Franz Gertsch—Rüschegg

Landmarks of Swiss Art

Rüschegg: Turning-point in choice of motif and medium in the oeuvre of this master of photorealism

 

Title Information

Angelika Affentranger-Kirchrath

1st edition

, 2020

Text English and German

Hardback

96 pages, 45 color and 3 b/w illustrations

21.5 x 25 cm

ISBN 978-3-85881-663-4

Content

Swiss artist Franz Gertsch, born 1930, is one of the most important exponents of photorealism worldwide. Yet unlike many of his fellow artists, he takes liberties when translating a photograph into one of his large-format paintings or prints, thus animating his depictions of human faces or landscapes.

Rüschegg, created in 1988, represents a landmark in Gertsch’s oeuvre. It is both his first attempt in woodcut for a landscape, and his first large-format work in that genre. Abandoning painting for nearly a decade as of 1986, he developed a special woodcut technique. Having worked in portraiture almost exclusively for many years, Gertsch now begins his exploration of nature.

Starting from a view of his garden in the Swiss village of Rüschegg, Gertsch singles out some of its elements, such as a footpath, rocks, shrubs and trees, grass and leaves, taking them as individual motifs first for woodcuts and later for monumental “portraits” of such pieces of nature. Thus, Rüschegg also stands for Gertsch’s movement away from the representation of humans to that of nature, just as it links his later work with the landscape studies of his early years.

 

Angelika Affentranger-Kirchrath lives and works in Zurich as a freelance publicist, critic, and curator.

 

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Cover

Selbstbildnis, 1980, Acryl auf ungrundierter Baumwolle, 257 × 391 cm

Johanna I, 1983/1984, Acryl auf ungrundierter Baumwolle, 330 × 340 cm, Museum Franz Gertsch, Burgdorf (Dauerleihgabe aus Privatbesitz)

Natascha IV, 1987/88, Holzschnitt, 232.5 x 182 cm, 3 Platten, Handabzug auf Kumohadamashi- Japanpapier von Heizaburo Iwano, 276 × 217 cm, orangegelb. Druck: 1/18

Natascha IV, 1987/88, Holzschnitt, 232.5 x 182 cm, 3 Platten, Handabzug auf Kumohadamashi-Japanpapier von Heizaburo Iwano, 276 x 217 cm, blau (Blaue Serie, Blau-Verdunkelung 7. Stadium), Druck: 15/18

Natascha IV, 1987/88, Holzschnitt, 232.5 x 182 cm, 3 Platten, Handabzug auf Kumohadamashi-Japanpapier von Heizaburo Iwano, 276 × 217 cm, grün, Druck: 8/18, Schweizerische Eidgenossenschaft, Bundesamt für Kultur (Dauerleihgabe / permanent loan Kunsthaus Zürich)

Dominique, 1988, Holzschnitt, 234 x 181 cm, 1 Platte, Handabzug auf Kumohadamashi- Japanpapier von Heizaburo Iwano, 276 × 217 cm, lila, Druck: 1/18, Sammlung Dr. h.c. Willy Michel

Dominique, 1988, Holzschnitt, 234 x 181 cm, 1 Platte, Handabzug auf Kumohadamashi-J apanpapier von Heizaburo Iwano, 276 × 217 cm, honigfarben, Druck: ea 6/7

Rüschegg, 1988/89, Holzschnitt, 234 × 181 cm, 1 Platte, Handabzug auf Kumohadamashi-Japanpapier von Heizaburo Iwano, 276 × 217 cm, dunkelgrau-blau, Druck: 18/18

Rüschegg, 1988/89, Holzschnitt, 234 × 181 cm, 1 Platte, Handabzug auf Kumohadamashi-Japanpapier von Heizaburo Iwano, 276 × 217 cm, dunkelgrau-braun, Druck: 18/18

Triptychon Schwarzwasser, 1991/92, Holzschnitt, dreiteilig je 237 x 185 cm, 3 Platten, je 237 × 185 cm, Handabzug Nr. 6 auf Kumohadamashi-Japanpapier von Heizaburo Iwano, je 276 × 217 cm, schwarzblau

Gräser II, 1996/97, Mineralpigmente (in Dammarharz und Bienenwachs gebunden) auf ungrundierter Baumwolle, 290 × 290 cm, Museum Franz Gertsch, Burgdorf

Das grosse Gras, 1999–2001, Holzschnitt dreiteilig, je 305 × 180 cm, Privatsammlung

Kleiner Bremgartenwald, 1946, Aquarell auf Bütten auf Karton aufgelegt, 23.3 × 18

Frühling, 2009–11, Eitempera auf ungrundierter Baumwolle, 325 × 480 cm, Sammlung Dr. h.c. Willy Michel

Winter, 2009, Acryl auf ungrundierter Baumwolle, 325 × 480 cm, Sammlung Dr. h.c. Willy Michel

 

All images printed must come with respective picture credit and may only be published in connection with a book review containing the publishing house, the title of the book and names of editors or authors.

 

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