Body colour – colour body

In the exhibition embodying colour you will find three-dimensional, coloured Works which, however, originate from very different traditions. During sculptural works with colored version already in the antiquity and since then quite constant, painting that opens up space is a newer form of art. Phenomenon.

The problem of color in sculpture is a very old one – just think of the famous portrait bust of the Egyptian pharaoh’s wife Nefertiti (14th century) B.C.). Even though it was made of colored plastics and the corresponding casting process coloured objects in the substance, is valid in general, that the color of the mold was applied. The form can already be applied in the necessary colour to be added, by making its effect is intended and thought about from the outset. It is not an essential difference, whether a late-Gothic wooden figure in protracted manual labor is a or whether industrially produced objects also receive a coloured version. industrial processes such as anodising or enamelling. Body were given their body colour by means of painting. Colour is added to the form, what may have significant repercussions on them.

Three-dimensional art was colored at almost all times. Today we know that even the longest time was merely considered to be exclusively stoneclear. sculptures and reliefs of antiquity by no means only the most dazzling of all. white marble, but often a not always always only a very restrained chromaticity, which was due to a long habit of vision is just getting used to again today. The same astonishment results, if the water has been washed out and excessively cleaned as a result of the weather Portal Sculptures of the Middle Ages – Viewers Familiar with a Computer Simulation of the original condition on the basis of recent findings. The Middle Ages, the Baroque and the Rococo the colored sculpture was a matter of course, and even the renaissance that followed antiquity cultivated it. The reason for the temporary preference for uncoloured pictures, for instance in the decades around 1800, should be the most important element in the ideologically postulated basic opposition of Idea. and imitation, i.e. from the distinction between ideal art and banal nature to the or in general, as opposed to being and appearing. Were there figures as carriers of a truth that can be generalized, then undefined, thus colored, especially naturalistic figures had to be used as competitors for the to nature and thus to be regarded as superfluous and banal, in the extreme at best good for the brief amazement in the popular wax museum. The basic prerequisite for this was, on the one hand, a representational representation of how it has been practiced unquestioningly over centuries and how it has been of course, it still exists today, and on the other hand, it is important to have the best possible full plastic representation that shares the same existential space with the viewer.

In the modern age, the old division of labour between the carver and the the work of the barrel or ornamental painter, but rather the artists of the 20th century. Both were usually in one person, regardless of whether or not they were a sculptor using paint or a painter penetrating into the third dimension.

Since the abandonment of figurative representation, art, especially three-dimensional art, has had no fear of colour. Since the second decade of the 20th century, at the latest, there have been clearly geometrically influenced sculptures in both Western and Eastern Europe, for which the terms, some of which were coined only later, have concrete and constructive validity. Since the 1960s, however, the appearance of concrete art has expanded considerably – not only, but especially in the field of three-dimensional design – especially as a result of the experience of American Minimal Art. Minimal Art made use of some pictorial strategies that are quite similar to those of concrete art in Europe, e.g. precise, mostly geometric forms, simple mathematical operations and a-compositional structure formations as well as colourings without recognizable traces of manual activity. The resulting novel works were soon referred to as Specific Objects. These objects intended and provided a categorical viewer activation that did not make traditional concrete art possible to this extent and also did not strive for it. She was interested in the exploitation of pictorial possibilities, beyond representation or abstraction, purely by means of concrete means of design (surface, colour, space), as well as their cerebral reproduction. Minimal Art and the currents that can be derived from it, on the other hand, were more concerned with opening up new possibilities of experience for the viewer.