Ruprecht von Kaufmann Artist Statement

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Ruprecht von Kaufmann

ARTIST STATEMENT Click on picture
for a detailed view!

A Requiem and other Paintings

Although the basic idea for this exhibition was very intuitive, I feel that this body of work has an evident strong inner connection, stronger than in all my previous paintings.
During the year I was doing my obligatory military service in Germany I caught a glimpse of how it feels to be stripped of all the luxuries of our well protected lives. I realized how
Mangames,1997
Oil/Canvas, 68"x74"

primitive we who consider ourselves as "civilized" and "sophisticated" become as soon as our sources for well being-warmth and nutrition-are taken from us. All our energy must be focused on survival:
Philosophy, Idealisms and Environmentally Conscious Behavior appear to be luxuries we happen to be able to afford only after the struggle for existence.

Dear J., I'm Beautiful,
Yours, Camille
1998, Oil/Canvas,
58.5"x53.5" My goal for this new series of paintings was to simplify. The paintings should be more raw, bolder and have greater clarity of form a shift from the baroque approach towards a more classical aesthetic. I found the coolness of the classicism more appropriate to communicate emotionally laden imagery; I hoped it would prevent me from overstating. I hoped the contrast of classicism with expressionistic subject matter would create tension
and enhancement, much the way complements enhance rather than cancel each other in painting. There should be a more obvious connection to Symbolist painting, a school I admire (Hodler, et al).

At the same time I am trying to be more loose with certain aspects of the paintings. The tightness in which certain areas of the paintings are rendered is intended to help guide the viewer's eye.
Even though much of the concept of each painting is very intuitive imagery processed though my mind for some time, it is difficult for me to explain why I choose to paint what I am painting. I feel more strongly about the concepts here presented than with my previous paintings, And I am more intimidated about showing them. I will try to put the idea that all of the paintings share into a few words:

The Basic theme is that of life and death, and a reflection on my Lutheran background. To a certain degree the paintings deal with religion, or rather spiritualism, as a spark of hope in a series of paintings that deal with disrespect for life and abuse of faith. We are daily confronted with the absurdity that the creation of new life is a threat, and death a hope for survival this absurdity on a planet where we face overpopulation! It is this oxymoron of our lives that requires a responsibility to something more universal to be the source of strength to continue living.
Soulmates,1997
Oil/Canvas, 12"x16"

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Last Updated On: 1/13/06

Ruprecht von Kaufmann
ARTIST STATEMENT	Click on picture for a detailed view!
A Requiem and other Paintings
Although the basic idea for this exhibition was very intuitive, I feel that this body of work has an evident strong inner connection, stronger than in all my previous paintings. During the year I was doing my obligatory military service in Germany I caught a glimpse of how it feels to be stripped of all the luxuries of our well protected lives. I realized how	Mangames,1997 Oil/Canvas, 68"x74"
primitive we who consider ourselves as "civilized" and "sophisticated" become as soon as our sources for well being-warmth and nutrition-are taken from us. All our energy must be focused on survival: Philosophy, Idealisms and Environmentally Conscious Behavior appear to be luxuries we happen to be able to afford only after the struggle for existence.

Dear J., I'm Beautiful, Yours, Camille 1998, Oil/Canvas, 58.5"x53.5"	My goal for this new series of paintings was to simplify. The paintings should be more raw, bolder and have greater clarity of form a shift from the baroque approach towards a more classical aesthetic. I found the coolness of the classicism more appropriate to communicate emotionally laden imagery; I hoped it would prevent me from overstating. I hoped the contrast of classicism with expressionistic subject matter would create tension
and enhancement, much the way complements enhance rather than cancel each other in painting. There should be a more obvious connection to Symbolist painting, a school I admire (Hodler, et al).
At the same time I am trying to be more loose with certain aspects of the paintings. The tightness in which certain areas of the paintings are rendered is intended to help guide the viewer's eye. Even though much of the concept of each painting is very intuitive imagery processed though my mind for some time, it is difficult for me to explain why I choose to paint what I am painting. I feel more strongly about the concepts here presented than with my previous paintings, And I am more intimidated about showing them. I will try to put the idea that all of the paintings share into a few words: