“I want to reveal what is usually kept hidden – it is no game – I tried to open peoples eyes to new realities: it is as true of the doll photographs as it is of Petit Traite de la Morale. The anagram is the key to my work. This allies me to the Surrealists and I am glad to be considered part of that movement, although I have less concern than some Surrealists with the subconscious, because my works are carefully thought out and controlled. If my work is found to scandalise, that is because for me the world is scandalous.”
“Heinz Hajek-Halke was born in Berlin on December 1, 1898, but spent his childhood in Argentina. Back in Germany, he began to study graphics in Berlin in 1915. In 1916, he served as a soldier in World War I; thereafter he continued his studies.
Hajek-Halke began to take photographs in 1924, and soon he had work with the agency “Presse-Photo”. He experimented with photographic techniques – among them light montages, double exposures, photo collages and photo montages. One special technique is “combi-photography,” in which Hajek-Halke mounted several negatives for one print. His pictures were innovative and made use of the newly discovered possibilities for manipulating photographs.”
German painter Jeanne Mammen was born in Berlin in 1890, however she spent her early years living in Paris. Here Mammen’s formative years were immersed in a love of French literature and the arts of the age. The artist’s privileged upbringing enabled her to study painting and drawing at various top academies in Paris, Brussels and Rome. However, with the outbreak of World War I, Mammen’s family had their assets confiscated as they were categorised as a foreign enemy, leading to impoverished conditions for the artist. Mammen, however, also benefited from the experience, as she was able to associate with a variety of people from various backgrounds, an eclectic world once hidden from the limited niceties of her middle class social circle. This, in turn, would have a major influence on her later artwork.
After moving back to Berlin, in 1921 Mammen began a professional career in art, first as…
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This is a real hotchpotch of drawings from various places over the last few months. As my time is very short I have taken on the process of starting the sketch from life, taking a photo, then finishing the drawing later from reference. This was against my original principle of doing this project, but it’s that or not getting anything done, so.
I have made some of these drawings available as signed digital prints on my Big Cartel store. Please have a look, there is some of my colour work available there too.
Sometimes I have made short little videos of the process of the drawing and you can see those by clicking on the Instagram link below the image and swiping to the left.
aka: Intermittently Regular #365 Sketch Project Update 172-182
It’s been a while so I am all out of sorts with drawings and order etc.
This is a batch from our Spring trip to Berlin. I have some more of these and I will post them in due course as some of them were scribbled on site and need a little bit of finishing off.
- Draw from Life
- Do your research before you go out.
- Bring the right supplies and be prepared.
- Observe first draw later.
- Keep it loose and make quick observations.
- Adjust revise your proportions as you go.
- Take lots of pictures and build your personal reference library.
You should definitely read the whole post here.
Anyways, back to Berlin:
During out stay we were fortunate enough to visit the Rudolf Belling exhibition at the Hamberger Bahnhof museum. I was relatively unfamiliar with his work before this but we all really enjoyes seeing his work.
This from Wikipedia:
At the very beginning of the 20th century Rudolf Belling’s name was something like a battlecry. The composer of the “Dreiklang” (triad) evoked frequent and hefty discussions. He was the first, who took up again thoughts of the famous Italian sculptor Benvenuto Cellini (1500-1570), who, at his time, stated, that a sculpture should show several good views. These were the current assumptions at the turn of the century. However they foreshadow an indication of sculpture being three-dimensional.
Rudolf Belling amplified: a sculpture should show only good views. And so he became an opponent to one of the German head scientists of art in Berlin, Adolf von Hildebrandt, who, in his book, The problem of Form in Sculpture (1903) said: “Sculpture should be comprehensible – and should never force the observer to go round it”. Rudolf Belling disproved the current theories with his works.
I hope to make a more comprehensive post about his work in the future.
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The East Side Gallery – Mühlenstraße, 10243 Berlin, Germany. "Die East Side Gallery ist ein internationales Denkmal für die Freiheit. Es ist ein 1316 m langer Abschnitt der Berliner Mauer in der Nähe des Berliner Zentrums auf der Mühlenstraße in Friedrichshain-Kreuzberg. Die eigentliche Grenze an dieser Stelle war die Spree. Die Galerie befindet sich auf dem so genannten "Hinterland mauer", das die Grenze nach West-Berlin geschlossen hat." . . #animation #berlin #eastsidegallery #Mühlenstraße #berlinwall #europe #freedom
“Earlier this week, 1.5 million people filled the streets of Berlin, Germany to watch a several-day performance by France’s Royal de Luxe street theatre company titled “The Berlin Reunion“. Part of the celebrations of the 20th anniversary of the fall of the Berlin Wall, the Reunion show featured two massive marionettes, the Big Giant, a deep-sea diver, and his niece, the Little Giantess. The storyline of the performance has the two separated by a wall, thrown up by “land and sea monsters”. The Big Giant has just returned from a long and difficult – but successful – expedition to destroy the wall, and now the two are walking the streets of Berlin, seeking each other after many years apart. I’ll let the photos below tell the rest of the story.“
via Katie West