Farbiger Wolkenschleier (2022) Painting by Ernst Wieltschnig

Pigments on Canvas, 59.1x39.4 in
$3,894.65
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This artwork appears in 1 collections
  • Original Artwork (One Of A Kind) Painting, Pigments / Charcoal / Pastel on Canvas
  • Dimensions Height 59.1in, Width 39.4in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Paintings under $5,000 Abstract
Die eher pastösen Farben im unteren Teil des Bildes verdichten sich nach oben hin mit zunehmender Farbintensität. Dabei versuchte ich die Übergänge so fließend wie möglich zu gestalten. About this artwork: Classification, Techniques & Styles. Pigments. Paint made with colored powder suspended in a liquid binder to obtain some paint or ink. Charcoal. [...]
Die eher pastösen Farben im unteren Teil des Bildes verdichten sich nach oben hin mit zunehmender Farbintensität. Dabei versuchte ich die Übergänge so fließend wie möglich zu gestalten.
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About 36 years ago I decided to end my career as a university researcher in order to intensively pursue my interest in painting. During my stay as an International Scholar, I took part in courses in the “Art Department” [...]

About 36 years ago I decided to end my career as a university researcher in order to intensively pursue my interest in painting. During my stay as an International Scholar, I took part in courses in the “Art Department” at Boston University and regularly attended the “Drawing Study” at the Fogg Museum, Harvard University for a long time. The knowledge I acquired in this way made it possible for me to get to know the criteria of professionally executed art. I spent several years copying drawings by various masters (Ingres, Raphael, Leonardo da Vinci, Michelangelo, Pontormo, Rembrandt, Daumier, Degas, etc.).


I was in the He set out to follow the principle of training painters during the Renaissance, namely to initially learn the craft of painting by copying master drawings. The skills for idealized depiction by masters of their craft, developed to the highest level, lead to the development of deep knowledge of the professional criteria of art history when tracing. These criteria cannot be taught in an academic sense because intellect and language are far too imprecise tools to even begin to describe the artful and subtle nuances of expression. In this sense, I was forced to acquire a vocabulary for “organic” lines, proportions of the human figure, aesthetics of image composition and much more through years of practicing my drawing skills.


My current pictures are products of unplanned aesthetics. I usually start with dark primer after applying technical gelatin and gesso. The first brush stroke directs the work in a direction that influences the subsequent treatment of the entire surface. I react directly to visual aspects and colors in the course of the painting. In this way, a coherent whole develops, which is formed into a harmonious whole through the interconnected details. I try to avoid obvious, brain-controlled things in order to remain as immediate as possible. It is my aim that every section of a picture represents an image in itself. It is also important not to lose touch with the overall impression. This process described creates a tension that I try to maintain or intensify through ongoing design.


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