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konkrete kunst · HEINRICH SIEPMANN · concrete art

Monograph and catalogue of paintings 1931 - 1998


Monograph and catalogue of paintings 1931 - 1998, Editor: Ferdinand Ullrich;
384 Pages with a comprehensive, 4-coloured part of plates (117 pages) and a catalogue of paintings (1220 works);
with texts by: Uli Bohnen, Sabine Fehlemann, Siegfried Gnichwitz, Eugen Gomringer, Anette Müller-Held, Uwe Obier, Karl Ruhrberg, Heiner Stachelhaus, Jürgen Wißmann;
Kerber Verlag Bielefeld, ISBN 3-929040-41-7

Sources of supply (available only in german language): Galerie Neher Essen, Kunsthalle Recklinghausen or bookselling-trade

Preface by Ferdinand Ullrich, Kunsthalle Recklinghausen:

For decades the work of Heinrich Siepmanns has been well known to the connoisseurs. Commonly it is placed under the category of "Constuctivism" as the classical Constuctivism is the background the art critics do not forget to mention. For the perfunctory viewer this connection is often associated with a prejudice. You may think Constructivism is a pure art-historical classification and every new way of concrete art stays behind the former radical positions which are regarded to be unsurpassable. Besides for many people Constructivism only means art controlled by the brain, an art that has offered its services to mathematics, searching for the last objectivity. This Constructivism is considered to be spiritless and even boring.
The artist responds to the supposed uniqueness of the classical positions with excessive variations and concurrent extension of constructive pontentialities without questioning painting in general.
A more exact and intensive view to the technical finesse shows the entire variety of painting without falling back on representanional motifs – full of vibrating vitality in detail of painting and daring architecture in the composition – no monotony at all.
In a monograph not only the work but also the personality of the artist is interesting. Nevertheless, Heinrich Siepmann himself would always place the work of art above the individual. He disaproves of a view of his work deduced only or predominantly from his biography. Still you may emphasize relations between man and work, between subject an object especially concerning this painter. The modesty and the reserve of this artist is worth metioning to many people. Obviously, this completely missing vanity is remarkable in today´s art scene as a nearly antiquated trait. All the more you seem to notice a sensable correspondency between life and work. The severity of composition, the straight construction, the careful use of colour, the abstention from effects and the elevated calm of the creation seem to be nearly ascetic. But you must not be deceived hereby either. For this outward reserve is characterized by a strong self-confidence, but above all by an enormous passion for painting.

The publication of this edition would not have been possible without many-sided support. First we have to thank the artist himself who accompanied the project kindly and shared the strains . With undiminished concentration he was ready to intervene and to contribute to the succes of the project with his extensive memories. He also cared much about controlling the quality of the illustrations, proposing corrections and watching over the printing of the monograph.


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