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Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: Brand New. bilingual edition. 165 pages. 10.75x9.00x0.75 inches. In Stock.

Taschenbuch. Condizione: Neu. Neuware - 'We dive into Gerber's worlds to lose ourselves and to find ourselves again in amazing places.' This is how the Swiss art historian and acclaimed novelist Paul Nizon characterized the work of his compatriot, the painter Theo Gerber (1928-1997). Gerber was a free spirit who has remained largely unknown in his native country until the present day. This is due to the artist's own choice, having rejected the efforts of gallery owners to introduce his works to the general public. For Gerber, success did not mean fame and glory, but rather that his art showed a different possibility from that of his contemporaries. The way in which Gerber, who roamed between a variety of styles, traveled the world, and lived with the ethnic group of the Dogon in West Africa for two years during a creative crisis, upheld his artistic freedom makes it impossible to assign him to a specific direction in 20th-century art. This book, published to coincide with a retrospective exhibition at the Kunstmuseum Thun, Switzerland, is an overdue tribute to this, in the best sense of the word, incomprehensible artist and finally provides the general public with a chance to discover and recognize his oeuvre.; «Wir tauchen in Gerbers Welten ein, um uns zu verlieren und an erstaunlichen Orten wiederzufinden.» So charakterisiert der grosse Schweizer Schriftsteller Paul Nizon das Werk des Thuner Malers Theo Gerber (1928-1997) - einem Freigeist, der hierzulande nach wie vor ein Unbekannter ist. Dazu trug insbesondere der Künstler selbst bei, der die Bemühungen von Galeristen ablehnte, seine Malerei beim breiten Publikum bekannt zu machen. Erfolg bedeutete für Gerber nicht Ruhm und Ehre, sondern dass «seine Kunst eine andere Möglichkeit aufzeigt als die seiner Zeitgenossen». Dieses Hochhalten der künstlerischen Freiheit macht es unmöglich, den Stil- und Weltenbummler, der sich in einer Schaffenskrise zwei Jahre lang dem westafrikanischen Stamm der Dogon anschloss, einer konkreten Richtung zuzuordnen. Dieses Buch, das anlässlich einer umfassenden Theo-Gerber-Retrospektive im Kunstmuseum Thun erscheint, lässt diesem im besten Wortsinn unfassbaren Künstler endlich die verdiente Aufmerksamkeit zukommen.