Impressions from the painting series ADAPTATION with the new works ‘Cielo’ and ‘Eau’ at the artist’s studio of Hermann Lederle
‘Adaptation Eau’ layer one
‘Adaptation Cielo West’
mixed media on canvas, 38″ by 66″
layer one, in progress
Set of 3
Edition of 40
hand signed and numbered
on hand made paper, 24 by 24 inches, 2016
Siebdruck by Hans-Peter Haas Siebdruck, Stuttgart
by Hermann Lederle
mixed media on canvas,
50″ x 38″, 2015
‘SILENCE NO 5’
oil on canvas,
50″ x 38″, 2004
ADAPTATION SPLIT layer one – in progress
mixed media on canvas
60 by 88 inches, 2015
Limited edition print ‘CLOVER GOLD’
22 by 22 inches
Mohachi handmade paper
ADAPTATION SEQUEL – layer one in progress
ADAPTATION SEQUEL – layer two in progress
ADAPTATION 2015 HERMANN LEDERLE AT ARTHEA GALERIE
photos ©Stefan Treitz
Hermann Lederle’s “Adaptation,” 2015, is massive …Without fully revealing it, the piece suggests an expanse of pictorial depth. It accommodates something that is turbulent and veiled, expressionistic and controlled. This balance suggests a mystery, a conundrum, a koan…
Art, theatre, and film critic
HUFFPOST ARTS & CULTURE James Scarborough Art, theatre, and film critic
This essay will accompany an exhibition of the artist’s work next month at Arthea Gallery, Mannheim, Germany.
Hermann Lederle’s “Adaptation,” 2015, is massive. Measuring five and a half feet by ten feet, this totemic monument doesn’t just envelop you, it anchors you to the ground. Reminiscent of partially open Levelor blinds, a network of dense and narrow vertical bands sweep across the canvas. There’s more weight at the center; this makes the surface quiver and shimmer, like water burbling over an outcropping of coral just beneath the surface of a roiling sea. Without fully revealing it, the piece suggests an expanse of pictorial depth. It accommodates something that is turbulent and veiled, expressionistic and controlled. This balance suggests a mystery, a conundrum, a koan.
You read it up and down, down and up, systematically working your way across. A crescendo from left to right, a climax at the middle, and then a denouement until the right edge. Structurally it’s the painterly equivalent of Guillaume Apollinaire’s pictorial poem, “Il Pleut,” from his 1918 book, Calligrammes. The lines of the poem are vertical, to simulate falling rain that evokes memories of women in the poet’s life.
The piece began with marks on the canvas. His signature, in the lower right corner; Japanese words near the left edge, vertically arrayed, that correspond to young Japanese daughters and an ambiguous amalgamation of a term that suggests Japanese trust fund sons and Goths. Given the piece’s up and down rhythm, it invites a comparison to the fair Juliet above on her balcony being courted by her swain Romeo down below. Those vertical bands consist of the vivid and expressionistic decades-old paintings that Lederle has painstakingly hand-cut and then collaged onto the canvas, leaving just enough space so that the original marks show through as interstices of the canvas. Punctuated with a stop and go rhythm, the work reigns in the artist’s prior spontaneous flourishes. Each scrimmed line brims with its own gravity. Overall it packs a powerful existential wallop. As such, it makes you wonder what Jackson Pollock’s drip paintings would have looked like if he had worked off of an easel.
An inspired piece, the work lays bare the source of artistic inspiration. The work corrals something prior and powerful, something that had once been deeply felt and is now remembered. It doesn’t push this feeling into the background; it leavens it with the consolation of memory. The work waxes humorous, a literal application of the way an artist’s new painting builds on what went before. Adaptation looks backward to move forward. Besides the emotion, besides the humor, the work feels wise: the product of adapting to things pictorial and, thus, personal with the perspective of age.
By James Scarborough
L’appel Du Vide – oil on canvas, 60 by 66 inches, Hermann Lederle
Blue Face NY 88
oil on wood, 31″ by 31″, 2015
Hermann Lederle: Painting | Large Format Hardcover – 2009
Oil paintings by artist Hermann Lederle of selected works from 2000 to 2008. The new canvases depict iconic images layered with contemporary phrases and slogans in abstract painterly compositions. The use of a cold wax medium mixed with the oils creates a rich and textured surface of subtle color nuances.
oil on canvas, 18 by 18 inches, 2014
-Lederle in front of ‘AYURNAMAT’, oil on canvas, 66″ by 60″
‘High Drama’, oil on canvas, 66″ by 60″, Artist H.Lederle
‘A Perfect Day’, oil on canvas, 66″ by 60″, Artist H.Lederle
Q: Tell us about your first wall art… do you still own it?
A: The first piece I ever collected was a large oil on wood showing three male figures on a background of gold leaf by a then-young Hermann Lederle. This painting is still a favorite, the gold leaf background constantly shifts, refracts and changes with the light by the hour… like a living thing. I’ve represented Hermann since that day and have pleasure & satisfaction of seeing his work deepen and grow. His work is on frankpicturesgallery.com & my gallery on Amazon amazon.com/frankpicturesgallery
excerpt from MixxMaster
Works by Hermann lederle now available on Amazon courtesy of Frank Pictures Gallery
LINK: Amazon FPG Gallery
Thank you Eugenia,
I couldn’t have done ART Karlsruhe and all the things only you would know without you!
Love you forever…
The German painter, who now resides in Los Angeles, gives impressionism a contemporary inflection. Where before wispy brushstrokes and springtime hues ruled, Lederle works in the colors and shapes of our time. His paintings have an edge to them and an electric energy pulsing throughout.
Lederle’s paintings capture how it feels to see in the modern world. Waterlilies are replaced with welcome screens and rolling sunsets with flashing advertisements.
The latest series entails a two-stage process, where at first a graduated color is applied with a traditional brush allowing for the distinct qualities of its stroke to emerge. The second stage is executed with a painter’s knife often with ostensibly contradictory linear shapes and lines.
Lederle’s work has a 3-D, almost architectural reality, achieved without employing geometry. He creates a progression of inner space expanse that the paintings invite you to enter as an explorer evoking the thrilling sensation of stepping on virgin ground.
Translation to german:
Hermann Lederle, geboren in Mannheim, Deutschland, lebt heute in Los Angeles, Kalifornien. Seine neuen Bilder geben dem Impressionismus eine zeitgenössische Ausdrucksform. Wo damals Frühlingsfarbtöne und feine Pinselstriche die Landschaft auflösten, arbeitet Lederle in den Farben und Formen unserer Zeit. Seine Bilder haben Ecken und Kanten mit einer pulsierenden elektrischen Energie.
Lederles Gemälde erfassen, wie es sich anfühlt, in der modernen Welt zu sehen. Seerosen werden durch Begrüßungsfenster (Splash Screens) und Sonnenuntergänge durch blinkende Anzeigen auf Bildschirmen ersetzt.
Die neuen Arbeiten entstehen in einem 2-stufigen Prozess. Zunächst wird Farbe in mehreren Schichten und Abstufungen mit einem herkömmlichen Pinsel aufgetragen. Danach werden Kanten und Tiefen mit unterschiedlichen Malspachteln im scheinbaren Widerspruch herausgearbeitet.
Die Bilder erreichen ohne Einsatz der Geometrie eine fast architektonische 3D Realität, die den Betrachter einlädt sich auf die Reise in das Innere des Bildes und Seiner selbst aufzumachen.
Wonderland Gallery ADDS HERMANN LEDERLE TO ITS ART COLLECTION
8945 Wonderland Ave Los Angeles 90046
BIRD TWO by Hermann Lederle
oil on canvas, 68 by 104 inches, two panels
At the studio showing Oil On Paper by Hermann Lederle in progress.
Studio – February 21, 2012.