Since his student days, Kuno Gonschior experimented with various colour pigments and substances, including, alongside oils and acrylic, egg-yoke, wax and subsequently even gel. The painter also varied the ground or, as in the painting featured here, used the untreated reverse side of a white primed canvas. During this time, Gonschior's voluminous colours were perceived no longer merely as an optical phenomenon, but as a material substance: "The enhanced haptic quality (...) of Gonschior's paintings in the 1980s marked a departure from "austere and analytical quality of earlier periods towards a new kind of emotionality and associative openness". (Manfred Schneckenburger: Ein Analytiker als Peintre Pur. In: Kuno Gonschior. exh-cat. Märkisches Museum Witten, 2000, 8)
In 2008, the painter himself remarked in retrospect: "Previously, I used to theorize deeply on how a painting should be and set about creating it with corresponding rigour. Then from a certain point onwards, possibly around 15 years ago, I decided to abandon all theoretical considerations and paint how I like to. From my gut - vital and forceful. I forgot all my theory and simply started painting, and in this way transitioned into a state of intoxication. That wasn't the case before."
Yellow, as Gonschior freely admits, is his favourite colour, with which he associated light, sun and warmth, and which put him in a positive frame of mind: "Obviously many of my collectors who own yellow paintings feel the same way. I sell the paintings to men over 50. I have sold around 70 yellow paintings, at least half, if not more, to elderly men. They spend the winter with the picture, and when they move into another room for any length of time they take it with them. "
(Both quotes from: "Die Farbe hebt mich. Kuno Gonschior im Gespräch mit Walter Smerling", in: exh-cat. Kuno Gonschior. Nur für Dich und mich, MKM Museum Küppersmühle for Modern Art, 2008, 27, 23)
Subscribe to our newsletter and/or news on selected artists!