- 16
- 141 456
eberhard knauber
Germany
Приєднався 13 бер 2010
Karin Kneffel Face of a Woman, Head of a Child , Exhibition at Gagosian Gallery Rome 2022
Images come from other images. The figures I painted oscillate back and forth between depicted sculpture and reality, becoming more real in the picture than in the sculpture.
-Karin Kneffel
ROME, October 21, 2022- Gagosian Gallery Rome is pleased to announce Face of a Woman, Head of a Child, a new body of work by Karin Kneffel in which the painter addresses human portraiture for the first time. Opening on November 11, 2022, this is her third exhibition with the gallery and her first solo exhibition in Rome in twenty-five years since her residency at Villa Massimo.
Throughout her career, Kneffel has reflected on the relationship between painting, space, and time by layering and recombining things, places, traces, and incidents in a seductively realist manner. Whether inspired by personal memories or art historical sources, her interior scenes and still lifes deftly exploit the medium’s representational potential while underscoring its inherently fictive nature.
Despite the dramatic shift in subject matter, Kneffel’s refined technique remains consistent, the smooth and luminous surfaces of her oil paintings revealing great visual depth and conceptual complexity. In this unprecedented approach, she depicts the faces of historical polychrome wooden figures, rendered uncanny and arresting by upscaling and cropping. As in her baroque still lifes, Kneffel harnesses the full powers of her painterly methods to describe in granular detail the strong contours and subtle nuances of each rustic sculpted and painted visage.
Kneffel has a long-standing interest in sacred figures from the early Northern Renaissance period by sculptors both known and unattributed. In these sculptures, illusionistic painterly effects, especially in the rendering of textiles and the treatment of flesh tones, greatly enhance their emotional immediacy. For years, she has photographed the sculptures as she encounters them, but this is the first time that she has employed such extensive field research in a painting series. While these archetypal models embody the era’s widespread religious devotion and its emerging humanistic ideals, in her untitled paintings Kneffel secularizes them by eliding all identifying attributions, titles, and iconography-veils, halos, and so on-to focus on their facial features. Zooming in on her subjects, she paints substantially enlarged close-ups of the two figures in pairs of identically sized individual canvases. Although woman and child are united by a marked physical resemblance, their gazes are oddly dislocated by the formal space separating them.
Face of a Woman, Head of a Child represents a shift away from the visual paradoxes of Kneffel’s haunting interior tableaux, although certain elements recall her hyperbolic renderings of bunches of grapes or clusters of apples in the still lifes that recur in her repertoire. Treated as paired portraits created from a single viewpoint, these diptychs are meticulous representations of specific subjects, painted with close attention to the materiality of the original sculptures. Kneffel conveys the palpable qualities of the carved and painted wooden sculptures by capturing the play of light on their surfaces, highlighting their three-dimensional forms and the stylistic decisions of the sculptor. She emphasizes the idiosyncratic features of each woman and child, heightening their surreal sense of artificiality through their imperfections and anatomical eccentricities. In de-emphasizing the religious iconography, Kneffel presents the sculptures as highly subjective three-dimensional objects, imbued with animate vitality through painterly contour and color-a woman’s tender, protective gaze or the blush of a baby’s cheek, like a ripe apple.
Among these otherworldly pairings, two couples from modern times present themselves-Kneffel’s younger self with her infant son, now a grown man; and another young mother and child from her inner circle who are emblematic of a new, more diverse Germany. By juxtaposing portraits from her own context and community with those of archetypal history, Kneffel proposes portraiture, representation, and family bonds as elements of a persistent dialogue in life and art.
-Karin Kneffel
ROME, October 21, 2022- Gagosian Gallery Rome is pleased to announce Face of a Woman, Head of a Child, a new body of work by Karin Kneffel in which the painter addresses human portraiture for the first time. Opening on November 11, 2022, this is her third exhibition with the gallery and her first solo exhibition in Rome in twenty-five years since her residency at Villa Massimo.
Throughout her career, Kneffel has reflected on the relationship between painting, space, and time by layering and recombining things, places, traces, and incidents in a seductively realist manner. Whether inspired by personal memories or art historical sources, her interior scenes and still lifes deftly exploit the medium’s representational potential while underscoring its inherently fictive nature.
Despite the dramatic shift in subject matter, Kneffel’s refined technique remains consistent, the smooth and luminous surfaces of her oil paintings revealing great visual depth and conceptual complexity. In this unprecedented approach, she depicts the faces of historical polychrome wooden figures, rendered uncanny and arresting by upscaling and cropping. As in her baroque still lifes, Kneffel harnesses the full powers of her painterly methods to describe in granular detail the strong contours and subtle nuances of each rustic sculpted and painted visage.
Kneffel has a long-standing interest in sacred figures from the early Northern Renaissance period by sculptors both known and unattributed. In these sculptures, illusionistic painterly effects, especially in the rendering of textiles and the treatment of flesh tones, greatly enhance their emotional immediacy. For years, she has photographed the sculptures as she encounters them, but this is the first time that she has employed such extensive field research in a painting series. While these archetypal models embody the era’s widespread religious devotion and its emerging humanistic ideals, in her untitled paintings Kneffel secularizes them by eliding all identifying attributions, titles, and iconography-veils, halos, and so on-to focus on their facial features. Zooming in on her subjects, she paints substantially enlarged close-ups of the two figures in pairs of identically sized individual canvases. Although woman and child are united by a marked physical resemblance, their gazes are oddly dislocated by the formal space separating them.
Face of a Woman, Head of a Child represents a shift away from the visual paradoxes of Kneffel’s haunting interior tableaux, although certain elements recall her hyperbolic renderings of bunches of grapes or clusters of apples in the still lifes that recur in her repertoire. Treated as paired portraits created from a single viewpoint, these diptychs are meticulous representations of specific subjects, painted with close attention to the materiality of the original sculptures. Kneffel conveys the palpable qualities of the carved and painted wooden sculptures by capturing the play of light on their surfaces, highlighting their three-dimensional forms and the stylistic decisions of the sculptor. She emphasizes the idiosyncratic features of each woman and child, heightening their surreal sense of artificiality through their imperfections and anatomical eccentricities. In de-emphasizing the religious iconography, Kneffel presents the sculptures as highly subjective three-dimensional objects, imbued with animate vitality through painterly contour and color-a woman’s tender, protective gaze or the blush of a baby’s cheek, like a ripe apple.
Among these otherworldly pairings, two couples from modern times present themselves-Kneffel’s younger self with her infant son, now a grown man; and another young mother and child from her inner circle who are emblematic of a new, more diverse Germany. By juxtaposing portraits from her own context and community with those of archetypal history, Kneffel proposes portraiture, representation, and family bonds as elements of a persistent dialogue in life and art.
Переглядів: 652
Відео
Die Malerin Karin Kneffel im Atelier, NDR, ARTE Metropolis, 15.12.2019,
Переглядів 6 тис.3 роки тому
Karin Kneffel ist eine der international bedeutendsten deutschen Malerinnen und Meisterschülerin von Gerhard Richter. Sie schafft fantasievolle Bildwelten. Ihre frühen Bilder in der Größe von 20 x 20 Zentimetern, später in Formaten bis zu sieben Metern. Zurzeit malt sie das vierte Bild einer Serie, die eine überraschende Sicht ins Innere des Duisburger Lehmbruck Museums bietet... Michael O. Rüd...
Kunsthalle Bielefeld 2016 Künstlerinnengespräch mit Leiko Ikemura , Karin Kneffel, Julia Voss
Переглядів 6455 років тому
Das Künstlerinnengespräch fand im Rahmenprogramm der Ausstellung "Einfühlung und Abstraktion. Die Moderne der Frauen in Deutschland" 2016 in der Kunsthalle Bielefeld statt. Das Gespräch befasst sich mit dem Werk beider Künstlerinnen, aber auch mit der Situation von Künstlerinnen an Akademien, im Ausstellungswesen und am Kunstmarkt. Leiko Ikemura erlangte in den 80er-Jahren mit figurativer Maler...
Karin Kneffel Gagosian Gallery Los Angeles
Переглядів 6 тис.6 років тому
Opening Karin Kneffel Gagosian Gallery Los Angeles April 28 - June 11, 2016 I paint temporalities that are sometimes factual and sometimes imagined, or sometimes about the slip in our own imaginings of what was or was not there, or how it appeared. -Karin Kneffel Gagosian Gallery is pleased to present new works by Karin Kneffel. This is her second exhibition with the gallery and her first in Lo...
"Illustrer" Kunst AG Martin Butzer Schule, Dierdorf
Переглядів 4,1 тис.7 років тому
Performance am 09.05.2017 im Rahmen der Kunst AG an der Martin Butzer Schule, Dierdorf
Thomas Bernstein Frottier II performance
Переглядів 4,3 тис.7 років тому
Thomas Bernstein Frottier II 24. Juli 2015 Performance im Säulengang des Fridericianums Kassel Zur Eröffnung der Ausstellung "Neue Enden" Die Schweglerklasse im Kasseler Kunstverein.
karin kneffel MAC 2014 a coruña españa
Переглядів 1,1 тис.9 років тому
aufbau und eröffnung der ausstellung karin kneffel la ventana y el espejo, the window and the mirror MAC Museo de Arte Contemporáneo a coruna spanien 2014
karin kneffel bremerhaven 2015 kunstverein/kunsthalle kunstmuseum
Переглядів 1,9 тис.9 років тому
eröffnung der ausstellungen "fallstudien" im kunstverein/kunsthalle und kunstmuseum bremerhaven 10. Mai bis 21. Juni 2015
k. gerrit friese eröffnungsrede karin kneffel städtische galerie
Переглядів 9009 років тому
eröffnungsrede von klaus gerrit friese zu karin kneffel "looking glass" in der städtischen galerie offenburg 2008
k.g.friese über karin kneffel käthe kollwitz museum köln
Переглядів 1,5 тис.9 років тому
eröffnungsrede von klaus gerrit friese im käthe kollwitz museum köln anlässlich der ausstellung "fallstudien", arbeiten auf papier von karin kneffel
karin kneffel 2013 istanbul
Переглядів 3,6 тис.10 років тому
karin kneffel aufbau und eröffnung am 24 oktober 2013 dirimart istanbul
2013 karin kneffel in der galerie schönewald und beuse düsseldorf
Переглядів 17 тис.10 років тому
Aufbau und Eröffnung der Ausstellung Karin Kneffel Butter never grossed my mind. September 2013 Galerie Schönewald und Beuse, Düsseldorf
karin kneffel gagosian gallery new york 2012
Переглядів 74 тис.11 років тому
opening karin kneffel gagosian new york 12. sept. 2012 Art is a lie in a certain sense. And that is why it can tell the truth to the reality of everyday life without competing with it. The reality of painting is one reality, the reality of everyday life is another. -Karin Kneffel Gagosian Gallery is pleased to present an exhibition of recent paintings by Karin Kneffel. This is her first exhibit...
karin kneffel kunsthalle tübingen 2010
Переглядів 9 тис.12 років тому
karin kneffel kunsthalle tübingen 2010
Beeindruckend, tolle Künstlerin ❤
super art
super art
Dieses video hat meiner psyche mal wieder sehr gut getan ich habe menatle probleme wann reichet mir mal endlich jemand mein drehzeug
Bananenwasser
Idiotic camera work and all together pretentious video pretending to be artistic.
Der ist auf meiner Schule💀
OH YES THERSHOLD BETWEEN INTERIOR AND EXTERIOR DECORATION- SUPERBLY MEANINGLESS DECOR.
hast du den einen nugget gejklaiut oide rso weio dan digeb zuroich ja
heftig man
Love Gagosian arts excellent space.
I noticed a lack of phones
lot a splainin goin on
Das ist mein Lehrer 😅
Handtücher
Brilliant piece of art... Congrats
Straordinario!
Straordinaria!
❤❤❤❤
WoW it’s great ❤
Thanks for your great videos. I am planning to make videos for a nonprofit artist group in Brooklyn New York, BWAC. Please tell me the gimbal mode used for art works on the walls.. thank you
Such a beautiful work!
I think its amazing job.
Everyone sooooo interested in the art -_-
Un trabajo genial. Unos verdes mágicos. Unas imágenes cotidianas en salgo onírico.
Are these paint over digital prints
Karin Kneffel malt mit ganz dünnem Auftrag - ich selber bevorzuge Malerei ganz ohne Auftrag. Außerdem mag ich das Wort frei in der Kunst nicht, bevorzuge das holländische fraai. Man ist in der Kunst nicht freier, man ist ein Freier - und hält um die Hand der Kunst an. Es heißt nämlich DIE Kunst. Deshalb wollten so viele Männer Künstler sein. Kann sein, dass die neuen Generationen das (g)ändern wollen. (aus meinem com-museum, 44:277)
We couldn't see any of the art in this video except a couple of quick glimpses. So, why did you create it? I guess for the NYC audience only. Anyone else is somewhat out of luck.
yes you are right i was stupid an a very beginner now it is to late thanks for your comment
Er geht alle paar Minuten sein wässerigen trinken und ist dann ewig weg
Walla das nix gut diese!
Warum hatte ihr alle so in den Kommentaren?
Wieso hab ich das nicht gesehen bevor ich mich für diese Schule entschieden hab 😭
Did somebody actually buy this work ? .... Good luck getting your money back there's one born every minute
Einfach Handtücher gegen ne Säule😂😂
Und dann wundert man sich noch, dass die Menschen die moderne "Kunst" nicht ernst nehmen. Einfach nur möglichst sinnlos, absurd und grotesk. Ein Spiegelbild unserer geistig bankrotten Gesellschaft.
Magnifiques œuvres. Bravo.
May I view the artwork up close... at all?
My thoughts exactly.
Was das Amk😂😂
Hatte den zum Glück noch nie
Bist du auf dem MBG
@@losttyp5090 ja bin ich
Welche Stufe denn
Hattest du den schonmal
Thaddäus was geht ab 🐊
Hey wer ist auch vom MBG 😅😂😢
Ich 😭
😂😂
Armes MBG 😂😂😂😂😂😂
Ich glaube wenn ich dieses Video vor meiner Einschulung an der Schule gesehen hätte wäre ich nicht aufs MBG gegangen 😂😂🤣😂😂😂😂
Wirklich schade das solche Menschen Kunst Lehrer sind
Hahahaha ist doch witzig
Ich bin auf der Schule und hoffe jedes Jahr aufs Neue ihn nicht in kunst zu bekommen 😂😂🤣😂🤣😂😅
Hatte den mal in Kunst 😂😂😂😂😂 kann ihn einfach nicht ernst nehmen
Wann kommt persona 4 golden lets play
Ich warte auch schon drauf
Mach mal minecraft lets play
du bist ein kek
@@kratimyt hi
Gib mal push
xD
schande fürs mbg
XD ist der nicht kunstlehrer
Meiner....