Günther Roeder (painter)

from Wikipedia, the free encyclopedia
Günther Roeder 2014

Günther Roeder (born March 15, 1946 in Oppdal , Norway; † May 6, 2015 in Marseille ) was a German painter , court draftsman and caricaturist .

Life

Günther Roeder was born in 1946 in Oppdal, Norway, in a prisoner-of-war camp, where his German parents married while interned in England. He grew up in Bremen and studied from 1964 to 1966 at the State Art School Bremen (today Hochschule für Künste Bremen ) and from 1966 to 1970 free painting at the Hochschule für Bildende Künste Hamburg , a. a. with Paul Wunderlich . During his studies he began to work as a draftsman and caricaturist for various newspapers and magazines and founded the “Blinde Kuh” gallery in Abendrothsweg in Hamburg. In 1974 Günther Roeder returned to Bremen, completed his art studies and took on teaching positions at the Bremen University of Design and the University of Bremen from 1976 to 1982 .

In addition to free painting, Roeder worked as a graphic artist for various agencies, as a draftsman and caricaturist (among others for the satirical magazine pardon and the magazine concrete ), as a book illustrator and as a court draftsman for numerous newspapers and television stations. In 1985 he moved to Berlin with his partner, the painter Margret Storck from Bremen, four years later the two artists moved to Provence / southern France. From 1993 Roeder lived again in Germany (Düsseldorf). On May 6, 2015, he died of a stroke in Marseille while preparing for his exhibition in the “Sixtrace” series in Sablet / Provence.

Works

In his solo exhibitions in the gallery CRESC (1976) and in the "Galerie Gruppe Grün" (1980) in Bremen as well as in exhibition participations in Krakow (1976), Bremen and Knokke (1977), Osnabrück and Münster (1978) and Hamburg (1979) Günther Roeder mainly showed pictures, graphics and drawings. In 1976 he was commissioned by the Senator for Science and Art in Bremen to design the back wall of the filter house of the Peters Werden stadium pool as art in public space with the mural “The Water Diver” .

Both the mural and the works exhibited during these years show Roeder as a critical realist who met reality with solid craftsmanship and the means of irony and questioned it without caricaturing. “(...) critical distance is combined with a symbolic impact. There is also a certain eccentricity. The sheets arouse interest and encourage reflection. ”In Vegesack near Bremen, Roeder showed graphics of politicians and the big names in show business“ very sharply, stripping them of the pose and thus often getting to the core of the personalities. ”

The mural in the stadium pool was the subject of lively debates in the district council in 1976 because they wanted a “less complicated, generally more understandable picture” than “The Diver”.

Günther Roeder's second exhibition in the renowned producers' gallery “Gruppe Grün” marks a change of direction: “The pictures, drawings and objects presented now identify him as an artist who mentally deals with the problems of form in a pictorial reality that has been reduced to symbolism and whose work is a consciously demonstrative one Have character. (...) The return to the concrete prerequisites of artistic design is also the starting point for Roeder's current work, which leaves room for the artist to retreat to the material value of the object as well as for individual gestures in a freely designed form. "

Herbert Albrecht describes the same development in the exhibition catalog “Bremer Künstler in der Kommunale Galerie / Graphothek” 1984 about Roeder: “The more recent works, on the other hand, show him in a way that completely excludes the world of objects (apart from certain allusions to constructivist tendencies) and the pictorial action , to which painterly performance takes first place. "

In the mid-1990s, Roeder again referred to the stylistic devices of critical realism in his early works and increasingly worked with his special talent for portraiture. Large-format oil paintings and a series of portraits are created. a. In 2005 in an exhibition entitled “The wounds of the past” in the Niepel Gallery in Düsseldorf, shows: “Streaks, scars, bulges - the wounds of the past are visible on the faces. The women and men who Günther Roeder captures in oil on canvas are unmistakable. Not only because the 59-year-old painter gives each portrait a name. Due to the elimination of anonymity, the small formats in particular are almost reminiscent of profile pictures. For a long time, portraits were frowned upon, as critics often labeled them as commissioned art. Roeder freed himself from this prejudice and created a series of expressive, almost expressionist portraits. In the facial expressions and on the skin, the cheerfulness and worries of the people who modeled him are reflected. Although the faces are similar at first glance due to the red background into which Roeder dips the likeness, it quickly becomes clear from close up: none / none is the same: The design is the same: the waxy surface lifts them Individuality again. (...) The naturalistic nude paintings, especially by women, are unmistakable. Splinter-naked, life-size, they stand in a gray-blue cosmos of colors. The only reddish splash of color is a ten-euro note that women gnaw on with their teeth. The fact that they almost devour the bank note suggests the professional origin of these ladies. Are these models actually selling their bodies? The gallerist's politeness remains silent about this: if it were so, Roeder would at least be in the best tradition of French Impressionists and German Expressionists. Anxiety spreads in some large formats with portraits of men. Hands protrude from the lower edge of the picture, lie on the nose, mouth and ears and thus cover part of the face. 'Self-feeling' is the title of this three-part series. In terms of taste, the act of a man's abdomen urinating is of course close to the limit. It is certainly well painted. The question remains whether Roeder wants to do more than provoke. (MGM) "

Solo exhibitions

  • 1976 CRESC Gallery, Bremen
  • 1980 Galerie Gruppe Grün, Bremen
  • 1998 Markus Reetz Gallery, Düsseldorf
  • 1999 Exiost Gallery, Düsseldorf
  • 2000 Markus Reetz Gallery, Düsseldorf
  • 2001 Galerie Markus Reetz, Düsseldorf
  • 2003 Art * Plus Gallery, Düsseldorf
  • 2005 Galerie Niepel near Morawitz, Düsseldorf
  • 2007 Reinmetall, Düsseldorf
  • 2010 Fire & Ice, Düsseldorf
  • 2012 Biribum Gallery, Düsseldorf
  • 2015 Sixtrace, Sablet / France
  • 2017 Reinmetall, Düsseldorf

Participation in exhibitions

  • 1976 Cracow
  • 1977 Galerie Gruppe Grün, Bremen
  • 1977 Knokke
  • 1978 Osnabrück
  • 1978 Schnake Gallery, Münster
  • 1979 Die Wand Gallery, Hamburg
  • 1991 Galerie Vier, Berlin (together with Margret Storck)

Publications

  • Armand Olivennes : Petits cubes pour benjamin. Poemes. Illustrations by Günther Roeder. Edition Soleil Natal, 1993. ISBN 978-2-905270-56-6
  • Armand Olivennes: Adam et Adam ensemble exilés / Adam and Adam banished together . Translation: Rüdiger Fischer. Illustrations: Günther Roeder. Verlag im Wald, Rimbach 1995. ISBN 3-929208-15-6
  • Herbert Albrecht: Bremen artist in the communal gallery / graphic library. Acquisitions 1974–1984. Exhibition catalog, Bremen 1984.
  • Kurt Morawietz (Ed.): The listen . Journal for literature, art and criticism, Volume 144. Corpses from the typewriter - aspects of German crime literature, compiled by DP Meier-Lenz with drawings by Günther Roeder. Wirtschaftsverlag NW, Bremerhaven 1986.
  • Kurt Morawietz (Ed.): The listen . Journal for Literature, Art and Criticism, Volume 165. With drawings by WP Eberhard Eggers and Günther Roeder. Wirtschaftsverlag NW, Bremerhaven 1992. ISSN  0018-4942
  • Peter K. Kirchhof (ed.): The listen . Journal for Literature, Art and Criticism, Volume 177. Fun doesn't need cabaret in Germany. With pen drawings by Günther Roeder. Wirtschaftsverlag NW, Bremerhaven 1995. ISSN  0018-4942

literature

Web links

Individual evidence

  1. ↑ Armand Olivennes, Petits cubes pour benjamin. Poemes. Illustrations by Günther Roeder. Edition Soleil natal 2016. ISBN 978-2-905270-56-6
  2. ↑ mz-web.de
  3. ↑ Bernhard Gervink: Article. In: Westfälische Nachrichten , 1978; about the exhibition in the Schnake Gallery in Münster.
  4. ^ Detlef Wolf, Weserkurier Bremen, April 22, 1976.
  5. ^ Bremer Nachrichten , August 12, 1976.
  6. ^ Gerhard Heiderich, Weserkurier 1980.
  7. ↑ Herbert Albrecht, Bremen artist in the communal gallery / graphic library. Acquisitions 1974–1984. Exhibition catalog, Bremen 1984.
  8. ^ NRZ Kultur, Düsseldorf, February 4, 2005.
personal data
SURNAME Roeder, Günther
BRIEF DESCRIPTION German painter, court draftsman and caricaturist
DATE OF BIRTH March 15, 1946
PLACE OF BIRTH Oppdal , Norway
DATE OF DEATH May 6, 2015
Place of death Marseille