Siegfried Rischar

Siegfried Rischar (born August 22, 1924 in Aschaffenburg ; † October 9, 2009 there ) was a German painter and graphic artist .

Life

Siegfried Rischar was born in Aschaffenburg in 1924 as the second youngest of four children. He lost his father when he was four years old. His talent for drawing was already noticed in elementary school. In the Second World War from 1941 to 1945 Rischar served in the Navy . There he led u. a. the captain's diary, which he also enriched with drawings. During the war, Rischar had the opportunity to visit the drawing school in Riga and Gotenhafen as a guest student . After the war he was taken prisoner of war. From 1948 he studied painting with Wilhelm Heise at the University of Fine Arts in Frankfurt / Main, but had to break off this course due to economic hardship and initially worked as a graphic artist and chief decorator in an Aschaffenburg department store. From 1958 he was able to realize his dream of living as a freelance painter and graphic artist. He processed the experiences of his study trips to the USA as well as to India , Canada , Alaska , Greece , Italy and Yugoslavia in many of his works, which he presented at exhibitions in New York , Montreal , New Delhi as well as in many galleries and public institutions in Germany Public presented. A large part of his work is occupied by commissioned work on and in secular and ecclesiastical buildings, facade paintings and wall friezes, which not least served to secure a livelihood for him in difficult times.

Atelier house, Grünewaldstrasse 20

Grave site in the Aschaffenburg old town cemetery

Rischar lived until the end of his life in Aschaffenburg (Strietwald) and had his studio in a studio house built by the Aschaffenburg industrialist Anton Gentil for his son, the sculptor Otto Gentil , in Grünewaldstrasse. His artistic estate is administered by the Siegfried Rischar Foundation.

plant

Siegfried Rischar was mainly perceived in the art world as a draftsman, who created fantastic allegories, from early wax crayon to pencil to colored pencil drawings, for which clear lines and a fine structure of the surface are characteristic. His work is influenced by symbolism and art nouveau in terms of both motifs and style and has developed into a personal expression of surrealism . The images were often based on literary, mythological or musical specifications and depict human bodies with meticulous precision, but only parts of the body, primarily hands, hair, teeth, and less often whole faces, grimly distorted or in unearthly beauty, and mostly embedded in landscape fragments. They are reminiscent of dream sequences or nightmares; because they radiate a subliminal threat, something demonic or disturbing. Limbs and their gestures express psychological processes and sensitivities such as aggression, fear, greed and lust. Even seemingly pure landscape painting is alienated by the fact that, for example, a giant hand stretches possessively over the hill. A socio-political accusation has been discovered in some and this has been apostrophized as “critical surrealism”. Perhaps more aptly one can recognize here an expression of highly personal obsessions and sufferings and, while renouncing the socially critical connotation, be content with the assignment to fantastic realism .

But there is also the other Rischar, whose artistic status in the professional world of the 1980s was dismissed as "painting yourself through late impressionism and expressionism". This is about compositions that do not reveal any hidden messages or phobias, but are able to express harmony and dynamics in a free play with form and color . These are works from the early and middle creative period, which, based on landscape and nature motifs, process them into color masterfully coordinated and subtly structured forms and surfaces of different degrees of abstraction and thus set standards in the border and transition area between landscape expressionism and abstract expressionism put.

Rischar's last decade of creativity linked the two strands of development and thus set new accents. The images become more colorful, the style more abstract, the statement more serious, their subject matter is both his small, personal (“Requiem for My Son” 2001) and the larger, political world (“Inferno” 2003).

Rischar's signature in the early work is the expanded monogram "S.Ri.", later more and more often with full surname, in cursive or in capital letters, and mostly with (mostly abbreviated) year dates. There are also unsigned pictures.

Pictures and friezes (selection)

"Becoming, being, passing" in the Berlin S-Bahn station Savignyplatz

In the Wadden Sea, wax scraping technique, 1960s

• 1964: In the Elbow of Sylt , created using the wax scraping technique . The landscape of the Sylt Elbow is recognizable at first glance . By changing the viewing angle and delving deeper into the picture, a lying woman with a pointed hat and white dress becomes visible.
• 1966: the white dress . It symbolizes the impotence in the case of incurable diseases and the simultaneous distance of the doctors from the patient through the representation as a headless figure with hands in a defensive position. A face can be seen in the cut neck.
• 1967: Design of the Way of the Cross in the Hessenthal pilgrimage church . To this end, Stefan Cardinal Wyszynski published an explanatory text under the title Way of the Cross of the Polish Bishops .
• 1975: The facade of the world tree in Berlin's Tiergarten district.
• 1982–1983: Die Winterreise (drawings), published in 1984 by Edition ars viva!
• 1984–1987: Wall frieze of Goethe's Faust II for the Landeszentralbank Hessen
• 1986: Facade painting Becoming, Being, Passing away in the Berlin S-Bahn station Savignyplatz
• 1986–1989: Faust II picture cycle

Honors / prizes

• 2001 Culture Prize of the City of Aschaffenburg
• 2008 Art Prize of the Lions Clubs from Munich

literature

• Dorit Marhenke: German etcher of the present . Published by the Kunsthalle Darmstadt. Athenaeum, Königstein / Ts. 1982, ISBN 3-7610-8121-9 , pp. 138f.
• Kunsthalle Jesuitenkirche Aschaffenburg (ed.): Siegfried Rischar - In the mirror of time . Aschaffenburg 2004. ISBN 3-00-014014-X

Happy Days, oil on canvas, 1990

Web links

Commons : Siegfried Rischar  - Collection of images, videos and audio files

• Rischar in the art gallery of the Jesuit church
• Talking hands (2007 at CasArte)
• Literature by and about Siegfried Rischar in the catalog of the German National Library
• Obituary DARMSTÄDTER SECESSION

Inferno 2003, oil on canvas, 2003

Individual evidence

1. ^ Siegfried Rischar. Drawings and paintings 1965 - 1984 (Museum der Stadt Aschaffenburg, ed.), 1984, with contributions by Ingrid Jenderko-Sichelschmidt, Ruth Tilliger, Jürgen Morschel, Monika M. Metzner, Eckhard Gillen, Heinz Dieckmann, Heinz Ohff, Peter H. Schiller . ISBN 3-924436-00-2 ; Siegfried Rischar. Painting and drawing 1984 - 1994 (Galerie der Stadt Aschaffenburg, ed.), 1984, with contributions by Dorit Marhenke, Dr. Günther Mahal, Dr. Brigitte Schad. ISBN 3-87707-477-4
2. ↑ "line tissue," Ingrid Jenderko Sickle Schmidt: Siegfried Rischar drawings and paintings 1965-1984 , page. 7
3. ↑ Ingrid Jenderko-Sichelschmidt: Siegfried Rischar Drawings and Paintings 1965-1984, page 7.
4. ↑ On this Günther Mahal and Brigitte Schad: Siegfried Rischar Painting Drawing 1984-1994 , Forum Aschaffenburg 1994, pages 21 and 43. ISBN 3-87707-477-4
5. ^ So the cover picture of the exhibition catalog Siegfried Rischar Drawings and Paintings 1965-1984 .
6. ^ Dorit Marhenke: Siegfried Rischar painting drawing 1984-1994 , Forum Aschaffenburg 1994, page 11; Eckhard Gillen: Siegfried Rischar drawings and paintings 1965-1984 , Museum der Stadt Aschaffenburg 1984, page 19.
7. ^ Peter H. Schiller: Siegfried Rischar drawings and paintings 1965-1984 , Museum der Stadt Aschaffenburg 1984, page 28.
8. ↑ Heinz Dieckmann and Ruth Tilliger: Siegfried Rischar drawings and paintings 1965-1984 , Museum der Stadt Aschaffenburg 1984, pages 21, 12.
9. ↑ On this characteristic Alexander Eiling : in Making van Gogh (Alexander Eiling and Felix Krämer, eds.). Hirmer Verlag, Munich 2019, page 123 (regarding Alexej von Jawlensky, Gabriele Münter), 134.
10. ↑ Christiane Ladleif: Siegfried Rischar. In the mirror of time (Jesuit Church Art Gallery, ed.) . Exhibition catalog Aschaffenburg 2004, page 29. ISBN 3-00-014014-X
11. ↑ Bild Im Ellenbogen Sylt in private ownership ( Memento of the original from February 19, 2008 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. 
12. ↑ Bild The white dress in private ownership ( Memento of the original from February 19, 2008 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. 
13. ^ Catholic working group for contemporary history issues eV, Bonn, published in 1967 in Main-Echo, Aschaffenburg.
14. ↑ Winner of the culture award of the city of Aschaffenburg ( Memento of the original from May 3, 2008 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. 
15. ↑ Art Prize 2008 of the Lions Clubs Munich ( Memento of the original from April 9, 2008 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. 
16. ↑ Art Prize 2008 of the Lions Clubs Munich  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.