Year:in the 1930s
Dimensions: 60 x 78 cm
Fritz Griebel is unmistakably a master of still life. Early on, this tendency is evident in his work, which came from the 1930s to the breakthrough. The element of still life appeared to him in the figurative broken in vegetatively-vegetal, in rem or in the mixing of all areas on.
The history of the autonomous still life begins at 1600 in the Netherlands, Germany, Spain and Italy. In the Baroque period (about 1600-1770) enjoyed the still life in Europe and particularly in the Netherlands and Flanders great popularity and evolved into a separate class in painting. It resulted in numerous subtypes of still life paintings, such as the books and vanitas still life, still life, the meal, the fish still life, flower and fruit still life still life or smoking.
In European art tradition is meant by a still-life representation of dead or motionless objects, which were selected according to content, often symbolic and aesthetic criteria and grouped. The term "Still Life" (Dutch still = unmoved, leven = life, existence, model) is for a painting for the first time in a Dutch inventory from the year 1650. The artist and art writer Arnould Houbraken (1660-1719) took over at the beginning of the 18th Century, the term "style leven" groote schoulburgh in his three-volume work, "De signs of Nederlantsche konstschilders s eat (1718-1721). The painter and art historian Joachim von Sandrart Elder (1606-1688) coined the term "stationary things" in his great source work of German art history "Teutsche Academy of noble building, image and Mahlereykünste (1675-1779). It was not until the mid-18th Century used the word "still life" in the Dutch role in the German language. Even the French term "nature morte" or "Coye vie" is the middle or end of the 18th Century demonstrated, although they may in theoretical discussions of the French Academy in the 17th Century has been characterized. Finally, the term "still life" as a generic name in the various translations had (still leven, nature morte, still life, etc.) established.
Until the 18th and 19 Century was still life in the academic ranking of image types - one, the lowest rank - History, genre, portrait and landscape. This was relieved by high expectations and proved to the 20th Century as a testing ground for artists. The confrontation with the still life like never offered an uncommon freedom to deal with image problems inherent with composition, light and color.
No less than painters Paul Cézanne (1839-1906), which was much appreciated by Fritz Griebel, created with his still-life painting new perspectives. The dissolution of solid shapes in the flickering light and shadow in the discovery of colored Impressionism replied, Cézanne with strong, tough and fiercely executed brush strokes with which he painted relatively certain forms.
"In his" Still Life with Apples and oranges on a diagonal is brought into focus, not clearly definable draped piece of furniture in a white tablecloth, ornate drapery. It stands in contrast to the ornamented fabric of furniture. On the table cloth, a white plate stand with apples, a white fruit bowl with oranges and a flowered ceramic pitcher. Some fruit, Frenchman draped artfully on the cloth, on which are almost in the ornamentation of fabrics.
The Dutch still life artists had created, to ensure their virtuosity on display, Cézanne chose his motifs with the intention of studying specific visual problems, which he wanted to solve. The relationship between color and modeling particularly fascinated him. A colorful ball, an apple or an orange suited to this purpose best. He also was interested in a balanced composition, which is why he was in his still life objects such compiled, wedged and braced until he got exactly the arrangement that was balanced for him.
Let us now consider the still life Fritz Griebel, so the color brilliance immediately catches the eye. Limited to a few colors, Griebel shows in this picture once again extremely sensitive handling of his brush and paint. The primary colors red, green and blue, he sat with the addition of white in the limelight.
On a light blue background stand out powerfully from five vessels. They take up almost the entire rectangular screen. A pink pitcher is framed by three red-orange. On a blue jar whose opening is curved, yellow pollen from a flower without blowing petals. Five flower stalks, some with floating rose-like leaves, and on the vessels are divided over the image area into an upper and lower zone. Three stalks float horizontally through each of the handles of the two great pitchers, and the smaller amphoraähnlichen bäuchigeren that seems to hover over the blue jug. Contrasting the three flower stalks, the vertical orientation of the vessels, standing on a red background, so emphasize the horizontality two more flower stalks of small orange. The bodies floating yellow-colored pumpkin and melon in the left half of the image correspond to the ovary in color and form on the right half.
In comparison to Cezanne still life Griebel is formally reduced - no embellishment, no opulence, no excess flux. It is not a result of a study object, but is powered solely from the imagination of the artist. But in the choice of things with simple, distinctive, often stereometric patterns related forms, such as a pumpkin or melon spherical and cylindrical jars shows clearly the heir to the French.
Cézanne emphasized the naturalistic conception of representation, so Griebel still life surreal. He gives shape and modulation - especially beautiful at the rötgrünlichen shadow on the orange-colored pitchers to see - though almost authentic again, so is the subject of floating-on course. This motif is seen in many paintings from the 1930s and has been described in detail in other works of the month. Only the slim orange and blue colored mug appear on the red ground to stand. The two great pitchers seem to fluctuate, while the pitcher bäuchige actually floats, like the pumpkin and the flower stalks of gravity have resigned.
Fritz Griebel painted still life no longer in the true sense. Although his subjects are arranged harmoniously and lose their symbolic significance as Cézanne, but they are not immobile or dead, you are cheerful, imaginative and easy. They tell of joy, which is largely mediated by the harmonious color tone warm and cold. The still life is painted with childlike naivety, which can often be captured only by great artists.
Albrecht Dürer Gesellschaft Nürnberg (Hg.): Fritz Griebel. Aspekte eines Lebenswerkes. Aquarelle, Zeichnungen, Bilder. Nürnberg 1979, unpag.
Sybille Ebert-Schifferer: Die Geschichte des Stillebens. München 1998