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The subjective view
It is the subjective view of a viewer, the first moments when looking at a picture and the associations that arise. Experiences from one's own life resonate here. This is a valuable process, an authentic inner dialogue with the picture before information comes from outside.
In psychology, this effect is called “transference.” It is the personal truth of an observer, given by subjective life experiences.
The artist creates his works from within himself, from what he has experienced and where he is at the moment of creation. He uses his technique to help him do this and puts it on the content like a dress. Almost all works of art, even the abstract ones, therefore contain an emotional mood that is sometimes only hinted at very faintly and that can reach us as viewers.
My personal experience of “transference” that I had with two paintings by Vincent van Gogh and that made a lasting impression on me are “Still Life with a Pair of Old Shoes” and “Empty Chair with Pipe and Tobacco”.
In both paintings I felt the presence of the painter. And in the case of the painting "Empty Chair with Pipe and Tobacco", the loneliness of the painter was particularly strong.
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A girl looks through the letter slot of a door. The light falls over her lost profile and bathes the scene in a mysterious light. It focuses on the intimate scene and creates strong shadows. The rest of the picture space remains diffuse, because it is a memory section of my childhood.
There was a household in the neighborhood that was inaccessible and at the same time so completely different and alien compared to my own - another world. Fascinated by my imagination and curious about this parallel world, I tried to catch a glimpse. What I saw remains hidden from the viewer. Perhaps that is why there is tension in the air. This is about the moment of doing and the experience of seeing another world.
The complementary contrast
At the beginning of the last century, Johannes Itten defined seven contrasts in vision, including complementary contrast and simultaneous contrast. Contrasts that particularly preoccupied the painters of classical modernism. They all wanted to get out of the academic stuffiness and into the light, to paint freely and to reflect the atmosphere in the air and in the landscape in their pictures.
The Pointillists or Neo-Impressionists, especially Georges Seurat and Paul Signac, also incorporated their painting technique into an analytical system and a structured approach, and thus created, among other things, the "optical mixture" of colors on the canvas, in which two primary or secondary colors were placed next to each other in a clearly defined manner. This dotted surface only produced a new mixed color or a new shade in the eye of the viewer, hence "optical mixture."
In Vincent van Gogh's letters to his brother Theo, Vincent raved about the effect of complementary colors. However, not in a dissolving grid within a picture, but in larger, juxtaposed areas of color and also in the "decoration" of his pictures, as Vincent called it, the motifs should hang next to each other in complementary colors.
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The Complementary Grid
I use complementary contrast differently in my painting, by setting a line grid of two complementary colors that create a new color in the eye of the viewer through "optical mixing." Johannes Itten knew that mixing complementary colors on the palette always results in a warm gray. But what emerges from an optical mix is a strong flickering of this complementary grid, which seems to dissolve the surface and makes it appear atmospheric and intangible. This, in combination with realistic painting, creates a new expression for me, such as in the work 'Other World' from 2017 or in the small, seven-part homage to Paul Cézanne 'Paul's Apples' (show) . Here I formally take up Paul Cézanne's apple still life and implement it in my complementary color painting. I love Paul Cézanne's paintings and admire that he became one of the pioneers of modern painting by painting apples.
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29.00 €
Finest photorealism meets complementary raster technology.
The motif is available as a brilliant and high-quality art print on a finely structured canvas. The canvas is stretched over a handmade wooden frame with a thickness of 2 cm. Special UV-resistant ink prevents the original colors from fading over time. Solvent-free and therefore absolutely safe for children and allergy sufferers. The art print is made in Germany.
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Have fun discovering!
Your painter,
Klaus
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