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Reiner SchwarzThe man with the scissors / - The Instrument of Reality Formation -1969
1969
About the Item
Reiner Schwarz (*1940 Hirschberg), The man with the scissors, 1969. Lithograph, 30 cm x 21 (depiction), 59 cm x 42 cm (sheet size), signed “R.[einer] Schwarz” in pencil lower right, dated “[19]69”, identified as copy no. 17/100 lower left and inscribed “Der Mann mit der Schere” in the center.
- in excellent condition
- The Instrument of Reality Formation -
The sitter in profile appears to be composed of hump-like bulges that form pink and green areas. The sitter's uniform appearance dissolves into a disparate yet interrelated entity. The scissors, which the "scissor man" uses beyond the lines of the drawn picture frame and thus also in reality, refer to this "division", which is further emphasized by the slightly open blades of the scissors.
About the artist
After being expelled from Hirschberg in Silesia, Reiner Schwarz spent his youth in Hannover. In 1960 he began studying at the Hochschule der Künste in Berlin with Mac Zimmermann and produced his first lithographs. In 1962 he made study trips to Florence and Venice, and in 1965 to Rome. He was particularly fascinated by Italian art, Sienese painting, and Mannerism. His first solo exhibition at the Galerie Schnoor in Bremen in 1964 was the beginning of more than 150 exhibitions in Germany and abroad.
In 1974 Reiner Schwarz established a print studio in Berlin, where he perfected the technique of lithography, using up to 17 colors on various tone papers. In 1987, his artistic encounter with Rolf Münzer and Peter Schnürpel at the Kätelhön print studio inspired him to explore the world of "abandoned and lonely" everyday objects as melancholy traces of memory instead of people. Initially, he used large-format wrapping paper from the GDR. In 1990 Schwarz became a member of the Künstlersonderbund in Germany.
Galerie Brusberg, which represented the artist for more than 20 years, published a catalogue raisonné of Reiner Schwarz's lithographs in 1984.
"He does not want to be just a draughtsman, but an interpreter, a reinterpreter, a metaphorist who creates mutants and thus visualizes the invisible, the known and the seemingly banal that is about to be transformed into eternity; the brief moment of an all too fleeting present, nature next to nature, reality next to reality. It is therefore a subversive realism that questions our everyday thinking, that refuses to grasp things quickly by means of exaggerated precision, that thwarts cognition, denatures the world and melts it into a pictorial puzzle [...]".
Edwin Kratschmer
GERMAN VERSION
Reiner Schwarz (*1940 Hirschberg), Der Mann mit der Schere, 1969. Lithographie, 30 cm x 21 (Darstellung), 59 cm x 42 cm (Blattgröße), unten rechts in Blei mit „R.[einer] Schwarz“ signiert, auf „[19]69“ datiert, unten links als Exemplar Nr. 17/100 ausgewiesen und mittig als „Der Mann mit der Schere“ bezeichnet.
- in ausgezeichnetem Zustand
- Das Instrument der Realitätsformung -
Der im Profil Dargestellte scheint aus buckelartigen Aufwölbungen zusammengesetzt zu sein, die rosa und grün gefärbte Flächen ausbilden. Die einheitliche Erscheinung des Menschen zerfällt in eine dennoch miteinander zusammenhänge Disparatheit. Auf diese ‚Zerteilung‘ bezieht sich die Schere, die der ‚Scheren-Mann‘ über die Lineatur des eingezeichneten Bildrahmen hinaus und damit auch in der Realität zum Einsatz bringt, was die leicht geöffneten Scherenblätter zusätzlich verdeutlichen.
zum Künstler
Nach der Vertreibung aus der schlesischen Hirschberg verlebte Reiner Schwarz seine Jugend in Hannover. 1960 nahm er ein Studium an der Berliner Hochschule der Künste bei Mac Zimmermann auf und begann erste Lithographien anzufertigen. 1962 unternahm er Studienreisen nach Florenz und Venedig und 1965 nach Rom. An der italienischen Kunst faszinierte ihn insbesondere die sienesische Malerei und der Manierismus. 1964 erfolgte die erste Einzelausstellung in der Bremen Galerie Schnoor als Auftakt von über 150 Ausstellungen im In- und Ausland.
1974 richtete sich Reiner Schwarz in Berlin eine Druckerwerkstatt ein, in der er die Technik der Lithographie perfektionierte und bis zu 17 Farben auf verschieden Tonpapieren einsetzte. 1987 inspirierte ihn die künstlerische Begegnung mit Rolf Münzer und Peter Schnürpel in der Druckwerkstatt Kätelhön dazu, statt des Menschen Mensch die Welt der ‚verlassenen und vereinsamten‘ Alltagsgegenstände als melancholische Erinnerungspuren zu erschließen. Dazu verwendete er zunächst großformatige Packpapiere aus der DDR. 1990 wird Schwarz Mitglied des Künstlersonderbundes in Deutschland.
Die Galerie Brusberg, die den Künstler über 20 Jahre vertrat, hat 1984 ein Werkverzeichnis der Lithographien von Reiner Schwarz erstellt.
„Zeichner allein wolle er nicht sein, sondern ein Deuter, Umdeuter, Neudeuter, ein Metaphoriker, der Mutanten kreiert und damit so noch nicht gesehenes Allbekanntes und scheinbar Banales zur Anschauung bringt, das eben dabei ist, in die Ewigkeit zu wechseln; eben der langkurze Augenblick einer allzu flüchtigen Gegenwart, einer Natur neben der Natur, einer Realität neben der Realität. Es ist daher ein subversiver Realismus, der unser Alltagsdenken in Frage stellt, der die Din¬ge mittels überfeinerter Akkuratesse einem raschen Zugriff verweigert, der das Erken¬nen hintertreibt, die Welt denaturiert und zu Vexierbild umschmilzt […].“
Edwin Kratschmer
- Creator:Reiner Schwarz (1940)
- Creation Year:1969
- Dimensions:Height: 23.23 in (59 cm)Width: 16.54 in (42 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438216133042
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