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Monthly Archives: November 2010

Jurgen Gorg

Born in Dermbach in West Germany in 1951 his formative years were spent in Koblenz before moving to Mainz to study at the Johannes Guttenberg University for four years. Gorg has happy memories of his student days and in particular of his teacher Saalfield who motivated him to draw with academic precision a skill which in no small way contributes to the quality of his work today. Gorg began his professional career in 1977 as a painter and printmaker and in 1980 he was awarded a special prize by the district of Rheinland Pfalz. His first sculpture was completed in 1990. There is a strong tradition in Germany for figurative art with erotic overtones and J’s work forms part of a new generation of artists in this area with fresh interpretations of the theme. In the forward of J’s latest book he describes his subject matter as: “.the human body; it is the body of the young slim beautiful person. The face remains vague the gestures are those of free motion. Everything concentrates on the body language and the erotic radiation of the figures”. His artistic universe consists of lovers dancers musicians and masked personages. Tender lithe slim and young these idealised loosely rendered figures suggest the timeless and eternal. An elusive quality is cultivated by Gorg who feels that something should always be left open. With his paintings J often uses a monochromatic palate. Soft colour is applied with graphite in combination with translucent layers of oil paint. Shading is subtle white highlights focus attention as does the sparing use of bright colour. G’s impact on the European art scene has been little short of sensational. Still only in his early 40’s he has emerged as a true and original talent utilising both traditional methods of printmaking as well as painting drawing and sculpture. His work is now much sought after. His technical accomplishment and his ability to reproduce the moving figure so sensitively make his work irresistible to his many collectors.
Anprobe

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Fleury Joseph Crépin (1875-1948)

No. 11 1945. By Fleury Joseph Crépin
One day while writing music, he became aware that his hand was no long obeying him, and that instead of clefs and staffs, he was drawing geometrical shapes which were surprising to say the least. He was sixty-three …
But already before he had discovered that he possessed a talent for healing and as a diviner, able even to heal people at a distance. A single hair from the sick person was sufficient; Crépin would place it on a heart which he himself had cut out of cardboard, and the sufferer had only to place it on the spot which hurt. Quantities of letters attest to the authenticity of these facts, to such a point that he was even brought to trial by the official Order of Medicine, but acquitted by the Tribunal. Crépin even considered his own paintings to have a beneficial effect.
The proof? The country had greatly suffered from the war, but anywhere there was a painting by Crépin, the houses had remained intact. Furthermore, he often painted at night, to the sound of his daughter’s violin, or while listening radio concerts on T.S.F. But no one ever saw him paint.
Also, during the war, he heard a voice which said to him, “When you have finished three hundred paintings, that very day, the war will be over”. And he signed his three hundredth painting on May 7th 1945. He also predicted his own death-again, this was to occur when he had finished a certain number of paintings which he himself qualified as wonderful.
André Breton discovered the work of Joseph Crépin in 1948 when Art Brut first appeared on the art scene.
“His method is as follows: he limits himself to transferring to canvas the drawings in his notebooks, enlarging them as necessary. He is convinced that he is not responsible for the choice or distribution of colours; it is as if he were guided to place this or that colour in this or that spot. Because of this, he never hesitates and suffers no regrets: this also means, as he himself has observed, that he has never “botched a painting”.

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