To close one’s eyes and think of Albrecht Dürer (1471–1528) is to see things—whether the iconic self-portrait of 1500 in which he presents himself in the guise of Christ, the watercolor of a piece of turf in which he elevates the ground under our feet to the status of artistic motif, or the ubiquitous engraving of our first parents in the nude, the culmination of his studies of human proportion and at the same time proof that an artist of his caliber has no need of color to surpass nature itself.
The degree to which an artist’s impact extends beyond the elite circles of art aficionados is measured by his or her presence outside the well-tempered spaces of the museum. Reproductions of Albrecht Dürer’s pictorial creations are found in nearly every imaginable place, from schoolbooks to the bedrooms of elderly grandparents—and even outdoor swimming pools, since his Praying Hands and enigmatic Melancholia now belong to the standard repertoire of every tattoo studio.
The Graphische Sammlung ETH Zürich not only possesses almost the complete printed oeuvre of Albrecht Dürer, but does so at an enviable level of quality, with holdings that even include impressions of his rare iron etchings and drypoint prints. The selection of works for the exhibition will concentrate on Dürer’s relevance for contemporary artistic discourse and acknowledge him as an artist whose printed oeuvre not only successfully defied norms, but also set standards.
Curated by Dr Susanne Pollack
Albrecht Dürer (1471-1528)
Nemesis
Engraving
33.1 x 23 cm inv. no. D 807 Graphische Sammlung ETH Zürich
During the mid-1980s, western art saw a shift towards increased geometrically abstract and rational approaches. In a 1986 article in “Kunstforum International” Markus Brüderlin described this tendency under the keyword “New Geometry” and thus coined the term. This movement encompassed the use of geometric and often colourful basic forms, which were used not only in painting, but also in large-scale installations as well as in delicate works on paper.
In a presentation to be developed jointly with Claudia Comte, Athene Galiciadis, and Andrea Heller, the unifying influence of “New Geometry” in the work of the three artists will be shown. It is interesting to note in this context that all of them have links to French-speaking Switzerland, Comte and Galiciadis, in particular, have affiliations with L’école cantonale d’art de Lausanne (ECAL) where, unlike German-speaking Switzerland, this movement has a long and rich tradition, and where it is also associated with such names as John Armleder, Francis Baudevin, Stéphane Dafflon, Philippe Decrauzat, and Olivier Mosset. On this occasion, however, what has since come to be known in western Switzerland as NEOGEO will be addressed from a female perspective.
Grid, rule, repetition – in the case of all three artists, the pattern is the predominant underlying principle, which can be widely varied. The three artistic approaches are therefore not to be seen separately, but intertwined, as it were. Similarly, the curatorial principle is also based on the grid. Works by the three artists already in the collection are to be exhibited alongside more recent pieces, while new drawings and prints will be created for the exhibition.
There are also plans to publish an artist’s book as well as an edition in each case in co-operation with the Verein für Originalgraphik should be produced.
Curator: Alexandra Barcal, Graphische Sammlung ETH Zürich
Georges Bloch (1901-1984) was an outstanding example of classic patronage. He made a name for himself in specialist circles for owning almost the entire printed oeuvre of Pablo Picasso and also, given his profound knowledge of the artist’s work, for publishing a four-volume catalogue raisonné of Picasso’s prints. The artist and the collector were friends. Picasso held Bloch’s knowledge in high esteem and regularly conversed with him.
Bloch and his wife Jenny had no children. During Georges’ lifetime, he made arrangements for his estate that would resonate after his death. In 1972, he gifted a selection of more than 470 Picasso prints to the Gottfried Keller-Stiftung, instructing the foundation to distribute these among eight Swiss museums. One of the recipients was Graphische Sammlung ETH Zürich. The collector and patron also instructed that an exhibition of the donated works should be held regularly. Graphische Sammlung ETH Zürich is delighted to undertake this task. While earlier exhibitions in other museums have highlighted thematic focal points, Graphische Sammlung ETH has chosen to focus on the unique friendship between Picasso and Bloch.
Although Bloch was of great service to Picasso with regard to his prints, the role he played is little-known in Switzerland beyond a circle of specialists. The relationships between Bloch and Picasso, as well as the benefits he brought to others, including Graphische Sammlung ETH Zürich, will therefore be brought to the fore. A catalogue will accompany the exhibition.
Curator: Dr Linda Schädler, Graphische Sammlung ETH Zürich
The Museo d’Arte Mendrisio will be holding an exhibition of Picasso’s prints at the same time.