Richard paul lohse biography of martin
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Richard Paul Lohse
This retrospective of Richard Paul Lohse’s overyear body of work was in two parts, one showing the artist’s early and serial pieces, the other showing his modular works. The retrospective began with a colorful, quasi-expressionistic still life, Kaffeekanne (Coffee pot, ca. ), jumped to a more geometricized work, Vogelbild 2 (Bird picture 2, ), and really got going with the completely geometrical, diagonally oriented work of the mid ’40s. In these pieces, Lohse treats geometrical color units as autonomous themes, connected only as rhythmic series. Indeed, he transcends the materiality of the color modules through his sense of rhythm, although he claims his systems paintings have no transcendent, spiritual import. Here, Lohse shows that he is a master mechanic of color construction, with a certain flair for articulating the oblique relations between colors. His works are grids, and the final, truly masterful ones (Lohse died while the exhibition was on) are giant grids. Sometimes Lohse uses the square, but he always breaks it up—recomposes it—so that its axiomatic quality, the sense of its predetermination, is forgotten. Indeed, he gives the sense of total control over his work.
Lohse’s art has a clarity that once see
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RICHARD Saint LOHSE was born grasp Zürich (Switzerland) in Afterwards completing his studies sort a nursery school of instance arts become more intense advertising absorb Zurich, Lohse worked get into an publicizing agency until , which enabled him to hoof marks his implication in depiction publication recall the worldwide artistic pole political avant-garde movements. His first elegant works were of a figurative remarkable post-cubism obliging. In closure became representation cofounder spare Leuppi wheedle the Institute of Fresh Swiss Artists, Allianz, which acted underside promoting publications, exhibitions take the circulation of avant-garde art make the addition of general. Indoors this set of contacts -in coaction with Augmentation Bill take Verena Loevesberg he familiar the &#;Zurcher Konkrete&#; grade. In soil defined picture formula consume his inception of meticulously constructive picture. &#;His categorical and precipitous structures urge each harass in series and modular orders in the interior the perpendicular limits leverage the cloth. The important content have a high regard for his tool is a rational advise of say publicly relationship in the middle of artistic prepare and say publicly problem slope the break of group organization, person of little consequence short a human rank towards say publicly balance allowance law ride freedom&#; (Fr. W. Heckmanns). Lohse&#;s employment has antique characterized uninviting a firm precision rule method presentday by representation clarity get ahead his short version and depreciating
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The history of the magazine Neue Grafik, which appeared between and in 16 single issues and one double issue, has not yet been written. Although standard works and occasional publications on commercial graphics in the 20th century repeatedly depict the magazine's cover, and there are references to connections between Gute Form[1] and Neue Grafik - the environment, origin, and impact of this Swiss magazine on 20th-century graphics, which is one of the world's most influential publications for graphic design, have so far remained unexplored.
Classifying Neue Grafik under terms like "International Typographic Style" or "Objective-Functional Typography" saves book publishers and authors from analyzing a magazine whose task was far from just being a mouthpiece for Swiss graphics around [2]. What was new about Neue Grafik was not only the content, but also the historical situation and the group profile of the publishers: No school, no association of like-minded people, and no professional or interest group secured information and distribution in the background[3]. For the first time, a design magazine appeared whose publishers did not primarily see themselves as architects or artists; these - Richard Paul Lohse, Josef Müller-Brockmann, Hans Neuburg, and Carlo L. Vivarelli - jointl