Articles liés à Thomas Zitzwitz: Moleskine orangée (E)

Thomas Zitzwitz: Moleskine orangée (E)

Thomas Zitzwitz

 
9783936859607: Thomas Zitzwitz: Moleskine orangée (E)
ISBN 10 : 3936859604 ISBN 13 : 9783936859607
Editeur : Moleskine, 2007

Synopsis

Kienbaum's Artists' Books, herausgegeben von | edited by Hubertus Butin und | and Jochen Kienbaum | mit einem Text (dt./engl.) von | with a text (German/English) by Hubertus Butin\n\nThe Fleetingsness of Appearance\n\nThe colours in Thomas Zitzwitz's abstract paintings schould be seen as self-referential values of visibility. Thus, the pictures refer neither mimetically nor emblematically to an external representationalism but to the intrinsic value of colours in the sense that a pure visuality evolves. The various acrylic colours Thomas Zitzwitz uses are applied with squeegees one on top of each other in numerous glazing layers. They create a complex colour space, which the contemplator's eyes can penetrate to a greater or lesser extent. The surface of such a painting there by conveys a strong illusionistic effect of depth. The top layers of paint are so transparent that they lie over the bottom layers like a delicate film. The colours in Thomas Zitzwitz's paintings react extremly sensitively to the respective light conditions. By using special interference colours, the pigments reflect completely different waves of light, depending on light direction and on the perspective of the contemplator. An example of the interference colours in nature are the wings of certain types of butterfly.\nSince 2004 Thomas Zitzwitz juxtaposed reproductions of his paintings with additional material: here private photo shots taken in the south of France in 1969. The combination of photographs gives the reproductions of paintings an associative, poetical dimension, which goes beyond the pure contemplation of the painting without taking on any specific narrative or illustrative function. What is ultimately decisive for the aesthetic experience of painting, as Johannes Meinhardt aptly put it with reference to the works of Thomas Zitzwitz, is ?that the painting defies any form of simple identification, that it does not allow itself to be seen and understood as a simple object, but involves the eye in a process.?

Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.

À propos de la quatrième de couverture

Kienbaum's Artists' Books, herausgegeben von | edited by Hubertus Butin und | and Jochen Kienbaum | mit einem Text (dt./engl.) von | with a text (German/English) by Hubertus Butin\n\nThe Fleetingsness of Appearance\n\nThe colours in Thomas Zitzwitz's abstract paintings schould be seen as self-referential values of visibility. Thus, the pictures refer neither mimetically nor emblematically to an external representationalism but to the intrinsic value of colours in the sense that a pure visuality evolves. The various acrylic colours Thomas Zitzwitz uses are applied with squeegees one on top of each other in numerous glazing layers. They create a complex colour space, which the contemplator's eyes can penetrate to a greater or lesser extent. The surface of such a painting there by conveys a strong illusionistic effect of depth. The top layers of paint are so transparent that they lie over the bottom layers like a delicate film. The colours in Thomas Zitzwitz's paintings react extremly sensitively to the respective light conditions. By using special interference colours, the pigments reflect completely different waves of light, depending on light direction and on the perspective of the contemplator. An example of the interference colours in nature are the wings of certain types of butterfly.\nSince 2004 Thomas Zitzwitz juxtaposed reproductions of his paintings with additional material: here private photo shots taken in the south of France in 1969. The combination of photographs gives the reproductions of paintings an associative, poetical dimension, which goes beyond the pure contemplation of the painting without taking on any specific narrative or illustrative function. What is ultimately decisive for the aesthetic experience of painting, as Johannes Meinhardt aptly put it with reference to the works of Thomas Zitzwitz, is ?that the painting defies any form of simple identification, that it does not allow itself to be seen and understood as a simple object, but involves the eye in a process.?

Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.

Éditeur
Moleskine
Date d'édition
2007
Langue
allemand
ISBN 10 
3936859604
ISBN 13 
9783936859607
Reliure
Fournitures de bureau
Nombre de pages
96
Coordonnées du fabricant
non disponible
Personne responsable
Moleskine srl
024344981
customercare@moleskine.com

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