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Vernissageeindrücke
- 22.06.2006 - Museum der Stadt Skopje - Mazedonien
22.06.2006 - Museum der Stadt Skopje - Mazedonien
22.06.2006 - Museum der Stadt Skopje - Mazedonien
| Vernissage: | 22.06.2006 |
| Titel: | Ausstellungstitel: I am pretty |
| Örtlichkeit: | Museum der Stadt Skopje - Mazedonien |
| Zeitraum: | 22.06.2006 |
| Laudatio: | Kustor des Museums der Stadt Skopje Herr Klime Korobar |
| Projektleitung: | Kustor des Museums der Stadt Skopje Herr Klime Korobar |
| Mit freundlicher Unterstützung von: | Amt für Internationale Beziehungen Nürnberg |
| Born in Bernkastel Kues, Germany, Liz Bayerlein studied free painting at the Academy of Fine Arts in Nuremberg, Germany with professors Günter Dollhopf and Werner Knaupp. Since 2000, she has been working as a freelance painter. At the art opening titled ‘In the Light’ between 17 January and 29 March 2003 held at the Art Museum in Hollfeld, she said with regard to her work: “The paintings of people were created with the aid of drawings in front of the live models. I get involved with external, physiognomic characteristics; I explore the character of the person depicted in what are usually self-chosen positions and reproduce my visual impression as precise as possible. My work is not about routine, but what seems to be there is continuously formulated anew by visual experience. In doing this, the expressiveness of colour is one of my most important means of expression. I search for the strongest colour effect and create an atmosphere. My work makes it clear that every body shown says as much about the painter than about the person depicted – two individuals are intertwined forever.” At the vernissage on 16 May 2003, the art historian Martina Sutter Kress described Liz Bayerleins paintings with the following words: “Her powerful pictures of people are well calculated compositions and in tune with regard to their colour as well as to their form. They do away with any type of ideal typical exaggeration. They evoke an uncertain blend of intimacy and irritation and provide, thus, prolonged tension, such as it is imperative in the arts. With her works, Liz Bayerlein walks completely new paths. As, even though she is part of a long tradition of painting, - nudes have been used as models by painters for approximately 600 years – she has found her very own image language.” In his eulogy on 4 July 2003, Wolfgang Herzer of the Society of Arts in Weiden, Germany, assumed that “Liz Bayerlein’s unmistakable paintings represent the subliminal urge to uncover the face of time with the totality of nude portraits”. He recognized the topic of “being true to yourself; the individual searching for a place within its own skin.” He described the paintings with the following words: “The artist completely renounces to the use of inner drawings with their possibilities to depict soul matters. The linear expressiveness is collected in the outline; it appears as the Ariadne’s thread in the labyrinth of human existence, and with every painting, it adopts a new, irreproducible guise. The surprising form of its straight and curved lines as well as the abrupt change of perspective alignment of the body parts do not refer to the anatomy but to human essentiality that lies between narrowness and width within the tides of its emotional body states. I feel, therefore I am.” Moreover, in the features section of the Nuremberg daily, Dr. Ruf remarked on Liz Bayerlein’s exposition titled ‘satt’ (satisfied/without hunger) on 21 October 2003: When regarding Liz Bayerlein’s cavalier nude ‘Elisabeth auf rotem Tuch’ (Elizabeth on a red cloth)’ you inevitable think of other forms of satisfaction besides material and culinary delights… |
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