Ralph Gelbert’s manner of painting is impulsive, ecstatic, and at times veritably Dionysian. We are dealing here with an art form that refers back to the body, to movements that do not rely on a previously developed concept, but rather follow a physical dynamism and sensual logic. Their art historical roots can be found in art informel, which developed in Paris in the 1940s and 1950s with the goal of liberating painting from its dependence on external reality and thus allowing it to come into its own, so to speak. Viewers of Gelbert’s paintings are made privy to the volcanic energies that have become manifested within them, a sheer delight in rich and at times flamboyant colors which flow out of them, become blurred, form clouds, vortices, and striations. Fantastical spaces emerge in his works, artificial worlds which are neither illustrations of existing sites nor subjective interior spaces. And what may for some appear to be ecstatic is due not only to spontaneous impulses, but also to calculation and discipline. As with calligraphies in the spirit of Zen, the impression of spontaneity and intensity presupposes a maximum degree of self-control. (Excerpt from: Hans-Walter Schmidt, Les Paradis Artificiels)
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Ralph Gelbert’s manner of painting is impulsive, ecstatic, and at times veritably Dionysian. We are dealing here with an art form that refers back to the body, to movements that do not rely on a previously developed concept, but rather follow a physical dynamism and sensual logic. Their art historical roots can be found in art informel, which developed in Paris in the 1940s and 1950s with the goal of liberating painting from its dependence on external reality and thus allowing it to come into its own, so to speak. Viewers of Gelbert’s paintings are made privy to the volcanic energies that have become manifested within them, a sheer delight in rich and at times flamboyant colors which flow out of them, become blurred, form clouds, vortices, and striations. Fantastical spaces emerge in his works, artificial worlds which are neither illustrations of existing sites nor subjective interior spaces. And what may for some appear to be ecstatic is due not only to spontaneous impulses, but also to calculation and discipline. As with calligraphies in the spirit of Zen, the impression of spontaneity and intensity presupposes a maximum degree of self-control. (Excerpt from: Hans-Walter Schmidt, Les Paradis Artificiels)
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : bookmarathon, Emmendingen, BW, Allemagne
Festeinband. Etat : Sehr gut. 127 Seiten ; 31 cm Leichte Lagerspuren! Sie erhalten eine Rechnung mit der darin ausgewiesenen MwSt. Sprache: Englisch Gewicht in Gramm: 1015. N° de réf. du vendeur 21855
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Etat : New. Ralph Gelberts Malweise ist impulsiv, rauschhaft, manchmal geradezu dionysisch. Es handelt sich um eine Kunst, die auf den Koerper zurueckverweist, auf Bewegungen, die einer physischen Dynamik und einer sinnlichen Logik zu folgen scheinen und weniger einem vo. N° de réf. du vendeur 202313928
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Gebundene Ausgabe. Etat : Gebraucht - Gut. Gebrauchsspuren am Einband (Ecken teilweise etwas bestoßen). Seiten sehr gut erhalten. N° de réf. du vendeur 0030191
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Buch. Etat : Neu. Ralph Gelbert | Beyond The Visible, Engl/dt | Ralph Gelbert | Buch | 128 S. | Deutsch | 2018 | Kehrer Verlag /Kehrer Design | EAN 9783868288582 | Verantwortliche Person für die EU: Kehrer Verlag /Kehrer Design Heinsteinwerk, Klaus Kehrer, Mannheimer Str. 175, 69123 Heidelberg, contact[at]kehrerverlag[dot]com | Anbieter: preigu. N° de réf. du vendeur 111031828
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