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Harald Noethen

Harald Noethen

in Neuwied/Rhine

BiographyArt objects

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Harald Noethen has been working for almost 40 years mainly without having rigid conceptions for his works and with special emphasis on his own person in the tenor of the pictures.

During the last 20 years he has been drawing and painting by using both hands in a direct, speedy and unintentional manner.

In order to be able to influence the smallest details he starts for example with dynamic, free lines, often using dark colours for them.Afterwards he links them up by using coloured surfaces (wet in wet technique). During this process he gives special and constant attention to the dynamic-organic expression of his works regarding the shades, the strength of the line, the sizes, the directions and so on.

By using this method of painting with both hands in a non-synchronized and non-symmetrical way, he experiences the process of creating a picture in a very direct and unadulterated way. His emotional enthusiastic and rapid way of painting leads to a vivid, complex unity. These sensitive or wild pictures and drawings can have different sizes, ranging between a German standard paper size or two meters wide and four meters long.

His inspiration resulting from that combination and instinct leads to a method of working based on a passionate and existential desire of perception and reproduction.

No matter if representational or non-representational this is the way in which a new type of pictures expressing something between melancholy and ecstasy is created.

From the very beginning some kind of diary-keeping development takes place, talking hold of himself, of his appearance and his moods manifested by his drawings, paintings and later by his plastic objects.

During the 70ies his main emphasis lies on the realistic descriptions of his own appearance in portrait and whole figure early coupled with the expression of his actual mood.

During the 80ies he mainly concentrates on the expressive artistic production. The essential elements of his pictures as for example the lines (ductus, directions, dynamic) and a small selection of colours serve as a way of expressing sentiments as loneliness, longing, protest, ecstasy and pain.

At the beginning of the 90ies he considers himself (now increasingly acting in a minimizing way of painting) to be a possibility of identification for his viewer. Since then he has continually been concerned with the perception of himself and his own moods and no longer with his representation.This has greatly improved his creational reservoir so that he can manifest himself in each object or natural theme, each abstraction and even on each surface.That has been the case since the middle of the 90ies. This development supplies him with a whole range of artistic possibilities he needs to create his type of pictures.

Joachim Schöne


“Harald Noethen is highly productive and experimenting artist. ...

His strokes are being applied rapidly, resolutely and accurately so that his pictures seem to have been produced out of one brushstroke. Maybe he is that what you can call a natural talent. Undoubtedly his drawings, pictures and plastic objekts are also the result of many years of art studies and a permanent self-inquiring and world-questioning, what I consider to be the incentive of his working passion....

The lines winding through Mr. Noethen`s picture as entangled paths invite the interested viewer to a possibly dangerous expedition to the hidden or suppressed inside human worlds, of the world around us, of the emotions, but also of the loneliness. …The confrontation with Mr. Noethen`s work requires courage, sincerity and ability of self-reflection. ... The artist is interested in the individual. It is this individual who predominates in his pictures and it is his “being” that the artist is decoding with meticulous, almost investigative care. The penetration into emotional structures is reflected by the reduction of the broken body up to almost skeleton-like and deformed symbols. His homogenous and dark colourfulness is being disturbed by broken or streaming lines which the artist comprehends to by symbols of pain. Wide opened eyes look inquiring and imploring into the room, clumsy arms as long as crutches are looking for guidance but return back to the figure without having found the necessary support. The figure remains isolated. Emptiness, lack of depth as well as high and light colourfulness of the surrounding space put an emphasis on the forlornness of the figure in an unreal, repelling world. ...

His work is rooted in the tradition of the north European art. It is gloomy, contemplative, melancholic and quite stirring.

Dr. Beate Matuschek, Rhenish Museum Cologne


“…The great amount of his work also gives evidence of a great working motivation which he kept up untiringly and autonomously. And all this whit a great vivacity. Mr Noethen`s talent is of wide range and of great variability. That refers especially to his drawings… The many sided artistic expression ranges from the exact observation of nature to the powerful – relaxed representation of the figures respectively of acts up to very expressive non-representational compositions. In addition to all these topics the portrait is of main concerned for him. Here you can see the special dramatic features of his artistic style.

Mr Noethen shows us in this type of works the human face in its struggle for existence as a lonely and chased person. These works are especially full of fantasy even concerning the formal aspect. …”

Prof. Rissa, National Academy od Art, Duesseldorf


Biography


during the 60ies
poster painter and sign writer

the 80ies and 90ies
studies of art and design at the Art Academy in Cologne
studies of art education and art history at the University in Mainz
Teacher of art at secondary schools, universities and design academy

since 2000
free artist



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