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606

Norbert KrickeRaumplastik Gelb-Weiß-SchwarzStahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca.

In Contemporary Art

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Norbert KrickeRaumplastik Gelb-Weiß-SchwarzStahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. - Bild 1 aus 3
Norbert KrickeRaumplastik Gelb-Weiß-SchwarzStahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. - Bild 2 aus 3
Norbert KrickeRaumplastik Gelb-Weiß-SchwarzStahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. - Bild 3 aus 3
Norbert KrickeRaumplastik Gelb-Weiß-SchwarzStahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. - Bild 1 aus 3
Norbert KrickeRaumplastik Gelb-Weiß-SchwarzStahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. - Bild 2 aus 3
Norbert KrickeRaumplastik Gelb-Weiß-SchwarzStahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. - Bild 3 aus 3
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Köln
Norbert Kricke
Raumplastik Gelb-Weiß-Schwarz

Stahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. 59,3 x 75,6 x 34,3 cm.

Wir danken Sabine Kricke-Güse, Berlin, für hilfreiche Auskünfte.

Provenienz
Sammlung Helga und Freiherr Günther von Teuffel, Düsseldorf; Privatsammlung, Norddeutschland

Ausstellungen
Düsseldorf 2006 (Museum Kunst Palast), Norbert Kricke. Plastiken und Zeichnungen. Eine Retrospektive, Kat.Nr.28, mit Farbabb. S.90

Literatur
Jürgen Morschel, Norbert Kricke, Stuttgart 1976, mit Abb.33

Das plastische Werk Norbert Krickes entzieht sich einer klaren Deutung und einer eindeutigen Zuordnung. Seine Plastiken lassen sich weder dem Informel noch der Minimal Art zuschreiben, ihre sorgfältig komponierte, subtile Gestalt geht komplexe Wechselwirkungen mit Raum, Zeit und Bewegung ein.
Der Künstler fasste seine Intention in dem bekannten Zitat zusammen: „Mein Problem ist nicht Masse, ist nicht Figur, sondern es ist der Raum und es ist die Bewegung - Raum und Zeit. Ich will keinen realen Raum und keine reale Bewegung (Mobile), ich will Bewegung darstellen. Ich suche der Einheit von Raum und Zeit eine Form zu geben.“ (Norbert Kricke, Ausst.Kat. Wilhelm-Lehmbruck-Museum u.a., Düsseldorf 1975, S.20).
Nach ersten Drahtplastiken Anfang der 1950er Jahre, die in ihren in sich geschlossenen, mit der Bodenplatte verbundenen Formen Anklänge an architektonische Vorbilder in sich tragen, erheben sich die Plastiken schon wenig später zu dynamischen Konstruktionen, die an einem einzigen Berührungspunkt mit dem Untergrund verankert sind und in diagonalen Verläufen weit in den Raum ausgreifen. Wie Strahlen schießen ihre Linien in den Umraum, um sich in einem spitzen Winkel zurückzuziehen und zu einem erneuten rasanten Schwung auszuholen. Diese Plastiken trotzen scheinbar der Schwerkraft und visualisieren einen in sich geschlossenen, stetigen Bewegungsverlauf. Durch größere Winkel und kürzere Linien unterscheiden sich dabei „langsamere“ von besonders „schnellen“ Bereichen mit langen Verläufen und engen Winkeln. Um diese variierende „Schnelligkeit“ innerhalb der Plastik weiter zu definieren, setzte der Künstler Farbe ein. Weiß und helles Gelb symbolisieren dabei die schnellen, Schwarz und dunkles Rot die langsamen Bereiche.

NB

Norbert Kricke
Raumplastik Gelb-Weiß-Schwarz

Steel, painted. On stone plinth. Overall dimensions approx. 59.3 x 75.6 x 34.3 cm.

We would like to thank Sabine Kricke-Güse, Berlin, for helpful information.

Provenance
Günther and Helga von Teuffel Collection, Dusseldorf; private collection, Northern Germany

Exhibitions
Dusseldorf 2006 (Museum Kunst Palast), Norbert Kricke. Plastiken und Zeichnungen. Eine Retrospektive, cat.no.28, with colour illus. p.90

Literature
Jürgen Morschel, Norbert Kricke, Stuttgart 1976, with illus.33

The sculptural work by Norbert Kricke eludes clear interpretation and definite classification. His sculptures can be neither ascribed to the Informel nor to Minimal Art; their carefully composed, subtle shapes interact with space, time, and motion in a complex manner.
The artist summarises his intentions in a well-known quote: “My problem is not mass, not shape, but space and motion - space and time. I do not want to portray real space or real motion (mobile), I want to depict movement. I seek to give shape to the entity of space and time.” (Norbert Kricke, exhib.cat. Wilhelm-Lehmbruck-Museum der Stadt Duisburg/Städtische Kunsthalle Dusseldorf, Dusseldorf 1975, p.20).
Following the first wire sculptures of the early 1950s, which with their self-contained shapes connected to the base are reminiscent of architectural models, the sculptures develop a little later to dynamic constructions attached to the base at just one spot, diagonally protruding far into the surrounding space. Their lines shoot outward like rays, retracting in acute angles and swinging back out again with new rapid momentum.
These sculptures seemingly defy gravity and visualise a self-contained, continuous course of motion. Obtuse angles and shorter lines distinguish “slower” areas from particularly “fast” areas with long stretches and acute angles. In order to further define the varying “pace” within the sculpture, the artist applied colour. The colours white and a bright yellow symbolise the fast areas, black and dark red the slow ones.

NB
Norbert Kricke
Raumplastik Gelb-Weiß-Schwarz

Stahl, farbig gefasst. Auf Feldsteinsockel. Gesamtmaß ca. 59,3 x 75,6 x 34,3 cm.

Wir danken Sabine Kricke-Güse, Berlin, für hilfreiche Auskünfte.

Provenienz
Sammlung Helga und Freiherr Günther von Teuffel, Düsseldorf; Privatsammlung, Norddeutschland

Ausstellungen
Düsseldorf 2006 (Museum Kunst Palast), Norbert Kricke. Plastiken und Zeichnungen. Eine Retrospektive, Kat.Nr.28, mit Farbabb. S.90

Literatur
Jürgen Morschel, Norbert Kricke, Stuttgart 1976, mit Abb.33

Das plastische Werk Norbert Krickes entzieht sich einer klaren Deutung und einer eindeutigen Zuordnung. Seine Plastiken lassen sich weder dem Informel noch der Minimal Art zuschreiben, ihre sorgfältig komponierte, subtile Gestalt geht komplexe Wechselwirkungen mit Raum, Zeit und Bewegung ein.
Der Künstler fasste seine Intention in dem bekannten Zitat zusammen: „Mein Problem ist nicht Masse, ist nicht Figur, sondern es ist der Raum und es ist die Bewegung - Raum und Zeit. Ich will keinen realen Raum und keine reale Bewegung (Mobile), ich will Bewegung darstellen. Ich suche der Einheit von Raum und Zeit eine Form zu geben.“ (Norbert Kricke, Ausst.Kat. Wilhelm-Lehmbruck-Museum u.a., Düsseldorf 1975, S.20).
Nach ersten Drahtplastiken Anfang der 1950er Jahre, die in ihren in sich geschlossenen, mit der Bodenplatte verbundenen Formen Anklänge an architektonische Vorbilder in sich tragen, erheben sich die Plastiken schon wenig später zu dynamischen Konstruktionen, die an einem einzigen Berührungspunkt mit dem Untergrund verankert sind und in diagonalen Verläufen weit in den Raum ausgreifen. Wie Strahlen schießen ihre Linien in den Umraum, um sich in einem spitzen Winkel zurückzuziehen und zu einem erneuten rasanten Schwung auszuholen. Diese Plastiken trotzen scheinbar der Schwerkraft und visualisieren einen in sich geschlossenen, stetigen Bewegungsverlauf. Durch größere Winkel und kürzere Linien unterscheiden sich dabei „langsamere“ von besonders „schnellen“ Bereichen mit langen Verläufen und engen Winkeln. Um diese variierende „Schnelligkeit“ innerhalb der Plastik weiter zu definieren, setzte der Künstler Farbe ein. Weiß und helles Gelb symbolisieren dabei die schnellen, Schwarz und dunkles Rot die langsamen Bereiche.

NB

Norbert Kricke
Raumplastik Gelb-Weiß-Schwarz

Steel, painted. On stone plinth. Overall dimensions approx. 59.3 x 75.6 x 34.3 cm.

We would like to thank Sabine Kricke-Güse, Berlin, for helpful information.

Provenance
Günther and Helga von Teuffel Collection, Dusseldorf; private collection, Northern Germany

Exhibitions
Dusseldorf 2006 (Museum Kunst Palast), Norbert Kricke. Plastiken und Zeichnungen. Eine Retrospektive, cat.no.28, with colour illus. p.90

Literature
Jürgen Morschel, Norbert Kricke, Stuttgart 1976, with illus.33

The sculptural work by Norbert Kricke eludes clear interpretation and definite classification. His sculptures can be neither ascribed to the Informel nor to Minimal Art; their carefully composed, subtle shapes interact with space, time, and motion in a complex manner.
The artist summarises his intentions in a well-known quote: “My problem is not mass, not shape, but space and motion - space and time. I do not want to portray real space or real motion (mobile), I want to depict movement. I seek to give shape to the entity of space and time.” (Norbert Kricke, exhib.cat. Wilhelm-Lehmbruck-Museum der Stadt Duisburg/Städtische Kunsthalle Dusseldorf, Dusseldorf 1975, p.20).
Following the first wire sculptures of the early 1950s, which with their self-contained shapes connected to the base are reminiscent of architectural models, the sculptures develop a little later to dynamic constructions attached to the base at just one spot, diagonally protruding far into the surrounding space. Their lines shoot outward like rays, retracting in acute angles and swinging back out again with new rapid momentum.
These sculptures seemingly defy gravity and visualise a self-contained, continuous course of motion. Obtuse angles and shorter lines distinguish “slower” areas from particularly “fast” areas with long stretches and acute angles. In order to further define the varying “pace” within the sculpture, the artist applied colour. The colours white and a bright yellow symbolise the fast areas, black and dark red the slow ones.

NB

Contemporary Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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