Five rooms, there has been in the Museum Franz Gertsch in Burgdorf, three new and one year times of the clock came two weeks ago. Gertsch’s oil-large-format paintings of the cycle “The four seasons” is now available in a single room. The pictures and wood-cuts in the other seven rooms hit the bow of a large artistic life’s work: The well-known women’s portraits are on display here (“Johanna I”, “Silvia I”), “grasses”, of the “Waldweg (Campiglia Marittima)” and again the “Big Butterbur” from different close to.
Gertsch’s oil-view has moved to his place of residence in Rüschegg to the Nearby, Unnoticed part of the back and makes his Hyper-realism, even the weeds are spectacular. The nature looks here in the eye of the beholder, even without 3-D glasses three-dimensional. And so school classes are available almost every day in fascination at these pictures and consider these Details of the Unspectacular: a school of fine perception.
Silent art
In all eight rooms, the silent works will be shown Gertsch’s oil, a youthful self-portrait in the style of Albrecht dürer and a violet basket from the early period. You missed nothing, except maybe the other, louder side of Gertsch’s oil plant from the wild times: at the time almost Vietnam’s image, its point of view, to the lascivious Lucerne ‘ 68-scene (“Medici”), the series is about the rock singer Patti Smith.
This spectacular antithesis in Gertsch’s oil work is to be shown in Burgdorf in the coming March to the ninetieth birthday of the artist – if you get this images from other museums and private collections until then and the insurance premium to pay.
For the Moment, Gertsch’s oil seems calmer work spectacular enough in the concrete construction of the long-Auer architects Hansueli Jörg and Martin Sturm from the year 2002. He has been lovingly renovated to the new opening, and Martin Sturm has extended together with a young colleague underground to three rooms. The construction should be, as a neighbour observed, quickly, to the dinosaur-like spikes on the facade. They should be built as the seasons of the year watch so that differences in the slope of the underlying surfaces of the teeth as the display fields for the beginning of a new Season.
Almost every day, even school classes are fascinated in front of these images: a school of fine perception.
last Thursday, the 21. March, began in the spring. Architect Martin storm and a beige reared Bernese astronomer for the necessary precision is concerned, and waited for myself to see whether the spring area was lit by twelve o’clock of the sun from the direction of the South.
It was only a couple of minutes later so far, but the Crowd was astonished, even so, whether the precision with which the architect, the astronomer and the Formwork carpenter to the height and slope of the spikes were calculated and concreting with a lid. A role model in terms of accuracy and meticulousness, for each passionate-powered craft.
characters of transience
This quiet, unspectacular PIP, keep bystanders for a whim of the architect, fit perfectly with the life’s work of Franz Gertsch, because they have the same theme: the meticulously-observed passage of time and Season. You with explain why Gertsch between 2007 and 2011, completed four years in the peace and quiet on the Hay of his farm house in Rüschegg to the forest entrance in the giant images, square inch for square inch, every day for twenty times twenty. And why the artists said, this is also a kind of self-portrait.
In the newly presented group of four, the signs of age and transience are omnipresent. Not only because you will be reminded by the image of “spring” to the fact that the Federal Council to the new year of 2012, prior to that, in a completely different composition than today posed (at the request of the then Federal President Eveline Widmer-Schlumpf). But also, because the branches in this image veins so fast to the hands of the old people remember.
There are the same branches that bend on the winter picture on the right side under the weight of snow. You can wait überdeuten this time as a memorial of finiteness, but also as modest as the architect, whether or not the surfaces, summer, autumn and Winter, illuminated the building with the same precision as the spring.
the Museum Franz Gertsch, Burgdorf, up 18.8.
(editing Tamedia)
Created: 25.03.2019, 18:05 PM
