Anselm Kiefer’s Obsession with Van Gogh – Mondo – Arte.it

World – It seems a simple game chosen by Anselm Kiefer And nowadays presented in London. For the eighty year -old German painter compared to the genius of Vincent van Gogh It may seem like an ideal choice to “historize” to place yourself at the same level as one of the greatest artists in the history of world art.

But to look at it with less Cininci eyes this lighting that the Royal Academy of Arts It seems like the true testimony of an authentic obsession that accompanied most of his adult life.

At the Royal Academy of Arts, until October 26, Kiefer / Van Gogh It is not only a combination of working, but the return of an inner dialogue that lasted almost sixty years. In 1963, eighteen years old, Kiefer received a scholarship and leaves A journey on the wake of Van Gogh. From indigenous Germany, then in the Netherlands, then in Belgium, in Paris, to the dazzling light of Arles. Draw, observe, assimilate. The impact is final: the rational structure of the landscapes, the clear composition, the physical relationship with the pictorial matter becomes a permanent reference for him, a matrix to develop a personal language that is able to woven history, literature, myth and science.

The exhibition starts with this founding experience and connects the paintings and drawings of Van Gogh from Van Gogh Museum Di AmsterdamWith cloths, sculptures and working on Kiefer paper, some have never seen before. In addition to masterpieces such as With snow covered with an EC (after millet) (1890) O Field of Irissen near Arles (1888), who condenses the visionary force and the chromatic tension of the Dutch master, monumental Kiefer works as The crows (2019) E As a more (2014), in which wheat fields and crows are scenarios of historical memory, frowned by dense material, straw, clay and gold leaf.

The comparison emphasizes another decisive difference: Van Gogh works on a staircase that is of stand painting, but the power of his vision has made his canvases absolute icons From art history, images that belong to the collective imagination. Kiefer, who measures himself with such a cumbersome genius, feels the need to respond with a language of equal intensity: the cyclopic There is no habit of his works, but an inevitable choice. The monumental dimensions become his way of taking the same symbolic space, being confronted with the memory of Van Gogh without being crushed.

Tegelijkertijd, de zaak, de stratificatie waarmee Kiefer Van Gogh lijkt te herinneren, biedt een getuigenis van een waargenomen innerlijke kwelling, en indien niet geleefd, althans getuigde in de afwisseling van lichten (goud, zilver) en zwarte schaduwen die diep opvallen in hun onbepaling en vormen die van tijd aan de tijd nemen, zichzelf maken, zichzelf craws maken, zichzelf craws maken, zichzelf craws maken, zichzelf maken, zichzelf cruces maken, zichzelf maken, zichzelf cruces maken, zichzelf maken, zichzelf cruces maken, zichzelf maken, zichzelf cruces maken, zichzelf maken, zichzelf doorbarst, het maken van zichzelf krachen, het maken van zichzelf krachen, het maken van zichzelf krachen, het maken van zichzelf krachen, het maken van zichzelf krachen, het maken van zichzelf kraaien, het maken van zichzelf kraaien, het maken van zichzelf krachen, het maken van zichzelf, het maken van zichzelf, het maken van Making himself, making themselves crashing, who have made themselves, themselves who have been the projects of the flowers. The light remains to overcome a darkness that, instead Marchianly dominates in Kiefer and where the chromatic dimension – descriptive dimension is completely absent – that appears instead in Van Gogh. Shadows and lights of a distant, tormented, forgotten in the fog of the Spirit, in a elsewhere that is no longer. Cyclopean precisely because inevitably monumental.

This reflection finds an ideal completion not far from the Royal Academy of Arts, the White Cube Mason’s Gardenwhere until 16 August another Kiefer staff will continue the speech in a clear key, ready to the lounges of the lounges of the lounges of the Beautiful time of our days. Almost abstract works that will marry well with the clear and clear architectures of the Superricchi houses that the association with Van Gogh will rightly be comfortable for a different reason. I would only say that he is recall and easily transferable, even in the absence of many other information. Who doesn’t know Van Gogh? Here the reasons why Van Goghiani appear again filtered by Gedempte Tones, burnt surfaces, golden leaves that oxidize over time. Two exhibitions that are given together tell how the comparison with an absolute master cannot be imitation, but an act of transformation: the assimilation of an artistic legacy to project it changed to the present.