Johannes Kahrs Eifer-Sucht (Jealousy) 1995 Oil on canvas in artist’s metal and glass frame. 144.8 × 175.3 cm (57 × 69 in). Signed, titled and dated ‘J. Kahrs “Eifer-Sucht” 1995’ on the reverse.
Provenance Galerie Franck + Schulte, Berlin; Private Collection, Germany Catalogue Essay “Kahrs is fascinated by cinema. But what make his artistic ego tick are the switches and the breaks: the arrest of time in a still, and the sudden turn into something different than before … He acts as a mediator establishing a dialogue between the media-reality and the old masters of chiaroscuro. A man reads a newspaper in a hotel lobby, another one sits at an office desk and reads block notes, or a girl’s profile is lighted by a lamp. The age old academic subject for artists (figure in space) is not re-newed in terms of an extravagant perception or technique, but in terms of the subtle ambivalence between newspaper pictures and old master paintings … You feel their presence. Looking at them, there is always a white spot, something open you are drawn to and that structures the relation of the pictures in the space.” (Peter Herbstreuth, ‘Johannes Kahrs, Frank + Schulte’, Flash Art, vol. XXXI, no. 200, May–June 1998, pp. 103–04) Read More
Johannes Kahrs Eifer-Sucht (Jealousy) 1995 Oil on canvas in artist’s metal and glass frame. 144.8 × 175.3 cm (57 × 69 in). Signed, titled and dated ‘J. Kahrs “Eifer-Sucht” 1995’ on the reverse.
Provenance Galerie Franck + Schulte, Berlin; Private Collection, Germany Catalogue Essay “Kahrs is fascinated by cinema. But what make his artistic ego tick are the switches and the breaks: the arrest of time in a still, and the sudden turn into something different than before … He acts as a mediator establishing a dialogue between the media-reality and the old masters of chiaroscuro. A man reads a newspaper in a hotel lobby, another one sits at an office desk and reads block notes, or a girl’s profile is lighted by a lamp. The age old academic subject for artists (figure in space) is not re-newed in terms of an extravagant perception or technique, but in terms of the subtle ambivalence between newspaper pictures and old master paintings … You feel their presence. Looking at them, there is always a white spot, something open you are drawn to and that structures the relation of the pictures in the space.” (Peter Herbstreuth, ‘Johannes Kahrs, Frank + Schulte’, Flash Art, vol. XXXI, no. 200, May–June 1998, pp. 103–04) Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
