Picture "Four Girls" (1912/13), framed
Picture "Four Girls" (1912/13), framed
Quick info
limited, 950 copies | original Dietz replica | oil on canvas | on stretcher frame | framed | size 89.5 x 70 cm (h/w)
Detailed description
Picture "Four Girls" (1912/13), framed
His "Four Girls", totally embedded in the play of form and colour of the surrounding landscape, is a prime example of August Macke's art of deriving the composition of a picture entirely from clear, strong areas of colour.
Original: 1912/13, oil on canvas, Kunstmuseum Düsseldorf im Ehrenhof.
Original Dietz replica. Oil on canvas in 128 colours. Limited edition of 950 copies. Each canvas replica is stretched on a stretcher frame like the original, so you can re-stretch the canvas as room temperature and humidity fluctuate. Framed with a brown real wood strip. Size incl. frame approx. 89.5 x 70 cm (h/w).
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany, [email protected]
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About August Macke
1887-1914
Radiant yellow, bright red, strong blue: the intensity and unique luminosity of the colours are typical of August Macke's work. In his paintings, Macke shows an intact world and primarily focuses on people. Probably because of the influence of his origins and the Rhenish cheerfulness, both as a person and as a painter, August Macke is considered to be one of the most famous German painters of the 20th-century.
Macke was a member of the artists' association "Blauer Reiter" and the most important representative of Rhenish Expressionism. He is considered the greatest German colour talent of his generation. But his drawings, sketches and designs also prove that he is one of the great artists of the 20th-century.
August Macke, born in Meschede on 3 January 1887, began his studies at the Kunstgewerbeschule and Kunstakademie Düsseldorf but dropped out prematurely. On journeys to France, Italy and the Netherlands he studied mainly Impressionism. With the artists of the "Blaue Reiter", whom he had known since 1911, he exhibited several times and contributed to the eponymous almanack. His financial security was assured by his sponsor Bernhard Koehler, an uncle of his wife Elisabeth.
Macke had already found his style of unmistakable independence. Inspired by Cézanne's tectonic pictorial structure and Matisse's flatness, he combined analytical Cubism with the pure colourfulness of Fauvism. The prismatic colours were the principal elements with which August Macke composed his painting. In doing so, the artist used the colours like a musician uses the tones, chords and scales of colourful forms.
As early as 1910, his friendship with Franz Marc enabled him to spend time at Lake Tegernsee. Macke's sensitivity for light effects was already evident in the paintings he created there. This is heightened in the watercolour paintings he produced on the famous trip to Tunis he made with Paul Klee and Louis Moillet in 1914. Simplification of form and the luminosity of the colours characterise this series of works.
For the first time in 1913, Macke‘s work was exhibited together with the works of the European avant-garde at the Sonderbund exhibition in Cologne, which he co-organised.
From 1913 Macke lived in Switzerland with his wife Elisabeth and his son Walter. But the family's happiness only lasted for a short time. As soon as the First Wolrd War began, August Macke was killed on the battlefield in Champagne, France, on 26 September 1914. His friend Franz Marc commented: "The greedy war is a hero's death richer, but German art poorer by one hero."
The German artists‘ association "Der Blaue Reiter" ("The Blue Rider") was founded in 1911 in Munich by Wassily Kandinsky and Franz Marc during the German Expressionist period.
The name was originally the title of a painting by Kandinsky and also the title of the almanac published by Kandinsky and Marc. Members included Paul Klee and August Macke, among others. The group criticised the prevailing art canon as too academic and elitist, demanding more openness and diversity. The artists turned away from realism and began to paint expressively in an increasingly abstract style using strong colours.
The group disbanded at the beginning of World War I.
A revolutionary process developed by Günter Dietz for the authentic reproduction of paintings, in which not the usual printing inks are used but the same original colours used by the artist. Depending on the artist's painting technique, up to 140 (!) different layers of paint my be required to achieve a perfect replica of the original that also tangibly reproduces the "relief" and texture of the paint.
An example is August Macke's "Couple at the Garden Table":
Furthermore, the material of the original carrier is always used, meaning the reproduction is made on canvas, paper, wood, copper, or parchment.
The result is a perfect, gridless reproduction that closely resembles the original in terms of expressiveness and effect. Even museum specialists often can not distinguish the original from the replica. Therefore, a special security note must be added, which is only visible under X-rays.
The edition of most Dietz replicas is limited, usually to 950 copies. Each canvas replica is stretched onto a stretcher frame, just like the original, so that it can be re-stretched in case of fluctuations in room temperature and humidity. A high-quality solid wood frame completes the appearance every Dietz replica.
Numerous masterpiece paintings of Rembrandt, Caspar David Friedrich, Claude Monet, Gustav Klimt, and others, have been recreated by the "Dietz Offizin". Famous modern artists such as Pablo Picasso, Salvador Dalí, Max Ernst, Friedensreich Hundertwasser, Joan Miró, and Marc Chagall have used this method developed by Günter Dietz in order to have replicas of their works produced.
Press Comments:
"The Dietz System provides images as good as the originals. What electronics achieved with the invention of Hi-Fi and stereo for music playback, this technology has now done for the visual arts." (Die Zeit, German newspaper)
"In theory, there is no difference between the original and the Dietz replica. They should be called facsimiles, not reproductions." (Newsweek, US-American news magazine)
"For art printers all over the world, what Dietz has achieved with the printing technique remains an unattainable goal: the perfect reproduction of painted works." (Der Spiegel, German news magazine)
Artistic movement that replaced Impressionism in the early 20th century.
Expressionism is the German form of the art revolution in painting, graphic art and sculpture, with its precursors found in the works of Paul Cézanne, Vincent van Gogh, and Paul Gauguin at the end of the 19th century. The expressionists sought to reach the fundamental elements of painting. Using vibrant, unbroken colours in large areas, emphasising lines, and aiming for suggestive expressiveness, they fought against the artistic taste established by the bourgeoisie.
The most important representatives of Expressionism were the founders of "Die Brücke": Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, Max Pechstein, Otto Mueller and Franz Marc, August Macke and others.
Masters of Viennese Expressionism are Egon Schiele and Oskar Kokoschka. Among sculptors, Ernst Barlach is the most famous.
Fauvism is the French form of Expressionism.
Depiction of typical scenes from daily life in painting, with distinctions between rural, bourgeois, and courtly genres.
The genre reached its peak and immense popularity in Dutch paintings of the 17th century. In the 18th century, especially in France, the courtly and gallant painting became prominent, while in Germany, a more bourgeois character developed.
A true-to-the-original reproduction of an artwork in the same size and with the best possible material and colour uniformity.
The mould is usually taken directly from the original so that the replication reproduces even the finest details. After casting the replication, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.
A replication of ars mundi is a recognizable copy of the original.