Exhibition dates: 9th November 2012 – 17th February 2013
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The glorious paintings of Fritz Winter show a beautiful synergy with the abstract photographs. The relationship between painting and photography has always been a symbiotic one, a close mutualist relationship that has benefited both art forms. This is fully evidenced in this outstanding posting, where I have tried to sequence the artworks to reflect the nature of their individuality and their interdependence. Great blessings on the curators that assembled this exhibition: an inspired concept!
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Many thankx to the Pinakothek der Moderne, Munich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
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Fritz Winter
K 35
1934
Oil on Paper on Canvas
110 x 75 cm
Bayerische Staatsgemäldesammlungen Pinakothek der Moderne, München
© VG Bild-Kunst, Bonn 2012
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Alvin Langdon Coburn
Vortograph
1917 (1962)
Gelatin Silver Print
30.6 x 25.5 cm
George Eastman House, Rochester, New York
© Courtesy of George Eastman House, International Museum of Photography and Film
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Francis Bruguière
Abstract Study
c. 1926
Gelatin Silver Print
24.3 x 19.3 cm
George Eastman House, Rochester, New York
© Courtesy of George Eastman House, International Museum of Photography and Film
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Fritz Winter
Einfallendes Licht II [Incident Light II]
1935
Oil on Paper on Canvas
44.2 x 33.4 cm
Konrad Knöpfel-Stiftung Fritz Winter im Kunstmuseum Stuttgart
© VG Bild-Kunst, Bonn 2012
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“In his lesser known early work, the German painter Fritz Winter (1905-1976) made an obsessive analysis of the aesthetic aspects of light. As a Bauhaus student he was influenced by the international avantgarde’s boundless euphoria for light between Expressionism and Constructivism. The light of large cities with headlights, cinemas and illuminated advertisements gave a new impulse to aesthetics; xrays, radioactivity and microphotography made it possible to perceive previously unknown sources of energy and natural phenomena.
In his pictures of light beams and crystals created in 1934-36, Winter devoted himself with virtuosity to aspects such as the reflection, radiation and refraction of light. His virtually monochrome paintings incorporate crystal shapes and bundles of rays; they focus on the earth’s interior and the infinite expanse of the cosmos; they block the pictorial space with dark grids or lend it a glasslike transparency.
For the first time, 25 Licht-Bilder by Fritz Winter will be juxtaposed with an international selection of 40 of the earliest abstract photographs in history of art. In the 1910s to 1930s artists experimented with the most varied of photographic techniques to ascertain the genuine qualities of photography beyond the merely representative. The New Vision in photography and abstract painting become immediately obvious through the display of vintage prints and paintings side by side.
The exhibition combines 25 exceptional paintings by Fritz Winter from German museums and private collections as well as 40 international lenders of photographic works including Centre Pompidou, Paris, George Eastman House in Rochester, New York, Museum Folkwang, Essen, Museum für Kunst und Gewerbe, Hamburg, Neue Galerie Kassel, Kunsthalle Mannheim, Ann and Jürgen Wilde Foundation, Munich and Kunstmuseum Stuttgart.”
Press release from the Pinakothek der Moderne website
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Fritz Winter
Stufungen [Gradations]
1934
Oil on Paper on Canvas
100,5 x 75.5 cm
Konrad Knöpfel-Stiftung Fritz Winter im Kunstmuseum Stuttgart
© VG Bild-Kunst, Bonn 2012
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Alfred Ehrhardt
Adular, Maderanertal, Schweiz
1938/39
Gelatin Silver Print
49.5 x 30 cm
Stiftung Ann und Jürgen Wilde, Pinakothek der Moderne, München
© Alfred Ehrhardt Stiftung
© Courtesy of George Eastman House, International Museum of Photography and Film
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Fritz Winter
Weiß in Schwarz [White in Black]
1934
Oil on Paper on Canvas
100.5 x 75.5 cm
Museumslandschaft Hessen Kassel, Neue Galerie
© VG Bild-Kunst, Bonn 2012
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Fritz Winter
Licht, A 1
1934
Oil on Paper on Canvas
59 x 45 cm
Private Collection
© VG Bild-Kunst, Bonn 2012
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Laszlo Moholy-Nagy
Untitled (Photogram)
1925
Gelatin Silver Print
23.7 x 17.8 cm
Museum Folkwang, Essen, Fotografische Sammlung
© VG Bild-Kunst, Bonn 2012 Museum Folkwang, Essen, Fotografische Sammlung
© VG Bild-Kunst, Bonn 2012
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Alfred Ehrhardt
Beryll, Minas Geraes, Brasilien
1938/39
Gelatin Silver Print
49.7 x 29.9 cm
Stiftung Ann und Jürgen Wilde, Pinakothek der Moderne, München
© bpk, Alfred Ehrhardt Stiftung
© Courtesy of George Eastman House, International Museum of Photography and Film
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Pinakothek Der Moderne
Barer Strasse 40
Munich
Opening hours:
Daily except Monday 10am – 6pm
Thursday 10am – 8pm
Pinakothek der Moderne website
Filed under: American, american photographers, black and white photography, exhibition, existence, gallery website, landscape, light, memory, painting, photographic series, photography, psychological, sculpture, space, surrealism, time, works on paper Tagged: abstract photography, Adular Maderanertal Schweiz, Alfred Ehrhardt, Alfred Ehrhardt Adular Maderanertal Schweiz, Alfred Ehrhardt Beryll, Alfred Ehrhardt Beryll Minas Geraes, alvin langdon coburn, Alvin Langdon Coburn Vortograph, american artist, American photography, Bauhaus, Beryll, Beryll Minas Geraes, Einfallendes Licht II, Francis Bruguière, Francis Bruguière Abstract Study, Fritz Winter, Fritz Winter and Abstract Photography, Fritz Winter Bauhaus, Fritz Winter Einfallendes Licht II, Fritz Winter Gradations, Fritz Winter Incident Light II, Fritz Winter K 35, Fritz Winter Licht A 1, Fritz Winter Licht-Bilder, Fritz Winter Light-Images, Fritz Winter Stufungen, Fritz Winter Weiß in Schwarz, Fritz Winter White in Black, gelatin silver print, German artist, Incident Light II, Laszlo Moholy-Nagy Photogram, Laszlo Moholy-Nagy Untitled Photogram, Licht A 1, Licht-Bilder, Licht-Bilder. Fritz Winter and Abstract Photography, Light images, Munich, Pinakothek Der Moderne, Vortograph, Weiß in Schwarz
