Informal art

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KO Götz , 1954
France Rotar sculpture Leben am Warmen Damm, Wiesbaden, installed in 1981

Informal art ( French art informel ) or Informel for short is a collective term for the styles of abstract (in the sense of non-geometric, non-representational) art in the European post-war years, which has its origins in Paris in the 1940s and 1950s.

term

The term Informel denotes "no uniform style, but rather characterizes an artistic attitude that rejects the classical principle of form and composition as well as geometric abstraction". The "principle of formlessness" is constitutive in the "field of tension between form dissolution and form becoming". The term encompasses various abstract movements in post-war European art. According to Rolf Wedewer, it encompasses “two different modes of expression - gestural and textural”.

It was named after the art critic Michel Tapié, who coined the name art informel for a Paris exhibition in the Facchetti studio in November 1951 with the title Signifiants de l'informel . A short time later, in November 1952, the famous Tapié exhibition entitled Un art autre also took place in the Facchetti studio , in which almost all the important artists of the movement were represented. The term tachism , a term coined by the art critic Pierre Guéguen, was also common in the early days . Another synonymous term is Lyrical Abstraction , which was coined by Georges Mathieu in connection with the École de Paris 2. In the USA, Abstract Expressionism, which emerged from Surrealism, developed parallel to the Informel .

Development and characteristics

Emergence

Informel was formed in Paris as a counterpoint to geometric abstraction , which was also represented by the École de Paris . The Paris-based artists Wols , Jean Fautrier and Hans Hartung , who in turn were influenced by Wassily Kandinsky and Paul Klee , are regarded as direct pioneers of the Informel . In addition, Willi Baumeister , Ernst Wilhelm Nay , Theodor Werner and Fritz Winter are named as important stimulants of German Informel . Carl Buchheister was not just the initiator, but one of the early representatives . Claude Monet with his water lily pictures is seen as a rather indirect ancestor and initiator .

Characteristic

Informel is used as a collective term for those art forms that are based on "the non-geometric traditional line of abstract painting". Its characteristics include formlessness and spontaneity in artistic production. Color and other pictorial materials are used autonomously. The work process is not subject to rigid rules; it also follows, as in surrealism, processes of the unconscious.

“Informel is phase II of painterly abstraction in the 20th century. Informel carried out Kandinsky's will, but did not become his epigone . Informel became its metamorphosis. "

- Eugen Thiemann : 1980, Informel: Götz, Schultze, Hoehme (exhibition catalog, Museum am Ostwall, Dortmund), p. 5f.

Currents and parallels

Tachism and informal are often identified and are considered European "counterpart" to the US abstract expressionism , which in the 1940s separately developed by the European art style and the style variations of Action Painting and Color Field painting emerged (Color Field Painting); the style of the hard edge is also included in part.

Many artists of Art brut (raw art) and Outsider Art show a close relationship to the Informel .

Informel in Germany

From 1952, the Informel established itself in Germany. One of the first exhibitions to show various German informal artists was the 1952 exhibition "Quadriga" in the Frankfurter Zimmergalerie Franck. Works by Karl Otto Götz , Bernard Schultze , Otto Greis and Heinz Kreutz showed the various informal approaches, which range from a spontaneous painting gesture to fully thought-out compositions. Other Informel exhibitions followed, such as that of the ZEN 49 group .

Quadriga and the group 53 formed in Düsseldorf around Gerhard Hoehme , Winfred Gaul and Peter Brüning as well as the Düsseldorf gallery 22 of the francophile Jean-Pierre Wilhelm , who had returned from emigration , became the nucleus of German Informel.

All internationally renowned representatives of Informel and Abstract Expressionism took part in the documenta II in Kassel in 1959, which addressed art after 1945.

(German) Informel artists of international and art historical importance are Peter Brüning, Carl Buchheister, Emil Cimiotti , Karl Fred Dahmen , Hans Hartung, Gerhard Hoehme, Winfred Gaul, Bernard Schultze, Emil Schumacher , KRH Sonderborg , Fred Thieler and Hann Trier .

Artistic groups of the Informel

First German museum exhibitions

  • 1957. Städtisches Museum Wiesbaden: couleur vivante - lively color, French and German painters (April 7 to June 30, 1957).
  • 1957. Municipal gallery in the Lenbachpalais Munich: active-abstract. New painting in Germany (October 11 to November 15, 1957).
  • 1957/58. Kunsthalle Mannheim : A New Direction in Painting (November 30, 1957 to January 2, 1958).
  • 1959. Historical Museum Frankfurt : Tachism in Frankfurt: Quadriga 52. Kreutz, Götz, Greis, Schultze . (October 16 to November 7, 1959).

Representative retrospectives

  • 1996. Art of the West. German art 1945-1960 . Art exhibition of the Ruhrfestspiele Recklinghausen, Kunsthalle Recklinghausen, May 5 to July 14, 1996.
  • 1997/98. Art of Informel. German painting and sculpture after 1952 . Museum am Ostwall , Dortmund / Kunsthalle in Emden / Neue Galerie der Stadt Linz.
  • 1998/99. Focal point Informel - sources, currents, reactions . Kurpfälzisches Museum and Heidelberger Kunstverein , Heidelberg.
  • 2010. Le grand gesture! Informal and Abstract Expressionism 1946-1964 . Museum Kunstpalast , Düsseldorf, April 10 to August 1, 2010
  • 2010: In the beginning there was Informel . Special show at Art Cologne in April 2010
  • 2017: Desired freedom. Abstraction in the 1950s. Museum Giersch , Frankfurt am Main: March 19 to July 9, 2017

German galleries of the Informel

Art Informel

See also

literature

  • In the beginning there was Informel , a publication in the sediment series for the special exhibition at Art Cologne 2010.
  • Exhibition catalog: Le grand geste! Informal and abstract expressionism 1946–1964 . museum kunst palast, Düsseldorf, April 10 to August 1, 2010.
  • Tayfun Belgin (ed.): Art of Informel. Painting and sculpture after 1952 . Cologne, 1997
  • Ursula Geiger: The painters of the Quadriga. And their position in the Informel . Nuremberg 1987.
  • Nicola Carola Heuwinkel: Painting without borders. Art Informel in Germany . Kehrer Verlag, Heidelberg / Berlin 2010.
  • Informal . Series of publications by the Museum am Ostwall, Dortmund (Harenberg Edition, Dortmund)
  • Dagmar Kaiser-Strohmann: From riot to structure. Font values in Informel , exhibition catalog, Gustav-Lübcke-Museum Hamm 2008, ISBN 3-9807898-6-1
  • Gabriele Lueg: Studies on the painting of the German Informel , Diss. Aachen 1983
  • Joachim Melchers and Adam C. Oellers (eds.): Aufbruch im westen. The informal painting of the 50s and 60s in the Maas / Rhine region . B. Kühlen Verlag, Mönchengladbach 2006. ISBN 3-87448-270-7
  • Manfred de la Motte (ed.): The dignity and courage. L'art moral . Edition Nothelfer, Berlin 1991.
  • Manfred de la Motte (Ed.): Documents on the German Informel . Hennemann series No. 9, Bonn 1976.
  • Marguerite Hui Müller-Yao: The influence of the art of Chinese calligraphy on western informal painting , Diss. Bonn, Cologne 1985. ISBN 3-88375-051-4
  • Marguerite Hui Müller-Yao: Informal Painting and Chinese Calligraphy , in: Informel, Encounter and Change , (edited by Heinz Althöfer , series of publications by the Museum am Ostwall; Vol. 2), Dortmund 2002, ISBN 3-611-01062-6 PDF -Version
  • Marie-Luise Otten (Ed.): On the way to the avant-garde. Artists of group 53. Exhibition catalog. Museum der Stadt Ratingen 2003, ISBN 3-89904-079-1 .
  • Marie-Luise Otten and Willi Kemp: Impulse - Informel and Zero in the Ingrid and Willi Kemp collection . DruckVerlag Kettler, Bönen / Westphalia 2006. ISBN 3-926-538-60-0
  • Hans-Jürgen Schwalm / Ellen Schwinzer / Dirk Steimann (eds.): Informel. Drawing - plastic - painting . Kunsthalle Recklinghausen, Märkisches Museum Witten, Gustav-Lübcke-Museum Hamm, 2010.
  • Rolf Wedewer: The painting of the Informel. Loss of the world and self-assertion . Deutscher Kunstverlag, Munich, 2007. ISBN 3422065601
  • Christoph surcharge / Hans Gerke / Annette Frese (ed.): Brennpunkt Informel. Sources, currents, reactions . Cologne 1998.
  • Christoph surcharge: On the Art of Informel , in: Hans-Jürgen Schwalm, Ellen Schwinzer, Dirk Steimann (Eds.): Informel: Drawing, sculpture, painting; on the occasion of a trilogy of exhibitions on German Informel ...; Kunsthalle Recklinghausen, September 19 to November 28, 2010, Märkisches Museum Witten, September 19 to December 5, 2010, ...], Bönen 2010, pp. 9–17, 161–165.

Individual evidence

  1. ^ Christoph surcharge / Hans Gerke / Annette Frese (eds.): Brennpunkt Informel. Sources, currents, reactions . Cologne 1998, p. 6.
  2. ^ Rolf Wedewer: The painting of the Informel. Loss of the world and self-assertion . Deutscher Kunstverlag, Munich / Berlin 2007, p. 15f.
  3. ^ Rolf Wedewer: The painting of the Informel. Loss of the world and self-assertion . Deutscher Kunstverlag, Munich / Berlin 2007, p. 10.
  4. ^ Rolf Wedewer: The painting of the Informel. Loss of the world and self-assertion . Deutscher Kunstverlag, Munich / Berlin 2007, p. 97.
  5. ↑ Michel Tapié: Un art autre: où il s'agit de nouveaux dévidages du réel . Gabriel-Giraud et fils, Paris 1952 ( google.com [accessed May 19, 2020]).
  6. ^ Key Heymer: About the exhibition . In: Le grand geste! Informal and Abstract Expressionism 1946-1964 . Exhibition catalog museum kunst palast Düsseldorf. DuMont, Cologne 2010, p. 21.
  7. ^ Georges Mathieu: De la revolte a la renaissance: au-dela du tachisme. Paris: Gallimard, 1973, © 1972. [1]
  8. Jump up ↑ Georges Mathieu: D'Aristote à l'abstraction lyrique in: Oeil: magazine international d'art, 1959/52/28. [2]
  9. ^ Georges Mathieu: Les Mathieu de Mathieu . Trente ans d'abstraction lyrique. Musée Picasso, Antibes 1976.
  10. ↑ Georges Mathieu: La réponse de l'abstraction lyrique et quelques extrapolations d'ordre esthétique, éthique et métaphysique , Paris: La Table ronde, © 1975. [3]
  11. ^ Margit Rowell: La peinture, le geste, l'action: l'existentialisme en peinture . Paris, Klincksieck 1985, © 1972.
  12. ^ Christoph surcharge: On the Art of Informel , in: Hans-Jürgen Schwalm, Ellen Schwinzer, Dirk Steimann (Eds.): Informel: Drawing, sculpture, painting; on the occasion of a trilogy of exhibitions on German Informel ...; Kunsthalle Recklinghausen, September 19 to November 28, 2010, Märkisches Museum Witten, September 19 to December 5, 2010, ...], Bönen 2010, pp. 9–17, 161–165.
  13. ↑ Irving Sandler: Abstract Expressionism (Abstract expressionism, Ger.). The triumph of American painting, Herrsching Pawlak 1974. [4]
  14. ^ Will Grohmann: The non-figurative art in Germany , 1955.
  15. ^ Claudia Posca: Monet seen informally - aspects of a reception history of the German Informel . In: Heinz Althöfer (Ed.): Informel - Encounter and Change . Volume II of the publication series of the Museum am Ostwall Dortmund. Harenberg Edition, Dortmund 2002, pp. 57-73.
  16. ↑ Nicola Carola Heuwinkel: Unlimited painting. Art Informel in Germany . Kehrer Verlag, Heidelberg / Berlin 2010, p. 33.
  17. ^ Café Germany. In conversation with KO GÖTZ. Retrieved May 19, 2020 .
  18. ^ Bettina Ruhrberg / Karl Ruhrberg: In the sign of abstraction. On West German art 1945-1960 . In: Ferdinand Ullrich (Ed.): Art of the West. German art 1945-1960 . (Catalog of the art exhibition of the Ruhrfestspiele Recklinghausen 1996). Wienand Verlag, Cologne 1996, p. 18.
  19. ↑ FAZ of April 24, 2010, p. 40: In the beginning there was nothing
  20. ↑ FAZ of March 27, 2017, p. 12: The freedom of blue, white and green

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