Gay Fat Japanese Blogger

Still Photographer: René Burri and you.

from Neue Zürcher Zeitung, 27 2. 2011

icons of the time and memory The culture magazine "You celebrates its seventieth year with a booklet about the photographer René Burri

Roman Bucheli · meet Occasionally our pictures in which flashes up a piece of genuine memory, has persisted in that story without clouding the time: as the image of a past were calling alert, which has remained safe in it as a sensual experience. We are not different if we Today, some covers of appearing in seven decades cultural magazine look back "You: Some issues have become icons of their time. They themselves have written in the medium of painting history and also have the history preserved: not only as a visual impression. The past made present in these photographs for all the senses: We smell and taste the time, Louis Armstrong's trumpet was in December 2001 not to see on the cover of his hundredth birthday, was to hear them anyway. In the booklet to Tom Waits, we looked in a different America, and with the melancholy look Claude Simon, we came suddenly in the Flemish war hell.

memory in images

celebrated the fiftieth year of its appearance, the cultural magazine "You in 1991 with a tribute to their first Chief Editor Arnold Kübler. Twenty years later and after some turmoil in the newsroom and in the owner stock the magazine celebrates again: your seventieth birthday she celebrates with a photographer René Burri devoted anniversary issue. A man may not be the very first hour, but is certainly Burr, the senior photographer of "You. In 1959 he first major report from South America appeared in the magazine "El gaucho" and since then his name is so inextricably connected with the magazine as with the photo agency Magnum, which he had become a member soon.

René Burri is one now of course to those photographers who have shaped our memories with pictures. The booklet shows some of these recordings. The most famous is without doubt the photograph of Che Guevara, in Havana in 1963: a casual, leaning back, a cigar in his mouth hanging down, the opposite of attention in the side covered View, is a mixture of condescension and distrust. The picture was famous, a different but leaves us once again look quite radically into the interior of man. It Alberto Giacometti shows in 1960 in his Paris studio, in a suit and tie, as always, he works on his ever-shrinking figures, his head but he thinks laterally inclined to the oversized eyelids convulsively closed, as he is blind and only trust the groping hands. The picture brought him to a limit, admits Burri. "I almost could not have done it. Giacometti lived as long as I have not been published. Why? I got as close as I would have anticipated the coming death. "

The pictures are not made in a separate chapter in this anniversary issue. Burrell describes the loss that missed, not the pictures taken. They are almost even more impressive than some of the better-known photographs. Because Burrell meticulously notes in words what the picture would have shown. It is a living story, in which the photographed is not more important than the photographer himself. The image is created and then with the language - and imagination.

That was "You" since its inception always both - Word and Image - obliged. It portrayed authors (the legendary magazine to Mayröcker and Jandl is), told stories from everyday life. The anniversary number is now bringing a preprint of Brigitte Kronauer's emerging new novel and a conversation with the author. Brigitte Kronauer put it a little plea for the complexity of their language: "The sentences are but a kind of resistance. In the German language is not the oversimplification, but the differential architecture significantly. I feel this is absolutely not a negative circumstances, but as something that reflects grammatically, the complexity of the situation is. This includes music from "Do not Just could be the program of the magazine you can be formulated". They also measured by the resistance with which we encounter the reality. And here musicality is not entirely excluded.

For several years, however, had to order the magazine "You're always a little fear and trembling: changed hands, editors came and went, and soon there were great books, sometimes you might not know where it is because her should go.

new self-confidence

Since 2007, Oliver Prange, Director of Personal-publishing, the magazine has acquired seems to take the magazine back on track and to gain self-confidence. Boldly she sets priorities: In words and pictures, it proposes paths into the thicket of the present, she looks back and forward, it creates contrast and shows affinities, in short: it represents the time and her mind is a diagnosis by way of experiment, provocative, speculative, but always clear. And as you succeed still photographs which have what it takes to become permanent icons of their time.

«René Burri. Photographer and Collector of Worlds ". You. The cultural magazine. Anniversary Edition 70 years. Issue 814, March 2011. CHF 20 -.

Nota. are not the photos of this selection, all of you .

Big Milki Boobs Pumping

André Kertész Photography Museum in Winterthur.

from NZZ am Sonntag, 27th 2. 2011

look through the window

André Kertész has created a number of icons, which contributed to the photography to establish itself as art. The photo Winterthur Museum dedicated to the native Hungary, a major retrospective, see the recordings were previously unknown place.

By Nadine Olonetzky

In artfully-dislocation of the lascivious woman lying on the sofa. The erotic crackle, desire can be just still keep in check and owes quite the ironic game of the photographers: Where we suspect the highest immediacy prevails, calculated pose. André Kertész left for the taking, "Satiric Dancer" (1926), a dancer in the studio of a sculptor to imitate a sculpture. Published countless times and sent a postcard around the world also expressed this picture in 1894, born in Budapest famous photographers.

Kertész, is recognized as one of the founders of photojournalism, but he was not a conventional news photographer. He had an eye for the poetic moments of everyday life - the view from the window, the effects of back-light and shadows, strange combinations of people, animals and architecture, graphical elements. Kertész was guided by the atmosphere of the moment reaction, forms and moods, looking for visual equivalents for his emotional state. Often taken from an unusual perspective, wore his pictures help to establish photography as an art. The photo Winterthur Museum dedicated to him, a comprehensive retrospective. In chronological order, it weighs in at around 250 original photographs, magazines and books with an arc from early works up to the surprising late Polaroids.

André Kertész's life and work were shaped by Budapest, Paris, New York. Since the five-year-old - said he was still Andor - to the memory of his parents' house in the Hungarian capital, magazines had discovered, practiced photography a great fascination for him. His first, still tiny pictures he made in 1912: "I photographed the Things around me - people, animals, my house, my shadow, farmers, life around me. I have always photographed what revealed to me the moment, "he says towards the end of his life. But he first attended the Commercial College and worked temporarily at the exchange. As in the years after World War II anti-Semitism and economic hardship increased and he increasingly suffered from his day job, he decided in 1925 to emigrate to Paris. On 17 November 1926 Andor was registered as "André Kertész" the foreign population register. The addition was: "photojournalist".

But Paris did not wait for him. Kertész lived anything but a vertical take-off. He spoke no French, was shy and hesitant, and inclined to melancholy. He had the press card of the Hungarian agency Continental photo in the pocket, but he was not a contract reporter. He lacked the interest and exuberance that one must have in order hinterherzuhetzen the day's news and to sell the photographs. Above all, he wanted to work on their own issues.

Surely that is why Kertész in Paris was betrayed to his own visual language, the influence of New Objectivity and Surrealism, but remained singular. He explored the city by day and night, photographed shadows, gazes out the window, or tracks in the freshly fallen snow - motives that he should care for a lifetime. He also began his series, "Distortion," which occupies in his work a unique place. Inspired by Zerrspiegelkabinett of the Palais de rire "at Luna Park in the Bois de Boulogne, he came in 1930 with the idea, the editor of the magazine" Vu "for which he worked as a photojournalist, grotesquely distorted to portray. As a result, he experimented with convex and concave mirrors and reflective beads used. What appears at first glance as a gimmick turns out to be as soon as the exploration of the Abnormal: Kertész reached on the deformation of bodies - and later of things - to a resolution of unity and integrity of form. He shows them as something monstrous and unstable.

Today Kertész is one of the masters of photography, the likes of Brassai and Henri Cartier-Bresson decisive influence, when he in 1936 with his wife Elizabeth - was "Erzsi» 1931 from Budapest to Paris come - emigrated to New York, reiterated, however, increased, which had made life quite difficult on the Seine. During the live Erzsi efficient, in Paris at Helena Rubinstein had worked, a cosmetics company founded, which was soon profitable, did her husband found it difficult to learn the language and make contacts. His melancholy increased to depression. Although he could publish in journals of the Group Condé Nast, but he was homeless, misunderstood and isolated: "I felt that I was buried alive." Persistently gloomy mood took it in as clear as dreamy and sometimes self-ironic images, such as the Zerrspiegelaufnahme "The melancholy Tulip" (1939). The "country of dove End" (1960) was a metaphor for his loneliness. The snowy Washington Square, to which the couple had moved in 1952, he was A photographic monument.

Success came late, unexpected and striking. In 1963, when produced in Lucerne photo journal "Camera," which at that time was available in 35 countries, a large portfolio with an introduction by Brassaï published and the Museum of Modern Art in New York the following year showed a retrospective of the melancholy poet became the center of the international attention. Kertész, who considered himself a perpetual beginner, became the meistpublizierten photographers and still remained open to technical innovations of the medium. As almost ninety-year-old shot it with a Polaroid camera, an abstract glass bust. The book "From My Window" (1981) reflects his major themes: the view from the window, back light, shadows, distortion and reflection - and the mourning for his deceased Erzsi 1977. Only this once everything is in color.

André Kertész

André Kertész (1894-1985) influenced his cityscapes, Zerrspiegelaufnahmen and still life photography to the present. The chronological exhibition at the Winterthur Museum of Photography, in cooperation with the Musée du Jeu de Paume in Paris was showing his Icons and little-known from its inception. The extensive catalog (Hatje Cantz, 360 S., Fr 70.90) for a thorough biography. Photo Museum Winterthur, to 15 5. (Olo.)

How Long Will It Take For Cocoa B

Nolde in Switzerland.

from Neue Zürcher Zeitung, 26th 2. 2011

Vibrant mountain watercolors

SK · Emil Nolde (1867-1956), Expressionist and colorist from northern Germany Seebüll is particularly noted for its wide seascapes and South beaches. The fact that he has created as an admirer and connoisseur of the Swiss Alps also great mountain pictures, little is known.

Karin Schick, director of the initiative of the Kirchner Museum in Davos, now directs attention to an exhibition with over one hundred painted in bright colors, light and cloud reflections in mountain lakes, snow-capped peaks and activities for winter sports in Switzerland. At the end of the tour is Emil Nolde's watercolors they face some mountain views, Ernst Ludwig Kirchner, in which it is clear how Kirchner landscapes always structured and built, while Nolde's atmospheric watercolors soft flowing, contribute in some leaves as otherworldly.

From 1892 to 1897 taught Nolde as a very young art teacher at the Industrial and Commercial Museum in St. Gallen, and from there he went on hikes and mountain tours in Appenzell, a portrait of mountain farmers and created the bizarre and fantastic mountain postcards, in which he tops the human face awarded. His first oil painting, "Mountain Giant" from 1885/86, shows him still searching, as well as "Before Sunrise". In the first watercolor, "Sunrise" (1895) Nolde refers to the deeply felt, freed from the naturalistic hues to his own style.

is a particularly interesting section the "unpainted pictures" (1938-45) devoted to the time of the stop painting during the Nazi regime. From memory, the artist created a total of 1300 pages, including images such as mountain with glowing evening sky and wide open spaces. 1948, eight years before his death, Emil Nolde traveled with his second, younger wife Yolanda again for several weeks in Switzerland. From that time is an impressive series of particularly colorful to see in bright red, orange, but blue and violet tones painted watercolors on fine Japanese paper.

snow mountains, clouds, beauty, firs: Emil Nolde in Switzerland. Kirchner Museum, Davos. To 3 April 2011. Accompanying textbook Fri 39th -.

Male Pissing In Underwear

"photo sculpture"

from Neue Zürcher Zeitung, 26 2. 2011

A relationship with consequences The exhibition "photo sculpture" at the Kunsthaus Zurich, the photograph shows the fruitful dialogue with the sculpture

photography and sculpture have mutually fertilized for 170 years and changed. The Kunsthaus Zurich is showing in a large, from Museum of Modern Art in New York and acquired from its own Stocks extended metamorphosis exhibit surprising long-standing relationship.

By Brigitte Ulmer

Man Ray in 1918 staged a simple, mechanically operated whisk in a dramatic light and shade area. He pressed the shutter of his camera, the film developed in the darkroom, and his photo cheeky "L'homme" titled. The claim was the prosaic instrument is a life of its own as an object, as sculpture, photography and artists praised as "excellent student of views, which holds not our retina." The Picture, a rare vintage print of a New York private collection throws light on the moults, which should experience the sculpture over the coming decades by means of photography.

-Laws

photography and sculpture are truly an odd couple: Here, the age-old medium, the long sum was for materiality, immobility, Severity: veiled in three dimensions and because of its unique character of sublime aura. Since young, photography, 170 years, flat, light, a documentation and archiving machine and reproducible. has produced what unexpected forms and new creations every medium by contact and friction with the other, the exhibition features "photo-sculpture" in the Zurich Kunsthaus, which was acquired by the Museum of Modern Art in New York and enriched with works from the collection.

Since the invention of the daguerreotype in 1839 include the sculpture of the first subjects of the photographers: photographic pioneer Henry Fox Talbot perpetuated the Bust of Patroclus, Hippolyte Bayard plaster casts and statues arranged still life, and through the camera, the sculptural and architectural Remains of medieval France as systematic as the photographically recorded archaeological monuments in Egypt. Thanks to the camera's Remote, real estate has been carried into the living rooms, art history was only made possible by photographic reproductions.

Sculptural own life

The documentary feature on the limited role of photography in the approach to the sculpture but was soon shaken off. Even with Eugène Atget, who in the twenties with its laconic photographs of Statues, fountains and reliefs in Paris created a compendium of French cultural heritage, will receive its own life and the sculptures are like animated - they have become sources of inspiration of the Surrealists. The fact that the camera created a sculpture in the first place, could do but it took a few art revolutions, the Surrealists, Duchamp, the adventurous artists of the land art artist and intrepid hobbyists such as Fischli / Weiss.

The exhibition, divided into ten chapters with about 300 works - including exquisite pieces from the Dada and Surrealist collection of the Kunsthaus Zurich - is not linear-structured chronologically, but is always a time jumps to a surprising Analogies reveal. The exhibition, which acts at the beginning of something becoming didactic, from room to room at Verve, it shows that ironically just sculptor of photography confer a major role in the dematerialization of the sculpture. The presumption was seem to suggest that the photochemical process, this alchemical magic of silver salt crystals and light, from the "hardware" could recoup all their own forms. It was an obsessive sculptor Constantin Brancusi Photographer as necessary to free the sculpture from the torpor. The 1600 prints that were found after his death in his studio, his lively sculptures with special lighting effects, reflections, and unusual perspectives. Shiny bronzes, flashes of light flashes appear as broken. Movement, transparency, boundaries: Brancusi was instrumental in that photography dematerialized the concept of sculpture.

saw especially the surrealists, the Bauhaus artists and photographers of the "new vision" of an imaginary camera chisel. Moholy-Nagy had the idea of the "photo sculpture," Bauhaus teachers Herbert Bayer created with the icon "Humanly Impossible" (1932) an uneasy hybrid between sculpture and man. Hans Bellmer breathed into his photos deformed dolls creepy character, and Edward Weston Umbos Camera lenses again enchanted mannequins and machines, as if they were living beings. Key witness for the slow blurring of the boundaries between photography and sculpture, and unique series of reproduced but Marcel Duchamp's "Boîte-en-valise" is (1935-1941), a incunabula of Surrealism from the Collection of the Zurich Kunsthaus, a cross between a photo album and replicas collection of his ready-mades.

conceptual expansion

The core thesis of the curator Roxana Marcoci that photography crucial participated in changing the concept of sculpture, peels out in the back rooms, and since winning the show to surprise moments: the photography, because of their cold mechanics once reviled appear suddenly as an accomplice to all those who wanted to bring art history radically forward. Duchamp's readymades and Man Ray were of everyday objects derived human figure paintings near impossible without a camera. Robert Smithson and Richard Long's land art revolutionary undertakings of the sixties, the art from the galleries and studio space freed, and Gordon Matta-Clark's architectural interventions with a chainsaw, which he divided all the facades would be without photography just deleted from the memory like the living sculpture of Gilbert & George, Ana Mendieta Photo performances in nature and Bruce Nauman's body experiments in the studio space. It does not need a chisel, forming no more hands, the sculpture is created with the shutter button. Ready-made, land art, performance and body art - all Wegverzweigungen radical new inventions and the arts - are inconceivable without photography.

reincarnations of the sculpture

the very end of the show has a series of images from the thirties, as if it came fresh from a studio. Brassaï "involontaires Sculptures" (1932) show prosaic as a cotton ball or a lapsed toothpaste in close-up magic of enigmatic sculptures. The images are key to understanding the works of contemporary sculpture. It is now a common sense of the art system that each everyday object when it is arranged in front of the lens becomes a sculptural object. The experimental arrangements show of women's shoes, or assembled together the fragile arrangements of kitchen utensils by Fischli / Weiss, Gabriel Orozkos mysterious assemblages of watermelon and cat food and Erwin Wurm "One Minute Sculptures," where men grow markers from nostrils. The sculpture was dissolved by the photography swallowed. She lives in the extended, more open space in ever new and wonderful incarnations.

photo sculpture. The photograph of the sculpture from 1839 to today. Kunsthaus Zurich, and 15 May Catalog with essays by Geoffrey Batchen, Tobia Bezzola and Roxana Marcoci, Hatje Cantz Verlag, 256 p., fig, Fri 49th -.

How To Play Pokemon Soul Silver English On Mac

The colorful Greek gods.

Press release

exhibition opens on 6 colors of ancient sculpture March at the Archaeological Institute

(pug) ancient statues and temples were not white, but colorful. The exhibition "Colorful gods" impressive proof of this with insights into ancient painting techniques and modern analytical methods, especially with over 30 colorful casts of famous marble sculptures from the Archaic to the late Roman period. The Archaeological Institute and the collection of plaster casts of the University of Göttingen to present these, 6 March to 31 July 2011 in the premises of the Cast Collection at the Nicholas Weg 15th The touring exhibition, which provided, inter alia, Copenhagen, Amsterdam, Madrid, Malibu sensation is open each Sunday between 10 and 17 clock and for groups by appointment.




Although the exhibition will be shown for some years, like any of the previous presentation. Also in Göttingen been issued not shown exhibits. These include newly designed color casts from the Göttingen collection, some of which were produced by students. The restorer of the Archaeological Institute Jorun Ruppel has in the exhibition, a demonstration workshop: Visitors can be there when colors are mixed by the antique method and used. A special children's program is also ideal for making and painting from plaster casts and mysterious search for the lost traces of color. The internationally successful exhibition "Colorful Gods" in 2003 was initiated by Prof. Dr. Vinzenz Brinkmann, head of the antiquities collection of the Liebig house in Frankfurt am Main. Implemented they will work with the Foundation Archaeology and the Leibniz Prize winner Prof. Dr. Oliver Primavesi of the Ludwig-Maximilians University in Munich.

progress in restoration technology and scientific materials analysis have revived the question of the color of ancient sculptures in the current research again. The Göttingen archaeologists are asked in this debate: you have one of the world's largest cast of university collections, practical experience in the restoration and a centuries-old tradition. Back in the 30s of the 19th Century there were numerous color reconstructions of ancient sculpture and architecture. Expression of this is influenced by the Göttinger classics scholars Prof. Dr. Karl Müller designed Ottfried and 1837 Hall of the University of Göttingen, inaugurated on William Square.

Contact: Dr. Daniel
Graepler
Georg-August-Universität Göttingen
Archaeological Institute and the collection of plaster casts
Telephone (0551) 39-7497
E-mail: dgraepl@gwdg.de

Good Tripod For Pro Dslr

Union fooled the voters

How blatantly the CDU is in a circle shows up when you look at the times directed their campaign posters.
where there are three people: Claudia Hunter, Frank Lortz and Oliver Quilling.

that two of the three shown there are not even on the ballot, borders on fraud to the voters out, but it definitely belonging porkies.

the voters one thing must be aware of: he crosses with the choice CDU, he chooses neither woman nor District Quilling hunters. The Union has 87 candidates on its list, but seems to only keep one good enough to make it on their poster!

Non Religious Wedding Ceremony Programs

Eugene Schönebeck in Frankfurt

from FAZ.NET, 24, 2, 2011

He came, he revolutionized the art and disappeared

Now Eugen Schönebeck back: The painter was in the sixties with his friend Baselitz to enormous picturesque force. Then he just listened to - but Baselitz was a star.

From Swantje Karich

Print send Save Previous Page short-Copy link

parts Twitter

who met him, must expect to get a new perspective on the story . Eugene Schönebeck silent for many years. His only major solo exhibition he had in 1992 in the Kestner Gesellschaft in Hannover. Whether he stayed away because of no interest for him or because he was so persistent, since opinions differ. Now he and his work are back.

He Runaway in a striking number of calls, from which he dreaded so far Sun The Frankfurt Schirn claimed for the "rediscovery", shows almost all the resulting images - some of it has destroyed itself - and forty drawings. Beck's work was beautiful but never forgotten, once seen, can not delete the images from the top hook, fixed to endure - especially because of the inconsistency. His paintings hang in major museums in Germany, although he only painted for ten years before he resigned in 1967 brush.

Eugene Schönebeck in January 2011

Eugene Schönebeck was removed in 1936 eighteen kilometers from Dresden, in Heidenau born. His parents were sympathetic to the Communists and acquiesced only reluctantly to the Nazis. In February 1945 he experienced the effects of the bombing of Dresden: "As a German soldier was lying on the highway, with a swollen belly, already half a mile away you could smell it."

His biography is available for a generation that lived through the Nazis, suffered in the war, and later to a better society through communism and hoped eventually more and more resigned. His gray hair combed back, he added, with a beard. His amber pendant, a large drop, dangling as protectively around his neck. "Detachment" says Eugene Schönebeck those career that made him become a man without corners and edges, a Buddhist without faith. Then he corrected himself, but then he got all without fear of death.

A Rose for Mao

but we look at his art and free ourselves from the legendary myth Schönebeck. Check us why he the most important artists of the twentieth Century, is one of the Figurative revolutionized. It is certain: He was the first to "the political icons as art, painted before Gerhard Richter and Andy Warhol are far ahead of iconic paintings of" Mao ".

He a photo of the dictator in the "Spiegel" edition of 18 January 1965 and found it translated into monumental painting: The Communist leader is sitting there with a confident gaze, his elbow propped casually. Instead of a cigarette shoved Schönebeck him a rose between your fingers - do not knowingly red carnation.

For this picture he reveres. And indeed it is iconic, because it reflects on Schönebeck's enthusiasm for this man and communism, the attraction of heroic images, and yet an uneasiness in the world, the people shines through in the companies. The painter, it was never happening.

informal painting as an enemy

as "Mao" was created, was Eugen Schönebeck almost at the end of his creative life. Four phases he went through a whole: the abstract phase, the gestural, figurative but already, the phase of the inspired by Bacon Crucifixion images and the final phase in which he combined the radical aesthetics of Socialist Realism, with its obstinate portrait painting.

How it all began: first working Schönebeck timidly, but soon he does open at the informal painting, which has been a debate between the artist Karl Hofer and Will Grohmann at the College of Fine Arts in West Berlin - where Schönebeck of 1955 together with his friend Georg Baselitz studied - the dominant style rose. As an abstract painting, she was led to the figurative paintings of Socialist Realism in the field.

Every gesture he filled with history

in this mood will Schönebeck, now accessible in a duo with Baselitz, his own, his contemporary form. Ten years after a terrible war, he shows atrocities. Rotting body, without being brutal head suffer from acid in a brown color, the all-decomposed Positive. Schönebeck himself claims that come in the pictures no war memories to the fore.

But hell from which these beings have free? The distorted body of a hanged man, for example - the "dead man" hanging there in 1962, warning of a steadily more smelly, not to be brought to silence trauma. The story creeps in every gesture on the canvas. The inwardness of informal other hand, looks really escapist.

escapism and commitment both

Some pictures Beautiful Becks recall in design and color of Francis Bacon, the painter whose work in 1962 was seen at the Kunsthalle Mannheim. One is reminded of Gilles Deleuze and his text of Francis Bacon "logic of sensation," his thesis on the isolation of the figure in a visual space: Eugen Schönebeck shows (almost) always have a single body, which is isolated in an (almost) monochromatic room must say. A clear narrative is broken to release the essence, the direct action force of this nature can.

As a sculptor he worked with the color of his being tortured. The background is still breathing the gestural painting, but over time more clearly. flee to the painting is a way for him to intervene before the world and at the same time continue to be able to provoke, and, as Eugene Schönebeck says, meaning even to be provoked.

conciliatory tones

in 1962 is a crack through his life and his work. It is a picturesque and biographical. Georg Baselitz and Eugen Schoenebeck, which until then denied at the Academy of Fine Arts had everything in common, even formulated a joint manifesto, broke with each other - until now. Beautiful Beck says that the couple had agreed not to talk about the incidents. But now he announced in a gentle tone to a possible reconciliation.

Currently, the artist relies on a statement that is logged in the catalog is: "From anger that had broken their oath Schönebeck only to exhibit together, turned Georg Baselitz, who was studying at the university, away from him." The break was final. The two artists go their separate ways, Baselitz is an international star, and the beautiful pool paint is only five years.

Portraiture new type

His second phase started in 1963. After the painting "The Cross" created surreal, vivid images: suddenly rings out a hysterical laugh. In each subject is a cross found in T-shape, the figures as in a vise holds. In 1964 he painted his key work "The true man." Here, too, breaks through the scene, a cross torment, the man who articulated the end of humanity.

Schönebeck's "True Man" has for the first time a source of motives vorzuweisen - and thus a direct reference to communism, David Alfaro Siqueiros monumental murals at the University in Mexico City. The road is paved - to Mao, the Socialist realism that inspires him.

large format drawings, portraits of his hero, Mao, Yevtushenko, Trotsky, Mayakovsky or Ho Chi Minh testify to this in the catalog writes curator Pamela Kort: "The result was a novel, steeped in existentialist engagement portrait painting, which in the 21 Century has not yet found a successor. "

he would now like Gerhard Richter painting?

some point was raised by Schoenbeck even the desire to put away the easel and create murals. The Mexican Diego Rivera, he remembered it. But before that happens, listen to Schönebeck 1967th Just like that? He was no longer want to be painters, but artists. Survivor? Since one needs no work. What is your last picture? There are around at home with him still a lot of unfinished pictures, and he did not remember which was the very last, says Schönebeck. Today he could not paint Sun

a lack of inner conflict? He looks like a man who meditates a lot, he devoted himself actually of Indian philosophy, an elderly man with a slight uncertainty in connection with a pleasant childish. Inevitably, we inspected the late work of Gerhard Richter in the mind, wondering how Schönebeck would now draw well: so good?

not cover painting, Beautiful Beck wrote in 1961 in conjunction with Baselitz in his manifesto "pandemonium". It reveals his unique moral claim to art. Forty years later, his art is fundamentally detached from the person who stands here in front of a Schirn. Their work remains, however - and is reflected in a unique density of the postwar period, in West and East shows that the legacy of the past is far from being sufficiently worked.

Eugene Schönebeck in the sixties in his studio

Eugene Schönebeck . 1957 to 1967. In Frankfurt's Schirn to 15 May The catalog costs € 26.80