "Promenade at Argenteuil"


When Claude Monet packed with paints and canvas went in the open air, his contemporaries were quite surprised, as the painters in his times never worked under the open sky. Monet was not the first plein-air artist in France. That was Corot. He took the first step a half a century before Monet. Then one could surprise about the fact that landscape was an important genre. But the naturalistic exactness influenced the Netherlands in their development in urban Europe. In the beginning the landscapes were the decorations for the biblical stories established in the motherland,
  later the heroic effect was produced by the ideal scenes of the romantic seascapes. And as artists like Turner bound the artistic observation of nature with the exact natural sciences approaches of his time, it came to the exploration of light effects on the landscape – the way to the impressionism of Monet was open.

In the end it wasn’t about depiction of landscapes. For Monet and his contemporaries it was clear that the art can give this task over to photography. He was occupied with the effects of a landscape on the observer’s eyes, with the interplay of colors and light, percepted patterns. That in fact could be better studied in natural conditions.
 
 Camille Corot:Picture "Its landscape at Chatou"
Camille Corot:
"Seine Landscape near Chatou"


 William Turner:Painting "Sunset over Lake" (1840) in a frame
William Turner: "Sunset over See"
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CRISIS-PROOF -
THE GREEK SCULPTURE

 
Alfred North Whitehead once wittily described the history of the European philosophy as “a string of on-the-go notes of Plato “. We can formulate the same description of the history of the European art: Plato’s contemporaries had penetrated the art so deeply that after centuries the Greek plastics like Phydias, Praxiteles or Lysipp are praised as unachievable models to emulate.
The anatomic exactness of the torso of this wood goddess, the perfect cut in stone fall of the folds on Nika of Samothrake and the story-telling depiction of the fight of gods between Athene and Poseidon on the west gable of Parthenon are themselves influential figures in the replica art.

Numerous generations of artworks took them as models. That is true for the great artist of the Renaissance as well as the sculptors of the 18th and the 19th centuries (for example Johann Gottfried Schadow, painted the double portrait of Frederic and Louise Mecklenburg-Strelitz afterwards the queen of Prussia). August Rodin took the ancient Greeks for his teachers. Even the contemporary artists try to learn something from them. Guy Buseynes shows this in "Reunited": the double torso in bronze looks like a Greek sculpture. And sometimes it happens that an artwork acquires its “greekness” when it quotes another work inspired by the Greek antique. In this scene one can find a couple of Greek traits in Mordilo’s variation of “The Thinker” by Rodin.
   Replica "Nike from the Samothrace"
Sculpture “Nike from the Samothrace”
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THE COLORS OF SUMMER
 
When the spring is famous as the time of year rich in flowers, the summer follows in the range of colors and fascinates artists for a long time.   The fields of the Souther France, lying under the draughting heat were the model for Vincent van Gogh, who developed his palette: ochre and yellow that were quite unusual for his time, played in his older works an important role. And the summer “blue hours” were never caught better as with “The Night Café”.
It is easy to understand that the topic of four seasons was imposed to an artist. By the symbolic cycle of the Art Nouveau representative Alphonse Mucha it is easy to notice that the personalized “Seasons” achieve their effect thanks to the elaborate choice of colors.
 Peder Severin Kroyer:"Summer Evening at Skagen (Moonlight on the Sea)"
“Seasons” achieve their effect thanks to the elaborate choice of colors.

What is good for art, is good for a jewellery designer. "Indian Summer" by Michal Golans in its colors is very close to the American late summer.




Peder Severin Kroyer:
"Summer Evening at Skagen (Moonlight on the Sea)"
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MODEL AND IMAGE IN THE GARDEN ART
 
Nature was always the second important topic in poetry after love. We got one of the best poems in the German language thanks to nature lyrics. Joachim Ringelnatz always kept nature in his mind.   Nowadays interchanging similarity in fine arts is no more important. If Franz Marc was a charlatan, one of his deer wouldn’t shine in red from the canvas. Not to mention the blue horses. And Picasso’s bulls wouldn’t look so imposing if he hadn’t transferred from the model and concentrated on the character of his motif.

Once on my lawn three was a little deer
It peacefully slept under the tree.
It was late in the night and I feared
To wake it up from its dreams.
In the early morning, at the dawn
I went again to my lawn,
And there it stood under the tree.
I crept to it noiseess, I hardly breathed,
I wanted to give it some stips and moved faster
And saw that the deer was made of plaster.


Joachim Ringelnatz

In the garden art there are two main things that are equally presented: bronze animals which look true to life – as the humorist wrote in the following lines that he had decopated his park with little plaster statues, which looked so real that he wanted to feed them. Stone alders, stone rams and cranes and other things that are offered by the handmade design.
 
An example: Wilson Bhire from Zimbabwe makes tin aminals which are very similar to their living originals, but do not look deceiving. But there is one thing they all share: either they are made of bronze or tin – they will stand the temptation by little “stips”, as well as the changes of weather or a strong wind
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DIVERSITY OF SPECIES.
ARTHISTORY AS ZOOLOGY

 
Mats Jonasson: 'Taurus''
Mats Jonasson: Glass object "Taurus"
      
  It started with stone pictures. The first artists in history were the hunters of the early Stone Age. They didn’t depict themselves, but animals they were hunting for. They knew about the dependency of people on animals. Animals were taken as totems and the spheres of sky were full of magical animals for people in the early cultures. As an example one can remember of the Egyptial cat figures.

If we take all the animal portrayals in the history of art we can fill a whole Ark of Noah. The diversity of species is as big as the diversity of values given to different animals: they are not only praised as divine creatures, but also symbolize power and royalty, express animal strength, like elephants, or wisdom, like owls, or serve as a motif for décor.

The cattle took an important part in the human history. The bull has a special charm for modern artists. “The Horn Ox” by Thuilot, the bronze bull by Requejo Nova and the “Taurus” of the Sweden artist Mat Jonasson make use of archaic motives and interpret them accoding to the new time.
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NATURE AND ART –
ART AND NATURE

 
The philosophy of the 18th and the 19thcenturies strictly differentiated between the beauty of nature and the beauty of art. The beauty of nature consisted in a beautiful area or a beautiful rose, while the beauty of art was created by people, like a painting or a sculpture. So the art benefited from beautiful nature, it is hard to skip the fact that the great works in the history of arts represented a view on some spectacular landscape or the colorfulness of a flower bouquet. The artists of all the epochs found their motifs in nature. Here is the example of the classic painting: the painting “The Blooming Peach Tree” by Vincent van Gogh praises the beauty of sprouting nature in shining colors. Contemporary design also borrows a lot from nature: Selma Calheira’s ceramic fruits, Kerstin Stark’s orchid pendants, and the lighters framed in branches and trees by Sabine Bottger-Hopfgartner and Elvira Immer are wonderful examples of that.

The beauty of nature also benefits from art, especially if the garden art is taken into account. It can turn your garden into the open air gallery: animal plastics, bronze fire bowls, stone sculptures with Asian flair and much more.
   Vincent van Gogh: "Blooming Peach Tree"
Vincent van Gogh: "Blooming Peach Tree"
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THE OLD, THE NEW
AND THE ART OF REPETITION

 
The new replaces the old and very soon will be replaced by the newer. In the world of art this law doesn’t work. The new must compete with the old more and more as the model and the horizon to reflect are always present.

Ma Tse Lin: 'Bouddha d'or''
Ma Tse Lin: "Bouddha d'or"
  A lot of artists are quite conscious of this challenge. The revolutionary works of Auguste Rodin would be simply impossible if he hadn’t learned the tradition of the antique sculptural art. When Jean-Claude Cubayne revived the garden splendour of Monet or Ma Tse Lin used the portrayals of Budda, these artists treated the past with respect. Also there is a phenomenon that appears on the borders of different artistic traditions: Van Gogh’s excitement of Japanese cut wood paintings had a great influence on his paintings and the works of Ukata Arua bind the prehistoric African tradition with West-European modern.

The new doesn’t replace the old; it simply widens the world of art. And it is not the succession of calendar years, but the sum of the years of life, which can be a metaphor for the old and the new in the art: as a sum of experiences which open the way to the new creativity.
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PRESENT JOY
 
  Make your presents big or small
Put in them a pieace of soul.
When the presents for you are dear,
Then your consciousness is clear.

Put in presents whole the heart,
All the best you have inside.
Make your presents nice and smart
Get your fun and your requite.

Present your gifts without account
For those who them deserve,
Present them in any amount
And you'll be a present yourself.
James Rizzi: 'My Pointy Piggy Bank''
James Rizzi: "My Pointy Piggy Bank"

"Unfortunately, not mine," noted the great composer Johannes Brahms under the first notes of Johann Strauss's II ageless melody "The Blue Danube".

So it is with us. Joachim Rinhelnatts wrote the poem and we couldn't say better than: Have fun with our gifts!
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A PIECE OF JEWELRY HISTORY
 
It was believed for a long time that designed jewelry appeared only about 40,000 years ago. However, this assessment was fundamentally corrected in recent years. A South African find in 2007 almost doubled the timeframe, and since 2009 a 100,000 year old find of skilfully handled sea shells from Algeria is regarded as the oldest evidence of jewelry in the world. For comparison: The Venus of Willendorf, the famous sculpture from the Upper Palaeolithic period in our latitudes, is only 25,000 years old.

Jewelry accompany mankind since his earliest days, und, at a very early time, it came out of stories and eagle feathers. Jewelry performed a function from the very beginning: tribal members stressed their identity with the accessories inherent exclusively to them, and the type of ornamental pieces pointed to the rank and function of each individual.
  Collier 'Goldmarie'Collier "Goldmarie"   Complex codes, that appear in the splendor of monarchies and churches to this day, have developed in ancient civilizations.

It is rarely a sign of real power today and gold-decorated display of wealth and prosperity has long lost its significance. But modern jewelry hasn’t, however, it needs not consist of precious metals; mainly it reflects the style and taste of its wearer. But naturally, as many millennia ago, it can still be a symbol of the deepest bond. And at the latest, it was regarded as a gift from a loving partner.
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TRENDS
 
Michael Pickl: Sculpture 'A Couple In Love'
Michael Pickl: Sculpture "A Couple In Love"
 


Forecasts are difficult to make, iespecially when they extend far into the future. But there are trends. In politics and in the advertising industry, they are the master discipline of the the analysts: "Trend researchers" deal with what might be the next "megatrend" that determines choices and buying behavior.

There are also trends in art. They are highly visible when you visit the annual art fairs or review the feature pages of major magazines. Trends are the smallest steps in the development of art; they show how a new, fresh and creative generation of artists conquer their own field and gradually attract attention. A "megatrend " is less common in terms of a new art movement. However, trends testify to contemporaneity, to ideas that are formulated and implemented now and today; they give a face to their present.

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FROM REVOLUTIONS AND TRADITIONS
 
Peter Strang: Sculpture 'Mask Man'
Peter Strang: Mask Man"
 
Art is changing. The long sequence of styles has evolved in many ways. There were the epigones who only wanted to continue the great ideas of their teachers in a slightly modified form, there were the iconoclasts who wanted to do everything differently, really everything. And there were and are those who always stood and stand firm on the ground of tradition when any new ideas appear.

Peter Strang (Jahrgang 1936) (born in 1936) is one of the latter. He accompanied the porcelain art for almost six decades in Germany, from being an apprentice to becoming an Artistic Director of the famous porcelain factory Meissen.
He is a master of his genre and artistically surpasses himself, a "modernist" in the true sense of the word, who knows how to comment on his own lifetime. Although the difference between his designs and those of porcelain artists three hundred years ago more than catches the eye - he still does what modellers have been doing for centuries. He puts his time into the mold and explores what can be done in porcelain art in each of his designs.

This applies to many great figures of art history and this applies to many designers.They return back to history and yet are fully present.
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A QUOTE FROM KARL VALENTIN
 
"Art is beautiful, but requires a lot of work"
 
is an immortal quote from the great comedian
Karl Valentin. But it inspires, delights and touches your soul - especially if you meet it everyday in your own home or in your own garden. In addition,
  art is a perfect gift, with or without a particular reason, because you finally give not only the art object as such, but also the lasting pleasure.
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WHAT ART CAN
 
Great art tells. It enables a conversation between people who are separated by centuries, by millennias. It offers a journey through time and conveys a picture of what has been done, thought and believed in all the centuries. Looking at it this way, even van Gogh is kind of a postcard and the signature "Vincent" is a corresponding sender.
  And contemporary art with its new ideas and unusual vision of the world, offers exactly what we generally travel for.

For this very reason art is a perfect gift. Certainly, not only on festive occasions. Because an art gift is like a souvenir, an invitation to the recipient suitable anytime, a mental journey to distant places and times.
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LEBENDIGE VERGANGENHEIT.
THE ART OF THE MIDDLE AGES

 
“The past is never dead. It's not even past“ says the American writer and Nobel Prize laureate William Faulkner. There are generations before us that characterize us. Their living conditions, their view of the world and their own experiences have a great influence on today's generation. It's easy to track this in the art.
 
The cathedrals of the Middle Ages have shaped our notions of the splendor of the biblical Kingdom of Heaven; the art of its time, all its Madonnas and holy figures represent something like the foundation of the West. And a person of the 21st century who stands in front of the altarpiece of that time, which represents the birth of Christ, the motif is unimportant - whether he sees himself as a believing Christian or not – is understood as a central and profound subject.

The modern art has always evolved in engaging with the "ars sacra". This is true even for Vincent van Gogh. He copied, for example, the Delacroix's Pietà and Rembrandt's "Raising of
Vincent van Gogh: 'The Church at Auvers-sur-Oise'
Vincent van Gogh: "The Church at Auvers-sur-Oise"
Lazarus" and gave them a general human undertone instead of a religious one. However, the motives remained clearly identifiable. And even if his "Church at Auvers" might be primarily a study of color and surface for the artists, for him, a female figure who is hurrying to Mass is important as a detail.

So take the opportunity when you go to church next time, to think about the art found there one more time. It is, even if it is hundreds of years old, still a living past.
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EARTHBOUND AND FEATHERLIGHT: SCULPTURES
 
 Ernst Barlach: "Woman in the Wind" The history of sculpture is full of divine, heroic and ruling figures. There were myth, faith and power that were primarily beaten into heavy marble: temple sculptures in ancient times, Christian saints and crowned heads from all epochs. But that was not all. Auguste Rodin no longer understood his art as a representation of power and dignity, his sculpture had his own art form freed from philanthropy and charity and he shifted to the subjects that did not represent dominion, but the people as they were. His Thinker is very remote from any statue of Augustus, and even though he dedicated himself to ancient tradition of gods and legendary figures, those were basically the people of his time. Even Ernst Barlach, with his e.g "Woman in the Wind" and "Singer", used the plastics to represent the people in all their fears, dreams and desires.

Today, the handling of the sculpture as an art form is highly diversified. Stefan Szczesnys "Dancer" lacks any weight and earth's gravity, and that is why the artist is able to show an image of the Caribbean joy of life and exuberance. And the fact that sculpture itself in heavy bronze is mastering the genre of light humor is shown by Wolf Gerlachs "Mainzelmännchen", who after more than 50 years of their television career are experiencing their world premiere as strictly limited bronze sculptures exclusively at ars mundi.
 Ernst Barlach: "The Singer"
Ernst Barlach: "Woman in the Wind" Ernst Barlach: "The Singer"
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ART AND SUN:
SCULPTURE PARKS

 
A major part of the great art treasures of the world can be found in museums. Paintings and sculptures are kept there in subdued light, with meticulously controlled humidity and strictly guarded.

The case is different with the sculpture parks. The works of renowned sculptors stand among the trees and shrubs and invite you to come and observe them under the open sky. Some include major museums (e.g. the Kunsthalle Mannheim, the Munich Pinakothek, the Städel Museum in Frankfurt or the Lehmbruck Museum in Duisburg), others are entirely designed as "park museums". In the "Kunstwegen" in Gruga Park in Essen you encounter works by Hrdlicka, Moore and Rodin, in the Cologne sculpture park, the sculptures are replaced by new works even after a two-year period. And not far behind the German-Dutch border, in Otterlo, there is the Kröller-Müller Museum on the 25 ha, the most significant sculpture park in Europe.
  Artworks in the open air can also be in a completely different form. Just think of Friedensreich Hundertwasser, who often implemented his art concept in architecture. There may be houses, railway stations, district heating plants, and also artworks in the open air.

We hope you will have the opportunity to visit one or other of these "open-air museums" in fine weather. And we wish you much pleasure in selecting from our wide range of art editions, accessories and handcrafted jewelry designs.
Auguste Rodin: 'Pierre de Wissant'
Auguste Rodin: "Pierre de Wissant"
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WORTH MORE THAN MONEY: THE LUCK OF SUCCESS
 
 Peter Strang: Porcelain picture "The Temptation"
Peter Strang: Porcelain picture "The Temptation"
When Gerhard Richter was honored on the occasion of his 80th birthday (in 2012) through numerous exhibitions, newspaper articles, TV documentaries and radio reports, he was once asked a question of what it meant to him to be the most expensive living painter in Germany. Richter was visibly somewhat embarrassed. "That's just as absurd as the banking crisis.   Whether sculptors, painters or actors - artists are much happier with their work than people in other professions. This was the finding of a representative study from 2012 by the German Institute for Economic Research. "Artists benefit from the activity itself much more than from the money that they earn," says Lasse Schneider, one of the authors. "The main reason is that they consider their work as particularly self-determined and versatile."

That's why sthere is a good dose of luck in each picture and each sculpture when they are leaving the artist's studio. And this is accompanied by the happiness of the viewer, who can admire it in the museum or even in their own home...
Incomprehensible, silly, uncomfortable" he commented on the price development of his paintings.
In fact, because of dealing with millions of dollars, placement in the rankings is based on purely economic criteria, There is a threat that this will lead to the rapid eclipse of artistic achievement. Nevertheless, his art has made Richter a very rich man. And happy? Obviously.
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USE CAUTION WHEN SPRING CLEANING
 
When spring is coming, it's time for spring cleaning. Be forewarned. Art and cleaning sometimes do not match at all.   You can learn twice from these cases. Firstly: The art prices (and the insurance values) for 20th-century artists are about to explode. In the case with Beuys the damage could be regulated by a medium class car, but as for the Kippenberger's case, the sum for damages corresponded to the price of a large house.

You might have read in November 2011: The cleaners of the Museum Ostwall in Dortmund did their work particularly conscientiously and scrubbed Martin Kippenberger's (1953-1997) installation till it got white. Limestone edges were formed in the collection tray and they could be easily removed by propper cleaning agents. Museum staff were pale white as well, as these tracks were an important part of the installation "When It Starts Dripping From The Ceiling." Here, as the artist intended, the time was visibly inscribed. There has been a talk about insured case with the amount of 800 000 euros compensation.

Art connoisseurs recall a similar case.

Otto Eckmann: 'Spring'
Secondly: In any case, art requires care. The museum experts call it "preventive conservation" and it is a job for trained restorers. And there is no way to use cleaning agents, but a sheep wool duster and a badger hair brush.

So please be careful when doing spring cleaning next time!







Otto Eckmann: "Spring"
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2012. A YEAR IN THE SPIRIT OF GUSTAV KLIMT
 
By the time Gustav Klimt died from a stroke, at the age of only 56 years, on 6 February 1918 in Vienna's General Hospital, he had spent an eventful life in every respect. Born in 1862 in Baumgarten near Vienna, he had studied at the Applied Arts School of Art and Industry and, although never without controversy, had dominated in the the artistic life of the city for decades. He triumphed at the Paris World Exhibition with his "Philosophy" but nevertheless, the University of Vienna rejected the work, that even today is one of the most famous works of Viennese Art Nouveau - Beethoven frieze on the building of the Vienna Secession - had been the subject of fierce debate. However, Klimt’s fame was unstoppable; numerous exhibitions in Germany and abroad followed. And rumours. Klimt was a leading portrait painter of his epoch and time and again he was assumed to have too close relationships with his models - often wives of important personalities of the first Viennese society circles. A material that fills films, like Raoul Ruiz's "Klimt" with John Malkovich in the leading role. But ultimately, it's all yellow press. Everything you could guess about Klimt's lifetime became clear after his death: he was one of the greatest artists of his time.

Today, the works of Gustav Klimt reach three digits in price and are among the most expensive in the history of art. And most of them - it became clear in 2012, the year of his 150th birth anniversary - are still located in his hometown of Vienna. On this occasion, the city honored its famous son with a variety of special exhibitions.
  Gustav Klimt: 'Feld mit Mohn'
Gustav Klimt: Picture "Field with Poppies"


The Belvedere, the Kunsthistorisches Museum, the Austrian Museum of Applied Arts / Contemporary Art and the Albertina - they all (and many more) dedicated themselves to the life and works of Gustav Klimt in 2012.
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VAN GOGH'S EAR:
ANOTHER CHRISTMAS STORY

 
Vincent van Gogh Michelangelo, Hieronymus Bosch, Peter Paul Rubens, Leonardo da Vinci - many great painters have set the Christmas stories into their paintings. Thus, we can find numerous variations in the world's museums. The motive has been established in the art history in such a way, that it is recorded without any Christian reference.   The Christmas Eve of 1888 Gauguin spent in Arles, where he lived and worked together with Vincent van Gogh. What happened that night, belongs to one of the most popular anecdotes of art history. The standard version reads as follows: a bleeding van Gogh is found. He has cut off an ear in madness and brought it to a prostitute as a Christmas gift; at least this is stated in the police protocol and by Gauguin, who has been interviewed regarding this case. However, everything might have been completely different. In their book, "Van Gogh's Ear: Paul Gauguin and the Pact of Silence", Hans Kaufmann and Rita Wild Goose want to prove that Van Gogh's injury was due to Gauguin's sword blow with quite obvious consequences.

Whatever really happened, Christmas was over for both of them: Van Gogh found himself in the hospital, Gauguin made his way straightway to Paris. What remained is the myth of Van Gogh's ear…
As it is the case with Paul Gauguin, and his painting "The Birth - Te tamari no atua" that represents a childbirth and at the same time with its title ("child of God") and figurative elements, such as cattle in the background, exalts it to the manger scene. The painting was created in 1896 in Tahiti. Perhaps it represented memorable Gauguin's Christmas, but eight years ago.
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THE MOST DIFFICULT: SIMPLE
 
“I could draw like Raphael, but it took me a lifetime to learn to draw like a child." said the old Pablo Picasso. And in fact, it's not the artistic craftsmanship that makes great art. Often, the power of work expressiveness is that the artist foregoes it.

Let us take Antoine de Saint-Exupéry, who saw himself as a miserable draftsman. Nevertheless, he has illustrated his "Little Prince" himself, and just his soulful images, distant from graphic academicism, have made his book to the world success, which it was.

Let’s also take Marc Chagall Marc Chagall, by all means, technically one of the greats of the 20th century. However, his works are filled with a childlike playfulness - a world is shown in fabulous colors and with
Marc Chagall: 'La Coupole de l'Opéra Garnier'
Marc Chagall: "La Coupole de l'Opéra Garnier"
fairytale motifs that have their origins deep in the artist's imagination. A world that remains charming even on porcelain.

And now we have James Rizzi, who as well as Chagall is an academically trained painter. His style, characterized by pop art, puts him in the position where he must not only reflect but also tell about his bustling home New York - that repeatedly brings him the label "urban primitive artist" which is meant as a reward.

So, what seems "simple" also has its place in art, and in our art offerings.
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PAINTING AND BOOK
 
The painting and the book are unrelated siblings. Art collectors are almost without exception also book collectors. Often, artwork and book have something else in common: once in the world, major publications attract attention of collectors. When the publisher's edition is sold out, the antiquarian's prices ore often rising. This frequently happens with art books; a four-volume work about Monet by Daniel Wildenstein, that in 1996 cost equivalent of about 100 euros, today, it's antiquarian price is 3,000 euros.

Reasonably selected purchase of a book just as of an artwork, has potentially higher value for just its practical value - although, it is always the top priority for the art collectos.
 
The "practical value" is to be assessed by the beholder and it can not be calculated only with money. It is joy and satisfaction that the owner feels when is looking at the work of art. Just as a book lover collects fascinating book editions and takes them in hand again and again, so are the works of art - friends, which you want to see again and again.
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GOETHE AGAIN?
YES, TIME AND AGAIN...


Goethe, in his life, had a reputation of a great art lover and collector. To always belong to great art, he was also happy to have copies of unattainable art treasures. He had learnt about ars mundi - what a treasure chest it was for him - and we had one more delighted celebrity client.

“The beautiful remains blessed in itself“, wrote Mörike.

"ars mundi is dedicated to the beauty, to the things that make life worth living, give joy and have to say much more than a fleeting "Look at me, I'm here. "

"Who accompanies his life with art, creates an "inner soundboard", which even in not so good times is both the strength and motivation to say "yes" to life, to look to the future with joy and optimism." And we wish you this with all our hearts.

"You will be tempted by the ars mundi catalogs in Goethe's sense - present yourself with art and artful!”
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