Peasant painting
The folk art is a folk-historicizing non-academic form of painting, the motives of the regional peasant paintings are borrowed.
Peasant painting is nowadays associated with certain motifs that are predominantly associated with the alpine region. With it, with a below-average reference to the spatial and art-historical context, traditional rural motifs for decorating furniture, utensils and folk articles are modeled. It can be found both as a hobby painting for leisure activities and to decorate the personal environment as well as professional painting in the folkloric-commercial area. Art encyclopedias usually do not devote their own contribution to the term peasant painting. The Lexikon der Kunst from Seemann Verlag, for example, deals with the subject under the article "Furniture painting".
Peasant painting as a hobby painting
The style of peasant painting has been used by amateur painters since the second half of the 20th century to decorate furniture and manufacture decorative items with a peasant flair, with regional motifs being of less importance. The trade offers a wide range of corresponding articles, from motif templates, stencils and instruction books to wooden small items as a motif carrier and colors for special effects ( antiquing , crackling ). The canon of motifs in the books on the subject is largely limited to the Alpine and Hungarian-Slavonic areas.
Peasant painting as folk-commercial painting
The transitions from peasant painting to peasant painting and from this to kitsch are not easy to distinguish. In regions that are known for a distinctive form of peasant painting, a semi-industrialized form of peasant painting developed early on. H. the transition between peasant painting and commercial peasant painting (in which painter and customer do not know each other) took place smoothly. In Upper Bavaria, a farm furniture industry developed in the area around Bad Tölz as early as the middle of the 19th century , as the folk art promoted by King Max II (1811–1864) to strengthen national identity was accompanied by the so-called "Tölzer Kästen" (cupboards) The typical ball rose motifs or depictions of saints quickly enjoyed great popularity outside of the Upper Bavarian region. The clock production in the Black Forest with the well-known colorful clock faces can also be classified here or potteries that still produce traditional forms of use today and decorate them with traditional motifs.
Although these pieces are outside the temporal and social context of their role models, they are of high quality and the personal nuances of the person performing the work are recognizable.
Peasant painting and tourist mass-produced goods
In order to meet the tourist demand for (supposedly) typical local goods, traditional motifs are also adapted to other objects, i.e. H. Objects of the most varied kinds are decorated with motifs typical of the region, the motifs being adapted to the objects to be decorated and to fashions. The production usually takes place in a division of labor, often with templates, so that there is no longer any assignment to a single person performing the work. - Example milk jug : Milk jugs decorated with lush flower motifs or alpine panoramas are very popular as umbrella stands - farmers in the past would not have wasted expensive paint on the agricultural object of a milk jug.
Finally, the most extreme form is the painting of a wide variety of objects with pseudoregional-typical motifs under the guise of peasant painting, which, however, correspond to the ideas of the potential buyers, for example cowbells with a floral Alpine landscape. The metal blank here is industrial mass-produced goods from the Far East, the painting is applied with stencils or as a decal , the whole thing is ultimately provided with the slogan "Greetings from Germany" and sold in Rüdesheim am Rhein . The term peasant painting is out of place here, but many of their owners regard such objects as objects with peasant painting, as these often come on the market with the addition of “hand-painted” - hand-painted are only a few quickly dabbed highlights .
literature
- Josef Heinrich Baum: jewelry techniques and colored furniture painting. VEB Fachbuchverlag, Leipzig 1961.
- Elfriede Breinersdorfer: Peasant painting. Book and Time, Cologne 1978.
- Rosi Fey: Peasant Painting. English publishing house, Wiesbaden 1995 (3).
- Konrad Paul Liessmann: Kitsch! Or why the bad taste is actually the good one. Brandstätter, Vienna 2002.
- Kurt Schönberger: Peasant painting: from beginner to expert. Droemer-Knaur Munich 1978.
- Brockhaus, Volume 2. 19th edition, Mannheim 1987, ISBN 3-7653-1102-2 , p. 645, article Bauernmalerei .
Web links
Individual evidence
- ↑ Lexicon of Art (edited from 1987) - Architecture - Fine Arts - Applied Art - Industrial Design - Art Theory, Volume I, A -Chiem. 2004, ISBN 3-86502-084-4 , entry "Bauernmalerei" with reference to the article "Möbelmalerei", Volume IV.
- ↑ Lexicon of Art (edited from 1987) - Architecture - Fine Arts - Applied Art - Industrial Design - Art Theory, Volume IV, Kony-Mosa. 2004, ISBN 3-86502-084-4 , pp. 779 f. Article "Furniture painting"