Heinrich Siepmann - B 23 / 1996, 1996

Oil on canvas

100 x 70 cm / framed 111 x 80 cm
39 x 27 inch / framed 43 x 31 inch

Monogrammed, dated top left "S 96",
Monogrammed, dated bottom left "S 96"
Labelled verso on stretcher frame by artist
"h. Siepmann Mülheim a.d. Ruhr B23/96 100 x 70"
Cat. Rais. Ulrich No. 1162

N 9251

6,800 €

About the work

In his concrete-constructive works Heinrich Siepmann explores the various tonal values of colour, and in particular the mutual interaction of the pictorial spaces. The transitions between the individual geometric forms are instrumental in determining the expressive character of his lyrically inflected works. Despite the meticulous precision in the compositional arrangement, subtle, but discernible irregularities remain in the execution of the individual forms. Whilst appearing purely constructive in compositional terms, these detailed irregularities lying at the intersection of the individual forms generate a certain tension. The juxtaposition of inexactitudes in the representation of regular shapes, reveals a basic principle of nature: the universal dichotomy between order and chaos. An enquiring artist, Heinrich Siepmann was permanently on a quest. On the one hand, his compositions display his predilection for essentially pictorial themes such as structure, light and transparency, rhythm and dynamics. Yet by the same token, such content can be also read as transcendent to, and extending far beyond, the actual work itself - underscoring that Siepmann was indeed pre-occupied with the fundamental themes of human existence.
(Andrea Fink-Belgin)

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 23 / 1996, 1996, 100 x 70 cm / framed 111 x 80 cm, N 9251
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