TEFAF New York: Raimund Girke
Past exhibition
Installation Views
Works
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Raimund Girke, Drehung I (Rotation I), 1970 -
Raimund Girke, Untitled, 1969
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Raimund Girke, Labiles Gleichgewicht (Unstable Weight), 1966
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Raimund Girke, Progression BR V, 1970
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Raimund Girke, Untitled, 1972
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Raimund Girke, Progression BR VII, 1970
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Raimund GirkeUntitled, 1965Tempera on canvas60 x 60 cm
23 5/8 x 23 5/8 inches -
Raimund GirkeWeißes Bild III (White Image III), 1963Mixed media on nettle70 x 70 cm
27 1/2 x 27 1/2 inches -
Raimund GirkeUnruhige Mitte (Troubled Middle), 1965Tempera on canvas60 x 60 cm
23 5/8 x 23 5/8 inches
Overview
Raimund Girke, photo by Martin Müller, Berlin
Announcing participation in this years TEFAF New York with a solo presentation of the German painter Raimund Girke (b. 1930 Lower Silesia - d. 2002 Cologne, Germany).
An influential figure of post-war German art, Raimund Girke first studied at the art school in Hanover before moving on to the Düsseldorf Art Academy with ZERO founders Otto Piene and Heinz Mack. Departing from Abstract Expressionism and initially influenced by the gestural-rhythmic abstraction of Art Informel, he became a forerunner of Analytical Painting committed to the investigation of the colour white. "White is emptiness, immateriality, calm and silence".
From 1956-7, reducing his palette to black and grey, Girke developed a painting style consisting of few colours and void of any figurative reference taking the work to the extremes of white in 1959. Brushstrokes increased in dynamism and force allowing vibration, rhythm and movement to flow through the materiality of the paint. Exploring the concepts of light, and colour his paintings are at once still and dynamic, meditative, and probing.
An influential figure of post-war German art, Raimund Girke first studied at the art school in Hanover before moving on to the Düsseldorf Art Academy with ZERO founders Otto Piene and Heinz Mack. Departing from Abstract Expressionism and initially influenced by the gestural-rhythmic abstraction of Art Informel, he became a forerunner of Analytical Painting committed to the investigation of the colour white. "White is emptiness, immateriality, calm and silence".
From 1956-7, reducing his palette to black and grey, Girke developed a painting style consisting of few colours and void of any figurative reference taking the work to the extremes of white in 1959. Brushstrokes increased in dynamism and force allowing vibration, rhythm and movement to flow through the materiality of the paint. Exploring the concepts of light, and colour his paintings are at once still and dynamic, meditative, and probing.
