Juni 13, 2017 until June 10, 2018
Forests and trees - mighty oaks in wide clearings, a delicate green in a hidden corner - are among the frequently painted motifs in the painting of the first half of the 19th century. The "German Forest" became an identification image of national self-assurance and, at the same time, artistic reconsideration during the Romantic period. A key work in this context is "The Hunting Break in the Wermsdorf Forest" by the painter Ferdinand von Rayski. From now on, the painting will be on loan from the Musée de la Chasse et de la Nature in Paris for a period of three years. Shown for the first time in Dresden, it will now be displayed alongside the artist's "Study of the Wermsdorf Forest," which has long been one of the Albertinum's major works.
With a work by Katharina Grosse, consisting of a painted tree root and two aluminum elements, a contemporary work is added as a loan that illustrates the continuity and change of the theme as a corrective, as it were. Grosse, whose work is on view here in Dresden for the first time ever, combines an abstract, dynamic painting, multi-layered in its means, with real objects. The complex three-dimensional form is relativized and simultaneously emphasized by the painting. In the process, the paint visually detaches itself from its support and becomes an event itself.
With this presentation, the Albertinum makes it possible to take a look at treasures that otherwise lie dormant in the depot and places them in a new context.
The presentation of Katharina Grosse's work is made possible by the Foundation of Art & Music for Dresden.
The artistic beginnings of Katharina Grosse's painting lie in the neo-expressionism of the "Junge Wilden". Already from the mid-1980s, however, Katharina Grosse gradually abandons figuration.
In the first half of the 1990s, after powerful pigment-stained pictures, she found her way to glazed color compositions with broad brushstrokes along the picture axes. In 1998 Katharina Grosse also discovers the work with the spray gun for her art, which she now also partially carries out architecture-related. From the turn of the millennium Katharina Grosse works with parallel lines, which, like other spots and traces of paint, soon also cover objects. This detachment of painting from the classical image carriers and the conquest of space are characteristic of many of Katharina Grosse's works. But traditional picture supports also remain part of her overall oeuvre: since 2007, she has been creating canvases with earthy crusts. Also noteworthy are the dynamic abstract works on paper.
Katharina Grosse, who has been a professor at the Berlin-Weißensee School of Art since 2000, lives and works in Berlin.