Matthias Weischer - part 1
Some more contemporary painting. This is part 1 of a 2-part post on the works of Matthias Weischer, a painter from Leipzig, Germany, who is gaining international acclaim from critics and collectors for his individual work, and through his association with David Hockney.
Dr Jean-Christophe Ammann, former director of Frankfurt�s Museum f�r Moderne Kunst: �I understood that I was confronted with a real painter, and not only with somebody who is moving the brushes around, as is often the case today,� said in 2001 when he first saw Weischer�s paintings � and bought one for the museum�s collection.
Weischer enrolled at the influential Hochschule f�r Grafik und Buchkunst Leipzig (Leipzig Academy of Visual Arts) in 1995 and, following three years� tuition with a master painter, received a diploma with distinction in 2000. His paintings explore space through the construction and deconstruction of imagined interiors, creating rooms within rooms and building up layers of paint, while simultaneously creating overlapping perspectives. The interior spaces Weischer paints are the stage sets of everyday life, often decorated with patterned carpets, furnishings or other props. The recipient of the 2002 prize for young artists in Saxony, Weischer has received several grants for his work, which is exhibited at galleries, museums and institutions in Europe and the United States. Most recently, he was invited to exhibit eight paintings at the prestigious Venice Biennale. An entire room of the Italian Pavilion was dedicated to his work.
�The central focus of my art work is the fusion of the experience of space and time,� says Weischer who acknowledges that there are both parallels and differences between his paintings and those of his Mentor David Hockney, his lifelong �model�.
David Hockney is very appreciative of Matthias Weischer�s work and reflects fondly on his time spent with him. �His work interested me at first because of his attitude to pictorial space and as I got to know it, more layers were revealed,� Hockney says. �He knows looking is a very positive act. The more one looks the more one sees. His skills as a draughtsman are revealed here, the deep pleasures of the hand, the eye and the heart.�
Note: Sizes where given are rounded up or down to the nearest whole centimetre:
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Dr Jean-Christophe Ammann, former director of Frankfurt�s Museum f�r Moderne Kunst: �I understood that I was confronted with a real painter, and not only with somebody who is moving the brushes around, as is often the case today,� said in 2001 when he first saw Weischer�s paintings � and bought one for the museum�s collection.
Weischer enrolled at the influential Hochschule f�r Grafik und Buchkunst Leipzig (Leipzig Academy of Visual Arts) in 1995 and, following three years� tuition with a master painter, received a diploma with distinction in 2000. His paintings explore space through the construction and deconstruction of imagined interiors, creating rooms within rooms and building up layers of paint, while simultaneously creating overlapping perspectives. The interior spaces Weischer paints are the stage sets of everyday life, often decorated with patterned carpets, furnishings or other props. The recipient of the 2002 prize for young artists in Saxony, Weischer has received several grants for his work, which is exhibited at galleries, museums and institutions in Europe and the United States. Most recently, he was invited to exhibit eight paintings at the prestigious Venice Biennale. An entire room of the Italian Pavilion was dedicated to his work.
�The central focus of my art work is the fusion of the experience of space and time,� says Weischer who acknowledges that there are both parallels and differences between his paintings and those of his Mentor David Hockney, his lifelong �model�.
David Hockney is very appreciative of Matthias Weischer�s work and reflects fondly on his time spent with him. �His work interested me at first because of his attitude to pictorial space and as I got to know it, more layers were revealed,� Hockney says. �He knows looking is a very positive act. The more one looks the more one sees. His skills as a draughtsman are revealed here, the deep pleasures of the hand, the eye and the heart.�
Note: Sizes where given are rounded up or down to the nearest whole centimetre:
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| Title and date unknown |
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| Title and date unknown |
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| 2001 Familie 0-Mittag oil on canvas 190 x 240 cm |
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| 2002 Untitled oil on canvas 102 x 120 cm |
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| 2002 Untitled oil on canvas 190 x 170 cm |
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| 2003 Chair oil on canvas 190 x 170 cm |
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| 2003 House oil on canvas 180 x 240 cm |
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| 2003 Interior oil on canvas 75 x 96 cm |
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| 2003 KO oil on canvas 75 x 85 cm |
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| 2003 Living Room oil on canvas 170 x 190 cm |
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| 2003 Untitled 11 oil on canvas 150 x 300 cm |
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| 2003 Zweiteilig (Bisected) oil on canvas 235 x 304 cm |
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| 2004 Automat oil on canvas |
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| 2004 St. Ludgerus oil on canvas 300 x 251 cm |
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| 2006 Tuch (Cloth) oil and tempera on canvas 150 x 200 cm |
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| 2008 Zwo�lf Blicke (Twelve Eyes) oil on canvas 120 x 200 cm |
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| 2009 Bu�hne mit 9 Objekten oil & egg tempera on canvas 200 x 400 cm |
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| 2009 Die blaue Wand (The Blue Wall) oil & egg tempera on canvas 200 x 300 cm |
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| 2010 Ab oil on canvas 40 x 30 cm |
Claude Monet - caricatures
Claude Monet is of course famous for being one of the founders of The Impressionist movement. His water lily paintings will be familiar to everybody. Less well known is that fact that as a teenager his first forays into art were through caricature portraits.
On November 14, 1840, two days after the birth of Rodin, Claude-Oscar Monet was born in Paris, Rue Laffitte. The family moved in 1845 to Le Havre, in Normandy, where Monet's father, entering into partnership with his brother-in-law, Monsieur Lecadre, hoped to make a fresh start in the grocery business.
In Monet�s own words: "At fifteen I was known all over Le Havre as a caricaturist. My reputation was so well established that from all sides people came to me and pestered me for caricatures. I had so many requests, and the pocket money my mother could spare me was so meager, that I was led to take a bold step, one which needless to say shocked my parents: I started selling my portraits. Sizing up my customer, I charged ten or twenty francs a caricature, and it worked like a charm. Within a month my clientele had doubled. Had I gone on like that I'd be a millionaire today. Soon I was looked up to in the town, I was 'somebody'. In the shop-window of the one and only framemaker who could eke out a livelihood in Le Havre, my caricatures were impudently displayed, five or six abreast, in beaded frames or behind glass like very fine works of art, and when I saw troops of bystanders gazing at them in admiration, pointing at them and crying 'Why, that's so-and-so!', I was just bursting with pride."
When Boudin saw Monet's caricatures, he realized that the youngster had genuine talent. He made inquiries about him in the shop and the frame-maker tried to arrange a meeting between them. But Monet showed no interest and even went out of his way to avoid Boudin until one day by chance, they ran into each other at the frame-maker's. The shopkeeper seized the opportunity and introduced them.
"Boudin came over at once and started talking to me in his soft voice, saying nice things about my work: 'I like your sketches, they're very amusing, very neatly done. You're gifted, anybody can see that. But you're not going to stop there, I hope. This is all right for a start, but you'll soon have had your fill of caricature. You want to buckle down and study hard, learn to see and paint, go out and sketch, do some landscapes. What beauty there is in the sea and sky, in animals, people and trees, just as nature made them, just as they are, with a character of their own, with a life of their own in the light and air of nature.' But Boudin's advice was lost on me. As for the man himself, I couldn't help liking him. He meant what he said, he was sincere all right, I felt that. But I couldn't stomach his painting, and whenever he offered to take me out sketching with him in the open country, I always had some pretext or other for a polite refusal. Summer came, my time was more or less my own, I could hardly put him off any longer. So to get it over with I gave in and Boudin, with unfailing kindness, took me in hand. In the end my eyes were opened and I gained a real understanding of nature, and a real love of her as well."
On November 14, 1840, two days after the birth of Rodin, Claude-Oscar Monet was born in Paris, Rue Laffitte. The family moved in 1845 to Le Havre, in Normandy, where Monet's father, entering into partnership with his brother-in-law, Monsieur Lecadre, hoped to make a fresh start in the grocery business.
In Monet�s own words: "At fifteen I was known all over Le Havre as a caricaturist. My reputation was so well established that from all sides people came to me and pestered me for caricatures. I had so many requests, and the pocket money my mother could spare me was so meager, that I was led to take a bold step, one which needless to say shocked my parents: I started selling my portraits. Sizing up my customer, I charged ten or twenty francs a caricature, and it worked like a charm. Within a month my clientele had doubled. Had I gone on like that I'd be a millionaire today. Soon I was looked up to in the town, I was 'somebody'. In the shop-window of the one and only framemaker who could eke out a livelihood in Le Havre, my caricatures were impudently displayed, five or six abreast, in beaded frames or behind glass like very fine works of art, and when I saw troops of bystanders gazing at them in admiration, pointing at them and crying 'Why, that's so-and-so!', I was just bursting with pride."
When Boudin saw Monet's caricatures, he realized that the youngster had genuine talent. He made inquiries about him in the shop and the frame-maker tried to arrange a meeting between them. But Monet showed no interest and even went out of his way to avoid Boudin until one day by chance, they ran into each other at the frame-maker's. The shopkeeper seized the opportunity and introduced them.
"Boudin came over at once and started talking to me in his soft voice, saying nice things about my work: 'I like your sketches, they're very amusing, very neatly done. You're gifted, anybody can see that. But you're not going to stop there, I hope. This is all right for a start, but you'll soon have had your fill of caricature. You want to buckle down and study hard, learn to see and paint, go out and sketch, do some landscapes. What beauty there is in the sea and sky, in animals, people and trees, just as nature made them, just as they are, with a character of their own, with a life of their own in the light and air of nature.' But Boudin's advice was lost on me. As for the man himself, I couldn't help liking him. He meant what he said, he was sincere all right, I felt that. But I couldn't stomach his painting, and whenever he offered to take me out sketching with him in the open country, I always had some pretext or other for a polite refusal. Summer came, my time was more or less my own, I could hardly put him off any longer. So to get it over with I gave in and Boudin, with unfailing kindness, took me in hand. In the end my eyes were opened and I gained a real understanding of nature, and a real love of her as well."
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| c1854 Auguste Vacquerie graphite on paper 28 x 18 cm |
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| c1855-6 Caricature of a Man graphite & chalk on paper 24 x 14 cm |
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| c1855-6 Caricature of a Man with a Large Nose graphite on paper 25 x 15 cm |
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| c1855-6 Caricature of Le�on Manchon charcoal & chalk on paper 61 x 45 cm |
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| c1855-6 Caricature of Man Standing by Desk graphite on paper 20 x 17 cm |
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| c1855-6 Man with a Big Cigar conte crayon & pastel on paper 60 x 38 cm |
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| c1855-6 Mario Uchard graphite on paper 32 x 24 cm |
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| c1855-6 The Man in the Small Hat graphite on paper 20 x 15 cm |
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| c1858 Caricature of a man with the snuff box |
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| c1858 Caricature of Henri Cassinelli, Rufus Croutinelli graphite on paper 8 x 13 cm |
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| 1859 Caricature of my friend Dermit |
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| c1860 Caricature of Jules Didier charcoal & chalk on paper 67 x 44 cm |
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| Caricature of a Scotsman with a Pipe |
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| Caricature of a Woman with a Bad Arm |
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| Caricature of a Young Man |
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| Caricature of a Young Women at the Piano |
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| Caricature of Actors |
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| Caricature of Jules Husson |
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| Caricature of Philibert Audebrand |
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| Caricature of The Hunter and his Dog in a Boat |
Snow paintings
Normal service will be resumed as soon as possible, but during the festive interlude, here are some seasonal paintings and prints of snow to enjoy:
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| Alfred Sisley 1874 Snow at Louveciennes |
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| Camille Pissarro Cottage at Pontoise in the Snow 1879 |
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| Claude Monet Lavacourt Under Snow |
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| Claude Monet Magpie 1868 |
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| Claude Monet Snow near Honfleur 1867 |
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| Claude Monet View of Argenteuil in the Snow 1875 |
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| David Hockney Snow 1973 lithograph |
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| Hokusai Snow, Moon an Blossoms |
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| John Twachtman 1897-1899 Snow Scene at Utica |
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| John Twachtman Icebound c1889 |
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| Mikhail Germashyov 1897 |
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| Paul Gauguin Breton Village in Snow |
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| Paul Gauguin Breton Village in Snow 1894 |
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| Paul Gauguin Garden under Snow 1879 |
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| Peter Doig Cobourg 3 + 1 more 1994 |
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| Peter Doig Window Pane 1993 |
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| Pierre-Auguste Renoir Landscape with Snow c1875 |
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| Utagawa Hiroshige Yuhi Hill and the Drum Bridge at Meguro 1857 |
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| Vincent van Gogh Landscape with Snow 1888 |
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