Socket, Oil / HF, 165x167cm. The description of this item has been automatically translated. Garbage dump of history I version. Picking up the painting would make the most sense!
We look after the artistic estate. Rudolf Voigt (Leipzig 1925 - Leipzig 2007). Rudolf Voigt (1925 Leipzig-2007 Leipzig), who completed the training of his artistic skills in the form of private studies with Elisabeth Voigt and Max Schwimmer in 1949, left behind an extensive work as a draftsman, graphic artist and painter spanning decades.
As a curious person, he tried out many things, not only with regard to the subject of his work, but also in relation to the diversity of the techniques he used. So we find meticulously painted pictures down to the smallest detail, pasty paintings, large colored picture collages made from specially selected pieces of wallpaper and still lifes, the grounding of which was mixed with fine sand so that an almost tangible surface was created. The great interest and joy in the manual side of artistic work shows the range of technical possibilities that this artist had at his disposal.
The obvious joy in trying out unusual approaches for his image composition is probably due not only to his talent but also to the choice of his life's profession. Rudolf Voigt worked as an art teacher almost all his life. From the wealth of his work, which, in addition to the pictures, also includes the large number of drawings, which are often related to the paintings as studies or preliminary work, and quite a few prints, the viewer encounters an unusually interested person. Open, at the same time affected and depressed, he faces the problems of the present in the world, painfully sees the abuse that contemporaries are making with natural resources, creates pairs of pictures that have the present and the conceivable future related to them as their subject. In other works he tries to depict the desperation of individuals faced with the inescapable tension between dark forces that hide behind grim masks, he strives to find an image for the condition of people in eastern Germany since 1989, the high-flying and soon disappointed expectations merges with the merciless reality and knows about the inability to intervene as an artist.His power ends with the completion of the picture and now it is up to the viewer and his ability to experience, his will to get involved with pictures and his sensitivity to be able to receive picture signals. It is precisely here that Rudolf Voigt begins to use bizarre elements in order to tear the viewer out of the routine of the image recordings through exaggeration, intentional reshaping of proportions, and breaking of usual perspectives. In his design, classic realistic features can be found as well as new objective or surrealistic echoes. His own handwriting, on the other hand, is hidden; it remains to be assumed that this was not his primary concern. His works should be understood as communication. If the viewer is still looking for peculiarities, then he will discover a love of storytelling and a passion for the bizarre and very soon come across the artist's "foolish traits": colorfulness of life, cheerful serenity, coarse humor, happy goings-on, macabre oddities, the unusual, mischievousness - Rudolf Voigt a fabulous narrator. COLORFUL LIFE - WHO IS RUDOLF VOIGT? A question that is often asked of gallery owner Bodo W. Hellmann from Galerie Fine Art. So far, one has had to go a little further in order to present the importance of Rudolf Voigt in the Leipzig art scene.
Because, during his lifetime (1925 to 2007), Voigt did not have to market himself, as one would probably describe it today. But to put it another way, he was very fortunate to be financially independent, because the Leipzig artist worked as an art teacher. A small drop of bitterness remains, however.
Unfortunately, Rudolf Voigt does not have his works, and many of them are exhibited often enough in Leipzig or elsewhere. For this reason, his name as an artist is only known to those in the know. Hellmann would now like to change this and make it known to a wide audience by writing this artist monograph and further exhibitions of his works.
Rudolf Voigt, who completed the training of his artistic skills in the form of private studies with Elisabeth Voigt and Max Schwimmer in 1949, left behind decades of extensive work as a draftsman, graphic artist and painter. So we find meticulously painted pictures down to the smallest detail, pasty paintings, large colored picture collages from specially selected pieces of wallpaper and still lifes. Their primer was mixed with fine sand so that an almost tangible surface originated. The great interest and joy in the manual side of artistic work shows the fantastic range that this artist had in terms of technical possibilities.
From the wealth of his work, which, in addition to the pictures, also includes the large number of drawings, studies or preliminary works for the paintings, and quite a few prints that must be named, the viewer encounters an unusually interested person. In other works he tries to express despair. Rudolf Voigt knows about the artist's inability to intervene. His power ends with the completion of the picture.
Now it is up to the viewer and his or her ability to experience, leaving it up to his or her will to engage in images and to his or her sensibility to be able to receive image signals. We ask for your attention. The item is subject to differential taxation. Please ask any questions beforehand and do not hesitate to write to us!The great interest and joy in the manual side of artistic work shows the range of technical possi. This item is in the category "Art\Paintings". The seller is "hellmann-fineart" and is located in this country: DE. This item can be shipped to all countries in Europe.