Günter Fruhtrunk *
(Munich 1923–1982)
Untitled, 1974, signed and dated on the reverse Fruhtrunk 1974 and with direction arrow, acrylic on canvas, 109.5 x 52 cm, framed
Provenance:
Galerie Waßermann, Munich (stamp)
Lorenzelli Arte, Milan (label, stamp)
Private Collection, Europe (by inheritance to the current owner)
Exhibited:
Lorenzelli Arte, Milan, Günter Fruhtrunk: Opere 1956–1980, 9 March - 1 April 1989, exhib. cat. Milan 1989, p. 33, no. 60
Art Frankfurt, 16–21 March 1990 (label)
Literature:
Karin Wendt, Günter Fruhtrunk: Monographie und Werkverzeichnis. Möglichkeiten und Grenzen des konkreten Bildes, Frankfurt 2001, no. 1974–11, p. 320
Silke Reiter, Günter Fruhtrunk Gesellschaft e. V., Günter Fruhtrunk. Werkverzeichnis der Bilder 1952–1983, vol. I, Munich 2018, no. 755, p. 344 with col.-ill.
Günther Fruhtrunk translates the ideas of Constructivism into a rhythmic visual world of vibrant colours by arranging vector-like diagonal stripes, alternating in colour, in strict rhythms:
“The painting becomes a provocation that tangibly challenges and strains the viewer’s vision, insofar as the … rhythmic systems, in their respective dual meanings as both the foundation and the founded, compete with one another in equal and shared actuality. …
The same image, which, when viewed at close range, develops, as it were, through a successive alternation of rhythmic values that are by turns positive and negative, becomes, when viewed from a distance, a phenomenon of tension that defies all discursive perception.”
(Norbert Kunisch (ed.), Max Imdahl, Erläuterungen zur Modernen Kunst, Düsseldorf 1992, p. 68)
Specialist: Dr. Petra Maria Schäpers
(Munich 1923–1982)
Untitled, 1974, signed and dated on the reverse Fruhtrunk 1974 and with direction arrow, acrylic on canvas, 109.5 x 52 cm, framed
Provenance:
Galerie Waßermann, Munich (stamp)
Lorenzelli Arte, Milan (label, stamp)
Private Collection, Europe (by inheritance to the current owner)
Exhibited:
Lorenzelli Arte, Milan, Günter Fruhtrunk: Opere 1956–1980, 9 March - 1 April 1989, exhib. cat. Milan 1989, p. 33, no. 60
Art Frankfurt, 16–21 March 1990 (label)
Literature:
Karin Wendt, Günter Fruhtrunk: Monographie und Werkverzeichnis. Möglichkeiten und Grenzen des konkreten Bildes, Frankfurt 2001, no. 1974–11, p. 320
Silke Reiter, Günter Fruhtrunk Gesellschaft e. V., Günter Fruhtrunk. Werkverzeichnis der Bilder 1952–1983, vol. I, Munich 2018, no. 755, p. 344 with col.-ill.
Günther Fruhtrunk translates the ideas of Constructivism into a rhythmic visual world of vibrant colours by arranging vector-like diagonal stripes, alternating in colour, in strict rhythms:
“The painting becomes a provocation that tangibly challenges and strains the viewer’s vision, insofar as the … rhythmic systems, in their respective dual meanings as both the foundation and the founded, compete with one another in equal and shared actuality. …
The same image, which, when viewed at close range, develops, as it were, through a successive alternation of rhythmic values that are by turns positive and negative, becomes, when viewed from a distance, a phenomenon of tension that defies all discursive perception.”
(Norbert Kunisch (ed.), Max Imdahl, Erläuterungen zur Modernen Kunst, Düsseldorf 1992, p. 68)
Specialist: Dr. Petra Maria Schäpers
