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Weisse Tulpen (4 von 5) Print

Eckhard Besuden

Germany

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About The Artwork

Emil Nolde argued that flowers be representative of the life cycle. He was so fascinated by growing, blooming and fading. Only their life cycle of flowers is much faster than ours, therefore it is particularly suitable to paint he thought. I have painted the white tulips (tulips in the garden of my grandma in Duisburg) three times until now - 1997, 2004, 2014 - one for every of my last three decades. But my 50s are worth to paint two because its my most successfull decade. This is the fourth painting and the second of my fifties I think its surreal if you take a look near to the canvas. You can see them all on www.eckhard-besuden.de item ￿flowers￿. Hope I can paint some more white tulips.. Emil Nolde war der Auffassung, dass Blumen unseren Lebenszyklus noch am wirklichkeitsnahesten wiederspiegeln. Er war fasziniert von ihrem Wachsen, Bluehen Verwelken. Ihr Lebenszyklus sei viel schneller als unserer, daher waeren sie zum Malen besonders geeignet.. Bisher habe ich die Weissen Tulpen dreimal gemalt 1997, 2004 und 2014 eines fuer jedes Jahrzehnt meines Lebens seit meinem Dreissigern, aber ich dachte mir die fuenfziger sind bis jetzt so erfolgreich, dass zwei Bilder dafür nichts schaden können :). Das hier sind meine fuenfziger Jahre, . Wenn ihr nahe an die Leinwand geht koennt ihr das surreale sehen. Ihr koennt sie auf meiner Homepage unter der Rubrik Blumen alle sehen (www.eckhard-besuden.de). Ich hoffe ich schaffe noch das ein oder andere :) Weisse Tulpen IV (2016) oil on canvas 78.7 x 55.1 inch, 200 x 140 cm www.eckhard-besuden.de Antideterministic Art

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 8 H x 0.1 D in

Size with Frame:17.25 W x 13.25 H x 1.2 D in

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Besuden is painting antideterministic art. For the first time at the beginning of the new century (2005) in London the question is raised, whether deterministic attributes of modern painting (new, authentic, antidecorative, scandalous) must be fundamentally reconsidered. In 2009 the Frankfurter Allgemeine Zeitung published a report about the Transition Gallery in London, and their new appreciation of art under the heading: 'we need more dilettantes'. In this case the scandal is not intended to create a better saleability. Art musnt be no longer new, authentic, anti-decorative to be serious art. The anti-deterministic artist is allowed to paint old, anti-authentic, decorative but in a new dogmatical style. With every peace of art, corresponding with the above mentioned characteristics, the artists turns against the dictate of the ruling dogmatics. He is pursuing art policy by intentionally ignoring the quality requirements of the first art market and thus he regains absolute artistic freedom. www.eckhard-besuden.de

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