Joseph Beuys:
Painting "Hirschkuh" (1979)


Joseph Beuys:
Painting "Hirschkuh" (1979)

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Limited, 180 copies | Numbered | Signed | Color lithograph on Buetten paper | Framed | Format 68,5 x 89 cm

Joseph Beuys: Painting "Hirschkuh" (1979)

Beasts often occur in the self-developed mythology of Joseph Beuys. Based on archaic, primitive cultures of the shamans, he uses the typical oxblood red in his lithographs. Beuys commented that the stag was part of nature for ordinary consciousness, and posed the following question: "But how does nature react if each future nature is a nature created by man?"

We present the eighty years of Beuys' visionary reflections that go far beyond the boundaries of the art world. With the form of the deer, which also frequently appears in his drawings, the artist opens up a whole world of interpretive possibilities and also creates references to art history, such as German genre painting and nature scenes, which show the deer mostly majestically roaring against lush green forests. A popular motif in German living rooms that has nothing to do with the idea of ​​art conveyed by Beuys.

Original color lithograph, 1979. Edition: 180 copies on paper, numbered and signed by hand. Catalog raisonne Schnellmann 316. Motive size / sheet size 56,5 x 76,5 cm. The format in the frame 68,5 x 89 cm as illustrated.

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An architect, graphic, painter, practitioner and theorist in art - Joseph Beuys is one of the most important artists of the 20th century. During his life he became a myth thanks to leather and jackets and was a pioneer of contemporary art. At his works one stands as an ox at the mountain. And this metaphor fits here very well. Animals appear in a self-developing mythology of the art stars, like, for example, in the environment “Lightning with Stag in Its Glare”, which has been installed in the Museum of Modern Arts MMMK in Frankfurt on Main. 39 pieces cast metal pieces of a clay object are arranged in the architectonic entity in the room, prepared for the work installation. In significant places there lie dark heaps that symbolize the amorphous prehistoric animals. Among others there is a six meter high wedged form, which narrows up to the top and symbolizes the strike of lightning. The representation of a deer cast from an old ironing board that lies on two parts of a cudgel, sticks out through a silver mat glossy surface. A kind of creation scene? Beuys commented that in general consciousness a deer is a part of nature and asked a following question: “How would nature react when there appears a nature of future, one created by people?” We write about the eighties. Beuys’ visual observations go break the borders of the artistic world. With a figure of a deer, which also often appears in his drawings, the artist creates a world of expression possibilities and sets the historical references. But his works have nothing in common with the nature scenes in German genre painting which portray roaring deer at the background of a green, thick forest, a favorite motif for a German living room. It is impossibly difficult to understand sensitive magical art of Beys. When speaking about his words you have to feel rather than understand. But the same is about the art. Hand signed graphic works of Beys are rare and demanded: real investment objects.

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