The paintings of Norbert Schwontkowski

Norbert Schwontkowski career divides neatly, if unequally, into two sections. Until his mid fifties, the Bremen bague or blanc diamant coeur born painter was little known outside of northern Germany. In 2004, however, after decades combining painting, teaching, travel and dogged bijou bracelet pandora quietude, he enjoyed a retrospective at Kunsthalle Bremen and tatouage bracelet homme fin began to work with Berlin powerhouse gallery Contemporary Fine Arts. ( success in Berlin! Everybody wants my pictures. Am I still me he wrote conflictedly bague or blanc chaumet in a letter.) Since then, up to and after his early death in maty bague or blanc diamant noir 2013, Schwontkowski murkily atmospheric, mostly figurative scenarios have been increasingly visible, their maker appearing like something bracelet pandora or jaune of a throwback figure and an easily fetishised one in using painting to wrestle so emphatically with existential disquiet and a neo Romantic sense of the numinous. Now, confirming this photo de bracelet pandora upward trajectory, we have of My Secrets which, in its first presentation, runs to some 64 paintings divided along thematic rather than chronological lines and spread across a succession of subterranean rooms in the Kunstmuseum Bonn, plus an interspersed selection of sketchbooks bracelet pandora occasion in vitrines (the exhibition travels to the Kunsthalle Bremen and the Kunstmuseum Den Haag later this year). The show title is appropriately wry and elusive. One comes away knowing the artist better, but also bague or pour index femme with maty bague or diamant a sense bracelet pandora perle that much remains withheld or, more positively, yours to complete.

In 2006, for example, Schwontkowski painted Hochwasser. A stooped, silhouetted figure in the centre of the canvas pushes a bicycle forward, though the wheels, like the cyclist feet and calves, are sunk in something. While the title says high water, much in Schwontkowski art twists metaphorical and even reflexive. Technically, the subject bracelet pandora rose et blanc is trudging through a horizonless, near lightless world of horizontally smeared, brownish purple paint and if, in iconographic promotion bracelet pandora terms, this might simply be someone heading home across a flooded plain, it also signals a painter wrestling with painting, a middle aged person wrestling with just carrying on amid diminishing returns, and anyone of any age dealing with life ongoing and changeable burdens. The power of the bracelet pandora violet painting resides in all the clarifying and narrowing detail that Schwontkowski rejects, plus the sense, as so often in his art, that this is an image pulled from the projection screen of his mind.

Like many of his paintings, it explicitly delocalised, a bracelet homme perle grise psychological landscape as much as a literal one. Even when Schwontkowski identifies place, the image undermines it: Belgische Autobahn (2000) is centred on an S shaped black road dotted with street lights on a brushy brown slab of lowlands. The lights are on, but it feels like neither day or night; no cars travel the road, and the eye is led from bracelet homme zenger the lower left corner, the bottom of the S, towards the painting upper middle, where the tarmac dissolves into salmon pink sky. If this is barely a figuration, it because the painting is almost a thought, perhaps an unresolved one.

There are numerous artificial illuminations in Schwontkowski art the string of pearls set of lights in dun nothingness that is Yesterday Allee (2012), the conferring trio of street lamps in Sich verneigende Figuren (1998), or the glowing opened fridge inspected by a pear shaped figure in Bosch (Die K des Weltalls) (2006).

In one of the most indelible images here, the urine toned Kino (2001), Schwontkowski daubs the titular word over the frontage of a double spired gothic church, bracelet pandora charm positing religion as mere entertainment, distraction. (Church Street, from 2008, with its cluster of indigent men gathered around a brazier on a bottle strewn thoroughfare, is a bracelet pandora swarovski counterpart.) Religion, for this artist, is not going to save us; we on our own come hell or, indeed, high water. Elsewhere, he fills in some of the modern world depredations, in paintings of army helicopters, belching chimneys, a ripped apart plane fuselage, a drive in full of punters staring at an empty screen.

Bad Dream (2011), Norbert Schwontkowski. Photo: Jochen Littkemann; courtesy Estate of Norbert Schwontkowski/Institute of Contemporary Arts, Berlin

To emphasise this, though, is to posit Schwontkowski as a literalist of sorts, even a polemicist. He hazier than that. bracelet homme leo yellow His paintings have an air of having arisen, not being presented as rhetorical markers; if they are secrets, they may also be somewhat secret to their maker. Die Haut (1995) is a weathered, Luc Tuymans ish semi abstraction in which we see a hand slip in the gap between two shirt buttons. The gesture is sort of Napoleonic, and suggests pulling something out from inside, or just rooting around inwardly, curiously, but there it stops. Such half statements, Schwontkowski intuited, could be more abyssal than full ones. In Bad Dream (2011), the inner and outer lives merge: we see a prone rotund figure, open mouthed and wailing, in the midst of a dreamscape involving multiple ghostly little bare beds and an overpass dotted with rocks. The painting works mainly because the figure looks paralysed, like a Kafkaesque bug, and the horror of the dream is held back, advertised by outward banalities.

Schwontkowski does not presume to know the contours of our anxiety: he just bracelet pandora prix des perles shows us his, refusing to elevate it, and supposes that bracelet pandora ou acheter ours is equivalent. Nor, as a painter, is he a downer. His handling is wristy but muffled, flash also held back, and, on this evidence, he was continually inventive, refusing to duplicate motifs and even sometimes in very late works like the neon bracelet homme 3ilm lashed street scene Unser Kosmisches Leben (2013), with its bars named after cosmic phenomena blooming into bright if sardonic colour. The most haunting canvas here, though, for this viewer at least, is Das ganze Leben (1996). It has the watery bijoux pour bracelet pandora tonality of an ancient Chinese sketch and the simplicity of a children illustration, and depicts a train, trailing clouds of smoke and tugging three carriages, emerging from a dark tunnel bague or blanc taille 50 in one hill and about to disappear into another. Its title translating as Whole Life it stashed at the end of the show. Schwontkowski brief and truncated journey between twinned darkness was not, his paintings suggest, fully daylit itself, but there was enough glow to glimpse things, and to begin to share them…

Schéma collier perle The paintings of Norbert Schwontkowski bague swarovski schéma-bracelet argent femme design-shgwcy

Schéma collier perle The paintings of Norbert Schwontkowski bague swarovski schéma-bracelet argent femme design-shgwcy

The paintings of Norbert Schwontkowski

Norbert Schwontkowski career divides neatly, if unequally, into two sections. Until his mid fifties, the Bremen bague or blanc diamant coeur born painter was little known outside of northern Germany. In 2004, however, after decades combining painting, teaching, travel and dogged bijou bracelet pandora quietude, he enjoyed a retrospective at Kunsthalle Bremen and tatouage bracelet homme fin began to work with Berlin powerhouse gallery Contemporary Fine Arts. ( success in Berlin! Everybody wants my pictures. Am I still me he wrote conflictedly bague or blanc chaumet in a letter.) Since then, up to and after his early death in maty bague or blanc diamant noir 2013, Schwontkowski murkily atmospheric, mostly figurative scenarios have been increasingly visible, their maker appearing like something bracelet pandora or jaune of a throwback figure and an easily fetishised one in using painting to wrestle so emphatically with existential disquiet and a neo Romantic sense of the numinous. Now, confirming this photo de bracelet pandora upward trajectory, we have of My Secrets which, in its first presentation, runs to some 64 paintings divided along thematic rather than chronological lines and spread across a succession of subterranean rooms in the Kunstmuseum Bonn, plus an interspersed selection of sketchbooks bracelet pandora occasion in vitrines (the exhibition travels to the Kunsthalle Bremen and the Kunstmuseum Den Haag later this year). The show title is appropriately wry and elusive. One comes away knowing the artist better, but also bague or pour index femme with maty bague or diamant a sense bracelet pandora perle that much remains withheld or, more positively, yours to complete.

In 2006, for example, Schwontkowski painted Hochwasser. A stooped, silhouetted figure in the centre of the canvas pushes a bicycle forward, though the wheels, like the cyclist feet and calves, are sunk in something. While the title says high water, much in Schwontkowski art twists metaphorical and even reflexive. Technically, the subject bracelet pandora rose et blanc is trudging through a horizonless, near lightless world of horizontally smeared, brownish purple paint and if, in iconographic promotion bracelet pandora terms, this might simply be someone heading home across a flooded plain, it also signals a painter wrestling with painting, a middle aged person wrestling with just carrying on amid diminishing returns, and anyone of any age dealing with life ongoing and changeable burdens. The power of the bracelet pandora violet painting resides in all the clarifying and narrowing detail that Schwontkowski rejects, plus the sense, as so often in his art, that this is an image pulled from the projection screen of his mind.

Like many of his paintings, it explicitly delocalised, a bracelet homme perle grise psychological landscape as much as a literal one. Even when Schwontkowski identifies place, the image undermines it: Belgische Autobahn (2000) is centred on an S shaped black road dotted with street lights on a brushy brown slab of lowlands. The lights are on, but it feels like neither day or night; no cars travel the road, and the eye is led from bracelet homme zenger the lower left corner, the bottom of the S, towards the painting upper middle, where the tarmac dissolves into salmon pink sky. If this is barely a figuration, it because the painting is almost a thought, perhaps an unresolved one.

There are numerous artificial illuminations in Schwontkowski art the string of pearls set of lights in dun nothingness that is Yesterday Allee (2012), the conferring trio of street lamps in Sich verneigende Figuren (1998), or the glowing opened fridge inspected by a pear shaped figure in Bosch (Die K des Weltalls) (2006).

In one of the most indelible images here, the urine toned Kino (2001), Schwontkowski daubs the titular word over the frontage of a double spired gothic church, bracelet pandora charm positing religion as mere entertainment, distraction. (Church Street, from 2008, with its cluster of indigent men gathered around a brazier on a bottle strewn thoroughfare, is a bracelet pandora swarovski counterpart.) Religion, for this artist, is not going to save us; we on our own come hell or, indeed, high water. Elsewhere, he fills in some of the modern world depredations, in paintings of army helicopters, belching chimneys, a ripped apart plane fuselage, a drive in full of punters staring at an empty screen.

Bad Dream (2011), Norbert Schwontkowski. Photo: Jochen Littkemann; courtesy Estate of Norbert Schwontkowski/Institute of Contemporary Arts, Berlin

To emphasise this, though, is to posit Schwontkowski as a literalist of sorts, even a polemicist. He hazier than that. bracelet homme leo yellow His paintings have an air of having arisen, not being presented as rhetorical markers; if they are secrets, they may also be somewhat secret to their maker. Die Haut (1995) is a weathered, Luc Tuymans ish semi abstraction in which we see a hand slip in the gap between two shirt buttons. The gesture is sort of Napoleonic, and suggests pulling something out from inside, or just rooting around inwardly, curiously, but there it stops. Such half statements, Schwontkowski intuited, could be more abyssal than full ones. In Bad Dream (2011), the inner and outer lives merge: we see a prone rotund figure, open mouthed and wailing, in the midst of a dreamscape involving multiple ghostly little bare beds and an overpass dotted with rocks. The painting works mainly because the figure looks paralysed, like a Kafkaesque bug, and the horror of the dream is held back, advertised by outward banalities.

Schwontkowski does not presume to know the contours of our anxiety: he just bracelet pandora prix des perles shows us his, refusing to elevate it, and supposes that bracelet pandora ou acheter ours is equivalent. Nor, as a painter, is he a downer. His handling is wristy but muffled, flash also held back, and, on this evidence, he was continually inventive, refusing to duplicate motifs and even sometimes in very late works like the neon bracelet homme 3ilm lashed street scene Unser Kosmisches Leben (2013), with its bars named after cosmic phenomena blooming into bright if sardonic colour. The most haunting canvas here, though, for this viewer at least, is Das ganze Leben (1996). It has the watery bijoux pour bracelet pandora tonality of an ancient Chinese sketch and the simplicity of a children illustration, and depicts a train, trailing clouds of smoke and tugging three carriages, emerging from a dark tunnel bague or blanc taille 50 in one hill and about to disappear into another. Its title translating as Whole Life it stashed at the end of the show. Schwontkowski brief and truncated journey between twinned darkness was not, his paintings suggest, fully daylit itself, but there was enough glow to glimpse things, and to begin to share them…