Kabinett Lütze


Bernd Berner, ohne Titel, 1982. © VG Bild-Kunst, Bonn 2019
Foto: Benjamin Knoblauch

Orderly. Colorful. Abstract.
The exhibition Konstruktiv Konkret comprises eleven Constructivist paper works from the Collection Lütze. The art movement formed in the first half of the 20th century and is predominantly characterized by representations of clear, geometrical and non-representational forms.
In his etching ‘Flächenraum‘ (1979) and in an untitled work from 1982, Bernd Berner (1930–2002) creates shimmering and dynamic color spaces. Over-painting and compaction are key elements of his method, forming a very lively mesh-work. Despite the bustling cluster of lines, the work emanates a certain airiness.

The drawing  ‘Ohne Titel‘ (1977) by Fritz Ruoff (1906–1986) is characterized by a clear reduction and a play of the line. Rudolf reveals a super-ordinate reference to nature in his balanced compositions, visualizing the forces and structures of creation.

Fritz Winter (1905−1976), on contrary, takes a much more liberal and dynamic approach to the color surface in his two untitled works from 1954 and 1965. What is particularly striking about them is a pictorial language of abstract forms in combination with pictorial compositions that follow classic rules. Winter was one of the most important pioneers of Abstraction in Europe.

‘Einzelstücke I, 1/7’ (1993) and ‘Komplementär, 1/7 ‘ (1999) by Herrmann Werner (*1953) come from a series of 48 works made in accordance with the simple but strict rules of logic. Minimal alterations of color, form and line lead to impressive color fields.

In the late 1960s Klaus Basset (1926–1996) developed a principle that allowed him to transfer drawings to a raster. Initially realized by hand, they were later executed by means of a typewriter. ‘Systematische Kombination von 15 kontinuierlichen Hell-Dunkel-Strukturen nach dem Matrix-Prinzip’ (Systematic Combination of 15 Continuous Light-Dark-Structures after the Matrix-Principle, 1974) is a typewriter-generated work that at first sight looks like a completed abstract print. However, a second look reveals its richness of forms.

Anton Stankowski (1906–1998) had the following motto: “It doesn’t matter if its art or design. What matters is the quality.“ His untitled work from 1937 reaches a maximum of simplicity. Throughout his life Stankowski remained true to Constructive-Concrete Art. Together with Karl Duschek (1947–2011) he ran the Graphic Studio Stankowski+Duschek. Like Stankowski, Duschek also favored a clear and reduced vocabulary of forms. His work ‘Codierung mit Quadraten viergeteilt‘ (1973) illustrates this approach in a particularly distinguished way.

Adolf Fleischmann (1892–1968) attained his unique style only at an old age. A style characterized by rhythmically arranged groups of stripes and narrow angles. The work ‘Ohne Titel‘ (1963) shown here is a product from this late period during which Fleischmann again turned his attention to the geometric form in context of serial painting. Additionally, Fleischmann is considered a precursor of Op-Art.