by Ferdinand Ullrich, Kunsthalle Recklinghausen:
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
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.