Heinrich Siepmann - B 06 / 1981, 1981

Oil on canvas

55 x 35 cm / framed 59 x 36 cm
21 x 13 inch / framed 23 x 14 inch

Signed and dated bottom right "Siepmann 81"

- in a studio frame -

N 9245

4,300 €

Provenance:

Nachlass des Künstlers

Catalogue raisonné:

Ferdinand Ullrich, Heinrich Siepmann Monografie, Werkverzeichnis der Gemälde, Kerber Verlag 1999, Nr 731 mit Abbildung

Exhibitions:

Coesfeld, Städtische Turmgalerie, Heinrich Siepmann, Ölbilder, Collagen, Seriegraphien, 1981

Mülheim an der Ruhr, Galerie Slominsky, Heinrich Siepmann, Bilder-Collagen, 1981

Hagen, Galerie oben, Ölbilder-Collagen-.Seriegraphien, 1982
Ahlen, Fritz-Winter-Haus, Heinrich Siepmann - Ölbilder, Collagen, Graphik der achtziger Jahre, 1990

Ahlen, Fritz-Winter-Haus, Heirich Siepmann - Gemälde, Collagen, Graphik, 1997

Dissen/Ammersee, Fritz-Winter-Atelier, Heinrich Siepmann - Gemälde, Collagen, Grahik, 1997

Essen, Galerie Neher, Essen, Frühjahr 2022, Kunst aus dem 20. Jahrhundert, Katalog mit farbiger Abbildung Seite 611

About the work

One finds various borrowings from the French avant garde in the early work of the artist. The art of Heinrich Siepmann developed from the influences of Cubism, but informal structures also play a role in his creative process. One can still even see borrowings from these early influences in his late work.
In this painting from 1981, the verticals are emphasised by slender rectangles. A stair-like composition, descending from left to right and accented by black elements, results in an extremely dynamic and tension-filled composition. The artist is successful in further intensifying this already charged basic composition through the red accents within the black areas. Pronounced here is the gentle rhythmising of the individual areas, which besides those in shades of black, are placed reservedly and sensitively in white, light yellow and light grey.
The work of the artist, who died in the place of his birth, Mülheim on the Ruhr, in 2002, is strongly oriented to the fundamental effects of our environment: of the verticals and the horizontals. Everything is based on these two directions. Siepmann’s art deals precisely with these elements, which fundamentally define our existence. Thus, he was continually less interested as of the 1960s in the representation of the lived environment than in the exploration of that which lies behind this diverse world. The artist fathoms enduring experiences in a constantly changing world. It is also this that makes the art of Heinrich Siepmann timelessly contemporary.

Text authored and provided by Dr Andrea Fink, art historian

The art historian, curator and freelance publicist Andrea Fink studied art history, cultural studies and humanities, modern history and philosophy in Bochum and Vienna. Doctorate in 2007 on the work of the Scottish artist Ian Hamilton Finlay. As a freelance curator and art consultant, her clients include, among others, the Kunstverein (art association) Ahlen, Kunstverein Soest, Wella Museum, Museum am Ostwall Dortmund, ThyssenKrupp AG, Kulturstiftung Ruhr, Osthaus Museum Hagen, Franz Haniel GmbH, Kunsthalle Krems, Austria.

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Heinrich Siepmann, B 06 / 1981, 1981, 55 x 35 cm / framed 59 x 36 cm, N 9245
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