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Gouache 2
Gouache on etchings
Normally etching is a technique to multiply identical prints. For the artist they also offer the possibility
to paint a series with an identical background without beginning always from the bottom. I use this
combination of painting and etching to have the same stage for a line of different stories.
Gouache on etchings
Normally etching is a technique to multiply identical prints. For the artist they also offer the possibility
to paint a series with an identical background without beginning always from the bottom. I use this
combination of painting and etching to have the same stage for a line of different stories.
| Albrecht Dürer: The Paumgartner Altarpiece (1504), Galleria degli Uffizi |
| Last Supper (15.5x11.5), gouache on aquatint, 1990 |
| Just Here it Happened (15.5x11.5), gouache on aquatint, 1990 |
| Albrecht Dürer: The Adoration of the Magi (ca. 1492 – 1504), Alte Pinakothek Munich |
| Helleborus (15.5x11.5), gouache on aquatint, 1990 |
| Under Construction (15.5x11.5), gouache on aquatint, 1990 |
| The Believers (11.5x13.3). gouache on aquatint, 1990 |
| The Magicians of Notre Dame (11.5x13.3), gouache on aquatint, 1990 |
| Libanese Wedding (11.5x13.3), gouache on aquatint, 1990 |
| Touristic Attraction (11.5x13.3), gouache on aquatint, 1990 |
Miscellaneous
Here you see some more paintings based on etchings, the first group related to Tuscany, the other
to the Baltic Sea. The last one proves how fast actuality can change. It shows the then German
secretary of environment, who was doubted to handle the problems. In the meantime you won’t
probably know the secretary’s name any more, but still the problems.
Here you see some more paintings based on etchings, the first group related to Tuscany, the other
to the Baltic Sea. The last one proves how fast actuality can change. It shows the then German
secretary of environment, who was doubted to handle the problems. In the meantime you won’t
probably know the secretary’s name any more, but still the problems.
| Lost Sign (9.6x11.3), gouache on aquatint, 1989 |
| Silent Cry (9.6x11.3), gouache on aquatint, 1989 |
| Out of time (9.6x11.3), gouache on aquatint, 1989 |
| Welcome (11.2x7.6), gouache on aquatint, 1989 |
| Poseidon (7.6x11.2), gouache on aquatint, 1989 |
| Zeus (7.6x11.2), gouache on aquatint, 1989 |
| We'll manage it! (7.6x11.2), gouache on aquatint, 1989 |
Dürer Paraphrases
The wonderful environments of Dürer’s alter paintings gave me the idea to remove the figures of the
Holy Family or the three magicians and fill their place with motives, which still are related to the
religious origin, but connected with our age and its problems.
Albrecht Dürer: The Paumgartner Altarpiece (1504), Galleria degli Uffizi
Albrecht Dürer: The Adoration of the Magi (ca. 1492 – 1504), Alte Pinakothek Munich
The wonderful environments of Dürer’s alter paintings gave me the idea to remove the figures of the
Holy Family or the three magicians and fill their place with motives, which still are related to the
religious origin, but connected with our age and its problems.
Albrecht Dürer: The Paumgartner Altarpiece (1504), Galleria degli Uffizi
Albrecht Dürer: The Adoration of the Magi (ca. 1492 – 1504), Alte Pinakothek Munich