Peter worry

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Maina-Miriam Munsky and Peter Sorge, 1971
Peter Sorge, longitudinal binder, 1966
Peter Sorge, Hot Summer I, 1967
Peter Sorge, Hot Summer II, 1967
Peter Sorge, Hot Summer III, 1967
Peter Sorge, How to bomb, 1970
Peter Sorge, Camera Obscura, 1971
Peter Sorge, The Great Games, 1972
Peter Sorge, Mr. America, 1973
Maina-Miriam Munsky and Peter Sorge, The world is full of light, 1979
Peter Sorge, Variations I, 1982
Peter Sorge, Skins, 1992
Peter Sorge, Elephant Dream, 1992
Grave of Maina-Miriam Munsky and Peter Sorge, Alter St.-Matthäus-Kirchhof Berlin

Peter Sorge (born April 14, 1937 in Berlin ; † January 17, 2000 there ) was a German painter , draftsman and graphic artist of the New Realism .

Life

Due to the war, Peter Sorge grew up in Neustrelitz in Mecklenburg-Western Pomerania . After the end of the war, the family moved to Dortmund , where Sorge graduated from high school in 1958. From 1958 to 1964 he studied art education at the University of Fine Arts in Berlin with Helmut Thoma , Mac Zimmermann and Fred Thieler .

In 1964 Sorge was one of the founding members of the Großgörschen 35 exhibition community , a producer gallery of West Berlin artists in a backyard factory floor in Schöneberg . The painters united in the Großgörschen group represented a critical artistic program, influenced by the art movement of the Dresden and Berlin Verists of the nineteen- twenties . The group included Markus Lüpertz , Karl Horst Hödicke , Ulrich Baehr , Hans Jürgen Diehl , Wolfgang Petrick , Bernd Koberling , Hans Jürgen Burgaller, Leiv Warren Donnan, Hans Georg Dornhege, Reinhard Lange and Lambert Maria Wintersberger . After four years, differences of opinion within the group led to the closure of the gallery. The artists that emerged from it split into critical realists and expressive painters.

In 1967 Sorge met the painter Maina-Miriam Munsky , whom he married three years later. Already a well-known draftsman and graphic artist in West Berlin, he was one of the most important artistic personalities in the city and has now been exhibited by the gallery owner Eva Poll , who succeeded the disbanded artist community of Großgörschen. Numerous museums bought Sorges works. Among his private collectors was the Italian film producer Carlo Ponti . In 1968, Sorge received the 2nd Burda Prize for Graphics in Munich and, in 1969, together with Gerd Winner , the Prize for Graphics from the City of Wolfsburg . In 1969, Sorge was one of the founding members of the ten nine Kunst Produktions & Vertriebs Gesellschaft mbH . At the end of the sixties, at the height of the graphic boom and the socio-critical engagement, which turned against the “exploitative art trade”, many artists took the view that one should take the distribution of one's own works into one's own hands. The artist cooperative , which also included Klaus Staeck , Peter Nagel and Dieter Asmus , lasted until 1977. In December 1972 Sorges and Munsky's son Daniel Ben was born. In the same year Sorge was one of the founding members of the Aspect group . Members of the group were Hermann Albert , Bettina von Arnim , Ulrich Baehr , Hans-Jürgen Diehl , Arwed D. Gorella , Wolfgang Petrick , Joachim Schmettau , Maina-Miriam Munsky and Klaus Vogelgesang .

Since the beginning of the seventies Peter Sorge was a member of the German Association of Artists , in whose annual exhibitions he took part a total of seventeen times between 1967 and 1985. In 1973 he was commissioned to produce several drawings for Max Willutzki's film The Long Jammer . From 1973 to 1974, Sorge illustrated Robert Crichton's novel Die Camerons , which was first published in Germany as a series in Stern magazine . From 1979, Sorge received various teaching assignments for etching technology from the Berlin Senator for Schools in teacher training. From 1980 to 1982 he was visiting professor at the HBK Braunschweig . In 1990 he became a member of the newly founded Künstleronderbund , which split off from the DKB .

Maina-Miriam Munsky died in October 1999 . Peter Sorge followed her three months later in January 2000 at the age of 62. Like Munsky, he also died of the long-term effects of his alcohol and nicotine consumption. The common grave of Peter Sorge and Maina-Miriam Munsky is located in the Old St. Matthew Cemetery in the Schöneberg district of Berlin.

Critical realism

Sorge's works can be assigned to critical realism. An art movement, also of among others Hans Platschek , Wolfgang Petrick , Don Eddy , Hans-Jürgen Diehl , Hermann Albert , Juergen Waller , John Grützke , Maina-Miriam Munsky , Siegfried Neuenhausen , Rafael Canogar , Juan Genovés , Duane Hanson and Erró was represented . Peter Sorge depicted in his pictures, drawings and lithographs with the precision of a photographic lens through cut-out and enlargement what he saw and pointed aggressively with the photomontage technique. He framed his series of pictures with rectangles, colored bars and letters. In this way, Sorge set exclamation marks, similar to the reporting in magazines. The artist juxtaposed aesthetic temptation and thoughtful reality in critical reality, was a reporter and voyeur at the same time. But in contrast to the photorealists, Sorge did not reproduce the photographic model, but portrayed it. In this way, despite all the emotional restraint, a handwriting came to light that called into question the apparent objectivity of the original. In the second half of the seventies, the dividing bars between the motifs moved into the background in favor of motif overlaps, overlaps and softer transitions.

Well-known works by Sorge are Igittigitt , 1971, pencil and color, 69 × 98 cm; Blow up II , 1972, pencil and color, 73 × 93.5 cm; Guten Appetit , 1971 Color silkscreen in black and red on smooth cardboard, edition: 500 copies, signed, numbered and dated, again dated in the print, 57 × 36 by 69 × 51 cm (see catalog raisonné of Galerie Eva Poll : Z 75 (192 )); Oh, what a kiss , 1969, two-tone lithograph in medium red and black green on light white card, edition: 70 copies; catch , 1967, two-tone lithograph in orange-red and black on light cardboard, edition: 60 copies, numbered and dated, additionally signed and dated on the stone, 40 × 30 cm by 59.5 × 42 cm, with the blue edition hand stamp of edition tangente on the reverse , Heidelberg (catalog raisonné Eva Poll: L 11); body , 1967, colored etching and aquatint on vélin, edition: 100 copies, signed, numbered, dated and titled, 23.1 × 22.7 cm by 54.3 × 37.7 cm (catalog raisonné Eva Poll: R 27); Who are the brainpolice , 1968 b / w etching on laid paper, edition: 100 copies, signed, numbered and dated, 30 × 40 cm by 38 × 64 cm, published in the portfolio "Berlin Prospect '68" (catalog raisonné Eva Poll: R 35); Klick II , 1973, b / w etching on green clay plate, handmade paper, edition: 75 copies, signed, numbered and dated, additionally signed, dated and titled on the plate; 35 × 40 cm by 53.5 × 76 cm (catalog raisonné Eva Poll: R 88).

Graphic cycles / portfolios

  • Hot Summer I-III , 1967/70, three color etchings on laid paper, 1st edition. 1967: 20 copies, é. a .; 2nd Edition. 1970: XV copies, 5 é. a.
  • Quotes on the road traffic regulations , 1970, ten drawings in the format approx. 30 × 40 cm, template for the book of the same name, ed. from Steintor Verlag, Burgdorf / Hanover Rolf Jüdes, edition: 500 copies, 50 é. a.
  • Stories or Boys and Girls , 1971, portfolio with six color and black and white etchings, ed. from Galerie Ostentor, Dortmund, edition: 50 copies, XX
  • Vorpiele , 1972, portfolio with five color and black and white etchings, ed. from Rembrandt-Verlag, Berlin, edition: 75 copies, 20 é. a.

Special works

  • 1969 James Bond Oratorio (acoustic-optical meditation on the pleasure and the glory of killing. Composer: WD Siebert), Academy of Arts in Berlin

Solo exhibitions (selection)

  • 1965 Gallery for friends of graphics, Frankfurt
  • 1965 Falazik Gallery, Bochum
  • 1966 Tobies & Silex Gallery, Cologne
  • 1966 Peter Sorge , Großgörschen 35 , Berlin
  • 1967 Kettner Gallery, Kiel
  • 1968 Sorge , Groh Gallery, Oldenburg
  • 1968 Donnan • Sorge , Galerie D. and R. Rothe, Wolfsburg (with Leiv Warren Donnan)
  • 1968 Sorge , Ostentor Gallery, Dortmund
  • 1968 Sorge , Gallery Poll , Berlin
  • 1969 Schmücking Gallery, Braunschweig
  • 1970 Gallery Poll, Berlin
  • 1970 Munsky - Sorge , Galerie Siegmund Pörtner, Sennestadt (with Maina-Miriam Munsky )
  • 1970 Munsky - Sorge , Ostentor Gallery, Dortmund (with Maina-Miriam Munsky )
  • 1970 Munsky - Sorge , exhibition pavilion, Kiel (with Maina-Miriam Munsky )
  • 1970 Peter Sorge. Graphics 1963–1970 , Mannheimer Kunstverein
  • 1971 Art History Institute, Grohningen
  • 1971 Galerie de Tor, Amsterdam
  • 1971 Sorge , Gallery Wendtorf & Swetec, Düsseldorf
  • 1971 Kunstverein, Kassel
  • 1971 concern. Graphics , Margareta Kafsack Gallery, Paderborn
  • 1972 Two Berliners , Gelsenkirchener Kunstfreunde, Gelsenkirchen (with Werner Berges )
  • 1972 Peter Sorge at Poll Berlin , Gallery Poll , Berlin
  • 1974 concern - Munsky . Art Community, Lüdenscheid (with Maina-Miriam Munsky )
  • 1974 Peter Sorge , Apex Gallery, Göttingen
  • 1975 Three Generations , Kunsthalle Nürnberg (with Christian Schad and Eberhard Schlotter )
  • 1976 Poll Gallery, Berlin
  • 1978 Goethe Institute, Paris
  • 1979 Art Association, Frechen
  • 1979 Poll Gallery, Berlin
  • 1979 Peter Sorge , Gallery Zöllner, Bremen
  • 1980 Peter Sorge. Graphics , Galerie Arkade, Berlin / GDR
  • 1980 Art Association, Ludwigshafen
  • 1984 Apex Gallery, Göttingen
  • 1985 Peter Sorge. New drawings , Gallery Poll , Berlin
  • 1987 Galerie Gering-Kulenkampff, Frankfurt (with Maina-Miriam Munsky )
  • 1987 Peter Sorge. Pictures, drawings, graphics , Staatliche Kunsthalle , Berlin
  • 1987 New Berlin Art Association , Berlin (with Joachim Schmettau )
  • 1997 For his 60th birthday , Poll Art Foundation , Berlin
  • 2001 Etchings 1964–1997 , Association for Original Etching, Munich
  • 2008 Topicality as Raw Material , Gallery Poll, Berlin
  • 2014 Early Works , Poll Art Foundation
  • 2018 Does Sex Cause Cancer? , Gallery Poll, Berlin

Group exhibitions (selection)

Works in public collections (selection)

Monographs

  • Peter worry. Catalog of works of graphics from 1963–1970 . With texts by Karl-Heinz Hartmann, Heinz Ohff , Eva and Lothar C. Poll . Galerie Eva , Berlin 1970, OCLC 74122644 .
  • Peter worry. Catalog raisonné of prints and drawings 1963–1972 . With texts by Karl-Heinz Hartmann, Heinz Ohff, Eva and Lothar C. Poll. Gallery Poll, Berlin 1972, DNB 57645902X .
  • Lothar C. Poll (Ed.): Peter Sorge. Catalog raisonné of the etchings, lithographs and hand drawings 1963–1979 . With texts by Karl-Heinz Hartmann, Heinz Ohff, Eberhard Roters , Katrin Sello , Sheldon Williams. Galerie Poll, Berlin 1979, ISBN 3-931759-08-3 .
  • Peter Sorge - New Drawings . Catalog for the exhibition of the same name in the Poll Gallery, Berlin, from February 4 to March 2, 1985. With texts by Lucius Grisebach , Heinz Ohff and Peter Sorge. Galerie Poll, Berlin 1985, OCLC 256115308 .
  • Peter worry. Pictures, drawings, graphics . Catalog for the exhibition of the same name in the Staatliche Kunsthalle, Berlin, from September 26 to October 25, 1987. With texts by Gabriele Horn, Eberhard Roters , Lucius Grisebach. Neuer Berliner Kunstverein and State Art Hall, Berlin 1987, OCLC 17757511 .
  • Lothar C. Poll, Jörg Probst (Eds.): Gall is sweet, my love. Press photography and critical realism. With an addition to the catalog raisonné of the etchings and hand drawings by Peter Sorge for the years 1979–1998 . With texts by Lothar C. Poll, Lucius Grisebach, Bernhard Stumpfhaus, Annette Schemmel and Paul Huf, and conversations by Jörg Probst with Christiane Gehner and Astrid Proll . Kerber-Verlag, Berlin / Bielefeld 2003, ISBN 3-936646-48-1 .
  • Eva , Lothar C. Poll (Ed.): Topicality as a raw material. Peter Sorge: Prints 1964–1997. Ian Colverson, Denis Masi: Berlin Suite 1971 . With a text by Anja Keitel and Lothar C. Poll. Galerie Poll, Berlin 2008, ISBN 978-3-931759-26-1 .
  • Jan Schüler , Kunststiftung Poll , Berlin (ed.): Maina-Miriam Munsky . Paint away the fear. Inventory of paintings and drawings 1964–1998 . With a foreword by Eva and Lothar C. Poll and texts by Jan Schüler, Eckhart Gillen , Lucie Schauer , Heinz Ohff . Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 , p. 12 ff.

Collective publications (selection)

Newspaper articles (selection)

  • Peter-Hans Göpfert: The evening visits painter and sculptor couples in Berlin (II). Something completely ordinary. Porn and births: at three in the morning at Sorge and Munsky. In: The evening. June 7th 1973.
  • Heidi Dürr: "ten nine" at the end. In: The time . No. 17, April 22, 1977.
  • Frank Nicolaus: Knowledge of encouragement and criticism within a shouting distance. Art series artist couples. Peter Sorge and Maina-Miriam Munsky. In: art - the art magazine . No. 9 / September 1986, pp. 76-85.
  • kai: icons of impotence in clinical settings. The works of Maina-Miriam Munsky and Peter Sorge in the Gering-Kulenkampff Gallery. In: Frankfurter Rundschau . April 9, 1987.
  • Birgit Sonna: The laboratory. Grossgörschen 35 . In: art - the art magazine. June 2014, pp. 112–113.

Web links

Commons : Peter Sorge  - collection of images, videos and audio files

Individual evidence

  1. ↑ See: Großgörschen 35 retrospective 1964/65 One year Großgörschen 35 . CG Fahle Verlag, Münster 1965.
  2. ↑ See: Eckhart J. Gillen (Hrsg.): Großgörschen 35. Departure to Berlin as a City of Art 1964 . Exhibition catalog with texts by Barbara Esch Marowski, Lothar C. Poll , Eckhard J. Gillen. Haus am Kleistpark in cooperation with the Poll Art Foundation, Berlin 2014.
  3. ↑ See: Heidi Dürr: "ten nine" at the end. In: The time . No. 17, dated April 22, 1977.
  4. ↑ See: Frank Nicolaus: Encouragement and criticism within shouting distance. Art series artist couples. Peter Sorge and Maina-Miriam Munsky. In: art - the art magazine . No. 9 / September 1986, pp. 76-85.
  5. ↑ See: Aspect big city. Exhibition catalog, Künstlerhaus Bethanien / aspect group, Berlin 1977.
  6. ↑ kuenstlerbund.de: Exhibitions since 1951 ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on March 8, 2016) @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  7. ↑ See: Lothar C. Poll (Ed.): Peter Sorge. Catalog raisonné of the etchings, lithographs and hand drawings 1963–1979. Galerie Poll , Berlin 1979, ISBN 978-3-931759-08-7 , Z 99 (8 drawings, no page number).
  8. ↑ See: Birgit Heimbach: Seeing the cold light of the world. In: See the cold light of the world. Maina-Miriam Munsky . Work 1967–1992. Exhibition catalog. Galerie Eva Poll , Berlin 2007, ISBN 978-3-931759-07-0 , pp. 8, 9.
  9. ↑ Jan Schüler : Painting away the fear. About birth, death and the change in life. In: Maina-Miriam Munsky . Paint away the fear. Inventory of paintings and drawings 1964–1998. Verlag Kettler, Bönen 2013, ISBN 978-3-86206-292-8 , pp. 36, 38.
  10. ↑ See: Lothar C. Poll (Ed.): Peter Sorge. Catalog raisonné of the etchings, lithographs and hand drawings 1963–1979. Galerie Poll , Berlin 1979, ISBN 978-3-931759-08-7 , Z 99 (8 drawings, no page number).
  11. ^ Exhibition archive of the Kunststiftung Poll , accessed on February 28, 2019
  12. ^ Exhibition archive of the Poll Gallery , accessed on February 28, 2019
  13. ↑ Works by Peter Sorge in the collection of the Neuer Berliner Kunstverein , accessed on February 28, 2019
  14. ^ Works by Peter Sorge in the collection of the Kunststiftung Poll , accessed on February 28, 2019
  15. ^ Works by Peter Sorge in the collection of the Städel Museum , accessed on February 28, 2019
  16. ^ Works by Peter Sorge in the collection of the Busch-Reisinger Museum , accessed on February 28, 2019
personal data
SURNAME Worry, peter
BRIEF DESCRIPTION German painter, draftsman and graphic artist of the New Realism
DATE OF BIRTH April 14, 1937
PLACE OF BIRTH Berlin
DATE OF DEATH January 17, 2000
Place of death Berlin