engelbrecht waltraud (21 risultati)

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Hardcover. Condizione: new. Hardcover. Text in English and German. Erich Engelbrecht (19282011) called his pictures "introspective". He remarked on this: "The introspective image inspects the arena of the soul, the field of operation of archetypes, which constitute the fundamental pattern of our behaviour." We are indebted to C.G. Jung for providing especially deep insights into the nature of archetypes. According to him, they constitute, in their totality, the collective human unconsciousness, and determine our actions. These archetypesbecome visible only in symbolic images. For Werner Haftmann such images are the works of symbol-forming artists of all times. The works of Erich Engelbrecht, whether graphics, oil pictures, gobelins, or wooden and steel figures, appear planimetric and abstract. In his steel figures, for instance, the third dimension exists only in the thickness of the steel plates. This makes his artworks akin to folk tales. In his book The European Folktale, Max Luethi describes the style of the folk tale as "planimetric and abstract", with projecting all happenings on the level of plot. When the sister cuts her little finger off and uses it to open the door to the glass castle to free herimprisoned brothers in the folk tale The Seven Ravens, no blood flows and we hear no cry of pain.Both the folk tale and the "introspective image" tell a story and use primal images in order to do it. This mode of action of creating a coherence of meaning through a narrative of archetypalimages such as forest, cavern, or sea that rests upon primal human experience is described by C. G. Jung as an "archetypal programme ", a primal behaviour pattern that all human beings follow,regardless of race, culture, or epoch. With the introspective image, as with the folk tale, the creative process must be intuitive and meditative, an immersion in the unconscious. Erich Engelbrecht had no plan or idea for an artwork, merely an empty sheet of paper or canvas in front of him; he made himself receptive, waited, and allowed himself to be guided by the images, a process that he experienced very much as an ordeal and even as a threat to his existence. He did, however, have a sense for when his process of searching was at an end, albeit without understanding the meaning of a picture created in this way. His wife Waltraud Engelbrecht would then try to "read" these images and to derive a coherence of meaning from correspondences of form and colour. The Engelbrecht figures awaken memories of dancing berserkers, on the birth of the young king, on the creative dragons, the mythical smith, sacrifice scenes and many more besides. Germanic, Greek, Far Eastern, and biblical traces are brought together into a surprising unity: energy-charged, imaginative, and with a great deal of intellectuality. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condizione: New. Text in English and German. Erich Engelbrecht (19282011) called his pictures "introspective". He remarked on this: "The introspective image inspects the arena of the soul, the field of operation of archetypes, which constitute the fundamental pattern of our behaviour." We are indebted to C.G. Jung for providing especially deep insights into the nature of archetypes. According to him, they constitute, in their totality, the collective human unconsciousness, and determine our actions. These archetypesbecome visible only in symbolic images. For Werner Haftmann such images are the works of symbol-forming artists of all times. The works of Erich Engelbrecht, whether graphics, oil pictures, gobelins, or wooden and steel figures, appear planimetric and abstract. In his steel figures, for instance, the third dimension exists only in the thickness of the steel plates. This makes his artworks akin to folk tales. In his book The European Folktale, Max Lüthi describes the style of the folk tale as "planimetric and abstract", with projecting all happenings on the level of plot. When the sister cuts her little finger off and uses it to open the door to the glass castle to free herimprisoned brothers in the folk tale The Seven Ravens, no blood flows and we hear no cry of pain.Both the folk tale and the "introspective image" tell a story and use primal images in order to do it. This mode of action of creating a coherence of meaning through a narrative of archetypalimages such as forest, cavern, or sea that rests upon primal human experience is described by C. G. Jung as an "archetypal programme ", a primal behaviour pattern that all human beings follow,regardless of race, culture, or epoch. With the introspective image, as with the folk tale, the creative process must be intuitive and meditative, an immersion in the unconscious. Erich Engelbrecht had no plan or idea for an artwork, merely an empty sheet of paper or canvas in front of him; he made himself receptive, waited, and allowed himself to be guided by the images, a process that he experienced very much as an ordeal and even as a threat to his existence. He did, however, have a sense for when his process of searching was at an end, albeit without understanding the meaning of a picture created in this way. His wife Waltraud Engelbrecht would then try to "read" these images and to derive a coherence of meaning from correspondences of form and colour.

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Condizione: New. Erich Engelbrecht (1928-2011) nennt seine Bilder introspektiv . Er fuehrte dazu aus: Das introspektiveBild sichtet den Schauplatz der Seele,das Wikungsfeld der Archetypen, die dieGrundmuster unseres Verhaltens bilden. Besonders.

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Buch. Condizione: Neu. Neuware - Erich Engelbrecht (1928-2011) nennt seine Bilder'introspektiv'. Er führte dazu aus: 'Das introspektiveBild sichtet den Schauplatz der Seele,das Wikungsfeld der Archetypen, die dieGrundmuster unseres Verhaltens bilden.' Besonderstiefe Einsichten in das Wesen der Archetypenverdanken wir C. G. Jung. Nach ihm machensie in ihrer Gesamtheit das kollektive menschlicheUnbewußte aus und bestimmen unserHandeln. Sichtbar werden die Archetypen nur inSinnbildern. Solche Konkretisierungen sind dieWerke der symbolbildenden Künstler aller Zeiten.Die Werke Erich Engelbrechts, ob Graphiken,Ölbilder, Gobelins, sowie Holzscheiben- undStahlfiguren, wirken flächenhaft und abstrakt.In seinen Stahlfiguren zum Beispiel besteht diedritte Dimension nur in der Dicke der Stahlplatten.Seine Werke rücken so in die Nähe der Märchen.Als 'flächenhaft und abstrakt' beschreibtder Literaturwissenschaftler Max Lüthi in seinemBuch Das europäische Volksmärchen den Stil derMärchen, der alles Geschehen auf die Ebene derHandlung projiziert. So etwa fließt kein Blut, undman hört keinen Schmerzenslaut, wenn sich dieSchwester den kleinen Finger abschneidet undmit ihm das Tor zum Glasberg aufschließt, umihre dort gefangenen Brüder zu erlösen.Beide, das Märchen, vor allem das mit gutemAusgang, und das erwähnte 'introspektive Bild',erzählen eine Geschichte und bedienen sich dabeiurtümlicher Bilder. Solch eine geistige Vorgehensweise,die erzählend mit archetypischenBildern wie Wald, Höhle, Meer einen Sinnzusammenhangschafft, der auf einer menschlichenUrerfahrung beruht, etwa Reifung, Erkenntnisgewinn,nennt C. G. Jung ein 'archetypischesProgramm', ein urtümliches Verhaltensmuster,dem alle Menschen folgen, unabhängig von Rasse,Kultur oder Anwendungszeitpunkt.Wie beim Märchen kann beim introspektivenBild der Schaffensprozess nur intuitiv-meditativsein, eine Versenkung ins Unbewußte. ErichEngelbrecht hatte keinen Plan, keine Idee für einKunstwerk, sondern ein leeres Blatt oder eineleere Leinwand vor sich, öffnete sich, warteteund ließ sich leiten von den Bildern, die dann vorseiner Seele auftauchten, ein durchaus auch alsquälend, ja seine Existenz bedrohend erlebterVorgang. Er fühlte jedoch, wann sein Suchprozeßzu Ende war, allerdings ohne den Sinn desso entstandenen Gebildes zu verstehen. SeineFrau Waltraud Engelbrecht versuchte dann, seineBildwerke zu 'lesen', aus Form- und Farbzusammenhängeneinen Sinnzusammenhang herauszuarbeiten,soweit das bei solchen symbolischenGebilden möglich ist.Renate Vogt.

Hardcover. Condizione: new. Hardcover. Text in English and German. Erich Engelbrecht (19282011) called his pictures "introspective". He remarked on this: "The introspective image inspects the arena of the soul, the field of operation of archetypes, which constitute the fundamental pattern of our behaviour." We are indebted to C.G. Jung for providing especially deep insights into the nature of archetypes. According to him, they constitute, in their totality, the collective human unconsciousness, and determine our actions. These archetypesbecome visible only in symbolic images. For Werner Haftmann such images are the works of symbol-forming artists of all times. The works of Erich Engelbrecht, whether graphics, oil pictures, gobelins, or wooden and steel figures, appear planimetric and abstract. In his steel figures, for instance, the third dimension exists only in the thickness of the steel plates. This makes his artworks akin to folk tales. In his book The European Folktale, Max Luethi describes the style of the folk tale as "planimetric and abstract", with projecting all happenings on the level of plot. When the sister cuts her little finger off and uses it to open the door to the glass castle to free herimprisoned brothers in the folk tale The Seven Ravens, no blood flows and we hear no cry of pain.Both the folk tale and the "introspective image" tell a story and use primal images in order to do it. This mode of action of creating a coherence of meaning through a narrative of archetypalimages such as forest, cavern, or sea that rests upon primal human experience is described by C. G. Jung as an "archetypal programme ", a primal behaviour pattern that all human beings follow,regardless of race, culture, or epoch. With the introspective image, as with the folk tale, the creative process must be intuitive and meditative, an immersion in the unconscious. Erich Engelbrecht had no plan or idea for an artwork, merely an empty sheet of paper or canvas in front of him; he made himself receptive, waited, and allowed himself to be guided by the images, a process that he experienced very much as an ordeal and even as a threat to his existence. He did, however, have a sense for when his process of searching was at an end, albeit without understanding the meaning of a picture created in this way. His wife Waltraud Engelbrecht would then try to "read" these images and to derive a coherence of meaning from correspondences of form and colour. The Engelbrecht figures awaken memories of dancing berserkers, on the birth of the young king, on the creative dragons, the mythical smith, sacrifice scenes and many more besides. Germanic, Greek, Far Eastern, and biblical traces are brought together into a surprising unity: energy-charged, imaginative, and with a great deal of intellectuality. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Buch. Condizione: Neu. Erich Engelbrecht | Introspektive Bilder, Dt/engl | Gottfried/de Abreu Vares, Joao J Knapp | Buch | 160 S. | Deutsch | 2019 | Edition Axel Menges | EAN 9783869050140 | Verantwortliche Person für die EU: Edition Axel Menges, Esslingerstr. 24, 70736 Fellbach, axelmenges[at]aol[dot]com | Anbieter: preigu.

Hardback. Condizione: New. Text in English and German. Erich Engelbrecht (19282011) called his pictures "introspective". He remarked on this: "The introspective image inspects the arena of the soul, the field of operation of archetypes, which constitute the fundamental pattern of our behaviour." We are indebted to C.G. Jung for providing especially deep insights into the nature of archetypes. According to him, they constitute, in their totality, the collective human unconsciousness, and determine our actions. These archetypesbecome visible only in symbolic images. For Werner Haftmann such images are the works of symbol-forming artists of all times. The works of Erich Engelbrecht, whether graphics, oil pictures, gobelins, or wooden and steel figures, appear planimetric and abstract. In his steel figures, for instance, the third dimension exists only in the thickness of the steel plates. This makes his artworks akin to folk tales. In his book The European Folktale, Max Lüthi describes the style of the folk tale as "planimetric and abstract", with projecting all happenings on the level of plot. When the sister cuts her little finger off and uses it to open the door to the glass castle to free herimprisoned brothers in the folk tale The Seven Ravens, no blood flows and we hear no cry of pain.Both the folk tale and the "introspective image" tell a story and use primal images in order to do it. This mode of action of creating a coherence of meaning through a narrative of archetypalimages such as forest, cavern, or sea that rests upon primal human experience is described by C. G. Jung as an "archetypal programme ", a primal behaviour pattern that all human beings follow,regardless of race, culture, or epoch. With the introspective image, as with the folk tale, the creative process must be intuitive and meditative, an immersion in the unconscious. Erich Engelbrecht had no plan or idea for an artwork, merely an empty sheet of paper or canvas in front of him; he made himself receptive, waited, and allowed himself to be guided by the images, a process that he experienced very much as an ordeal and even as a threat to his existence. He did, however, have a sense for when his process of searching was at an end, albeit without understanding the meaning of a picture created in this way. His wife Waltraud Engelbrecht would then try to "read" these images and to derive a coherence of meaning from correspondences of form and colour.