Ein abstrakter amerikanischer Maler?
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- 2016
- 224 pages
- 21 × 21 cm
- 150 colour illustrations
- embossed linen binding
- ISBN: 978-3-86442-167-9
- Edition: German, English
- Edited by: for Daimler Contemporary by Renate Wiehager
- Texts by: Raymond Bayer, Carlo Belloli, Benedikt Fred Dolbin, Adolf Fleischmann, Sanson Flexor, Roger van Gindertael, Eugen Gomringer, Kurt Leonhard, Thomas Schnalke, Michel Seuphor, Dario Suo, Renate Wiehager
In 1955 the artist and author Will Barnet quite naturally introduced Adolf Fleischmann in his text „Aspects of American Abstract Painting“ as an „American painter“; and in 1966 Fleischmann appears in Paul Cummings’s „Dictionary of Contemporary American Artists“ among the leading artists of the USA. What resounds in these statements from the milieu of New York painting in the 1950s is an assessment of his importance to which no attention whatsoever has hitherto been paid in the entire literature on Fleischmann: the painter, born in 1892 in Esslingen in Swabia, who settled in the USA only in 1952, at the age of sixty, became within a short time an original force in the context of the Mondrian-inspired abstract painting of the „Mecca“ of American art on the East Coast. Adolf Fleischmann, represented by an important group of works in the Daimler Art Collection, is one of the outstanding abstract painters in Germany and the USA after 1945. The Daimler Art Collection Berlin is now showing a first retrospective of the artist’s work with some sixty works from three decades, among them the principal body of work created in New York in the years 1952–65, complemented by representative pictures of the 1940s made while he was still in Europe. The publication accompanying the exhibition undertakes for the first time a well-founded assessment of Fleischmann’s work within the context of the American abstract painting of the period. The early texts on the reception of Fleischmann’s American work from the 1950s and 1960s are published here as well. Moreover, this is the first English-language publication on Fleischmann’s painting, so that his work now promises to become of interest to audiences and museum institutions in the USA too. The late work of Adolf Fleischmann – both in its astonishing coherence and in its painterly wealth of variants and facets – thus awaits discovery and appreciation in the context of German and American art of the twentieth century.
Exhibition:
Daimler Contemporary Berlin, 30/4 – 6/11/2016