WE ARE THERE FOR YOU!

You are also invited to take a glance at our 3D-Galleries, at our website and to leaf through our online catalogues:
www.boisseree.com

We just published a new gallery-catalogue:

Follow us on Instagram.

Be well!

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27.07.–17.08.2024

ACCROCHAGE
artists of the gallery
- paintings, drawings, sculptures and prints

ACKERMANN   ALBERS   AVRAMIDIS   BASELITZ   BAUMGARTNER   BOURGEOIS   BRAQUE   BRODWOLF   CAULFIELD   CHAGALL   CHILLIDA   CHRISTO   CLAVÉ   CLÉMENT   CORNEILLE   CRAIG-MARTIN   CRUZ-DIEZ   DAHMEN   DAVENPORT   DOIG   ERNST   ESTÈVE   FLECK   FRANCIS   HAMILTON   HAMMICK   HARTUNG   HIRST   HOCKNEY   HUGHES   INDIANA   JUDD   KATZ   KAWS   KLINGE   KNOEBEL   LÉGER   LEWITT   LICHTENSTEIN   LONGO   MAGRITTE   MAN RAY   MARINI   MARTÍN DE LUCAS   MATISSE   MELLADO   MIRÓ   MOTHERWELL   MUNCH   NASH   NEWTON   NICHOLSON   OPIE   PICASSO   PIJUAN   POLIAKOFF   RIERA I ARAGÓ   SALCEDO   SAURA   SCHUMACHER   SCULLY   SOULAGES   TÀPIES   UECKER   VENET   VOSS   WARHOL   WENDELS   WESSELMANN   WOU-KI ZAO

ILLUSTRIERTE BÜCHER   VINGT-DEUX POÈMES   HÄUSER – HOUSES   BOISSERÉE GOES POP

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"When I work on a cityscape, I start by arranging it in color fields. Then I add ornaments, patterns and codes that might resemble electrical circuits. At first, you don't perceive them as distinct objects, but when you step back, you realise it's actually a house, for example."
Ralph Fleck

On the occasion of "DüSSELDORF COLOGNE OPEN GALLERIES 2024"
(30.08–01.09.2024)

30.08.–12.10.2024

RALPH FLECK
(born in Freiburg im Breisgau 1951)
– works on canvas

at the same time, we will be showing:

30.08.–12.10.2024

TOM HAMMICK
(born in Tidworth, UK 1963)
"Rückenfigur"
– works on canvas, woodcuts and etchings

"Perhaps, as a romantic myself, this compositional device of a figure(s) seen from behind in the foreground or middle ground of an image come both with the territory of landscape as a hanger for existential concerns and as an acausal coincidence of synchronicity , albeit one that lagged two hundred years behind this Friedrichian trope!"
Tom Hammick

We cordially invite you and your friends to our opening
on Friday, the 30th of August 2024, in the time between 6:00 and 8:00 p.m.


The artists will be present.

The exhibition by Ralph Fleck will be accompanied by fully illustrated catalogue (96 pages, Euro 10).

You also have the possibility to leaf through the cataloque
RALPH FLECK (PDF) virtually here.

Special opening hours during
"DüSSELDORF COLOGNE OPEN GALLERIES 2024":
Friday 30 August 2024 10 a.m.–9 p.m.
Saturday 31 August 2024 11 a.m.–7 p.m.
Sunday 01 September 2024 1 p.m.–5 p.m.

"While drawing in front of Caspar David Friedrich's deeply moving paintings in an exhibition dedicated to his landscapes at the Nationalgalerie in Berlin recently, I had a personal epiphany about his uniformity of style. It dawned on me that he understood, however subliminally, that style across all the visual mediums in his oeuvre, was key to integrating his self to the world and the infinite beyond. It seemed a case that his own individual artistic language transformed his autobiographical personal experiences into something much more heightened and mysterious. Like a great poet, I found the visual descriptions in his work of personal friendships and love, framed in such epic surroundings, enabled me to ask questions that relate to my fleeting existence.

Why this obsession with Casper David Friedrich; to the extent that my exhibition at Galerie Boisserée is named after the motif of 'Rückenfigur', that he developed into a key component of his painting and that was taken on later by other artists in the Romantic Movement? Perhaps, as a romantic myself, this compositional device of a figure(s) seen from behind in the foreground or middle ground of an image come both with the territory of landscape as a hanger for existential concerns and as an acausal coincidence of synchronicity , albeit one that lagged two hundred years behind this Friedrichian trope! Does the use of Rückenfigur mean as an artist I can cajole the viewer into identifying with my painted and printed figures? And thereby with me? Does this compositional matrix help me share my own autobiographical experiences and pass them on as universal concerns about wonderment, the never ending sky, the infinite cosmos, and helps me attempt to convey questions about love and loss and ideas of home, and where home might be? Is it even possible to have a home beyond us being dwellers on Earth? In all this, can it be a device that links the specific to the universal?

As a young undergraduate in the early 80's studying Art History, I enjoyed a new approach to a sort of morphic resonance of picture making based on visual ideas rather than fact based research of chronology, provenance and geographical connections around influence and appropriation. As a would be painter, I liked to connect style, content and approaches of presenting visual information, across time zones and beyond the Western tradition. This was freeing. Max Baxendal, John Berger and Robert Rosenblum lead the way at the time. But it was Rosenblum's book Modern Painting and The Northern Romantic Tradition : Friedrich to Rothko that blew me away. He recognised how radical Friedrich's paintings were and still are to us contemporary painters, whether we be figurative or not.

In discussing Friedrich and my own work, the writer Adam Nicholson observed, "Looking at the painting of a figure looking out at the world makes us identify with that figure. He is alone, we are alone. But we are alone together. That shared loneliness both demonstrates our cosmic marooning and soothes it. The emptiness of loss is fused with the consolations of calm so that sorrow is filled with sweetness. And there is the darkness of the figure in the lit world. So it has luminosity, he has absorbency."

Tom Hammick, London, July 24

Please see all of the works from the exhibition
RALPH FLECK here.

Please see most of the works from the exhibition
TOM HAMMICK here.