In a show titled \u201cGerman Landscape\u201d, the Galerie Poll in Berlin and the Kunstverein Langenfeld will be exhibiting works by the painter Jan Sch\u00fcler from 2016 to 2022. To celebrate his sixtieth birthday, an extensive publication with essays by Marita Keilson-Lauritz, Magdalena Kr\u00f6ner, Nana Poll, Jan Sch\u00fcler, and Gideon Sch\u00fcler is also in preparation. The volume will be presented during the exhibition in a conversation between journalist Jochen L. St\u00f6ckmann and the artist.<\/p>\n\n\n\n
While Sch\u00fcler\u2019s earlier works mainly portrayed friends, acquaintances, and family members or pop idols, for some years now he has been painting motifs from cities and landscapes which are associated with German history and yet also bear traces of his own personal memories and biography \u2013 among them, landscapes from his native Hesse and the Rhineland; cities such as Dresden and Frankfurt am Main which figure as centres of German Romanticism; Weimar as the founding site of the first German republic and the city where Goethe and Schiller lived for a time; and D\u00fcsseldorf, with its famous academy of art where Sch\u00fcler once studied.<\/p>\n\n\n\n
With \u201cBerlin\u201d, begun in 2017, he has been creating a series depicting historical events such as the collapse of the Third Reich, the division of the former capital by the construction of the Berlin Wall, or scenes of reunification as images that have been imprinted on our collective memory. Subjective influences for his work include personal encounters and biographical references linked to his grandfather and mother, who both studied art in Berlin. Since he first visited the city in 1981, it has remained for him a site of longing.<\/p>\n\n\n\n
Of the paintings shown in the exhibition, \u201cView from Hohe Leuchte toward Frauenberg (Father)\u201d from 2019 and \u201cFather (View from Schiffenberg)\u201d from 2017 are two with autobiographical references. In the years before his father\u2019s death, Jan Sch\u00fcler would frequently visit him for day trips to Marburg, the city where he spent his childhood. Gideon Sch\u00fcler is buried in a cemetery forest at the foot of the Schiffenberg in Giessen. \u201cDresden: The Elbe near Pillnitz Palace\u201d from 2022 or \u201cWeimar: View from Goethe\u2019s Residence into the Garden\u201d from 2022 are juxtaposed in the exhibition with pictorial motifs such as \u201cAutumn Evening in Birkenau\u201d from 2017, \u201cGerman Still Life\u201d from 2016 and \u201cEdek (Treblinka)\u201d from 2019, which were created after Sch\u00fcler\u2019s visits to concentration camp memorials. Characteristic works from the Berlin series include \u201cBerlin: Evening at the Olympic Stadium\u201d from 2019 and \u201cBerlin: Evening at the Wall\u201d from 2021.<\/p>\n\n\n\n
Sch\u00fcler\u2019s paintings are characterized by his precise craft, which fashions smooth surfaces combined with sharply demarcated forms and areas of colour. In his depictions of people, as in his city views and landscapes, he forgoes details. The elements of these scenes \u2013 people, houses, lampposts, fences, trees, or clouds \u2013 are depicted not naturally but always as highly stylized. Architectural features and landscapes remain deserted; no birds are seen flying in the sky; no ships ply the rivers. It is only several mounted posters with close-ups of human faces \u2013 sometimes smiling, sometimes with a tear in their eye \u2013 which suggest the painter\u2019s feelings and memories played a part in these works, notwithstanding their technical perfection.<\/p>\n\n\n\n
Viewers are themselves thus left to decide whether they will be drawn into the abysses and shallows behind the perfection of these painted surfaces \u2013 or allow themselves to be affected by the beauty of Jan Sch\u00fcler\u2019s painting. It is this duality, the delicately implied fragility of the paintings\u2019 seemingly unbroken aesthetics, that is the source of their allure. In a show titled \u201cGerman Landscape\u201d, the Galerie Poll in Berlin and the Kunstverein Langenfeld will be exhibiting works by the painter Jan Sch\u00fcler from 2016 to 2022. To celebrate his sixtieth birthday, an extensive publication with essays by Marita Keilson-Lauritz, Magdalena Kr\u00f6ner, Nana Poll, Jan Sch\u00fcler, and Gideon Sch\u00fcler is also in preparation. The […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":28293,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"ausstellen-text.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-28295","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/pages\/28295","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/comments?post=28295"}],"version-history":[{"count":3,"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/pages\/28295\/revisions"}],"predecessor-version":[{"id":41000,"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/pages\/28295\/revisions\/41000"}],"up":[{"embeddable":true,"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/pages\/28293"}],"wp:attachment":[{"href":"https:\/\/poll-berlin.de\/galerie\/wp-json\/wp\/v2\/media?parent=28295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Jan Sch\u00fcler,<\/strong> born in 1963 in Gie\u00dfen, studied at the Kunstakademie D\u00fcsseldorf from 1985 to 1993 under Rissa and as a master student under Fritz Schwegler. In 1996 he received the Sponsorship Prize for Fine Art from the city of D\u00fcsseldorf, where he lives and works to this day. His work can be found in numerous public and private collections throughout Germany and Austria. Together with the Poll Art Foundation, where he has been a member of the advisory board since 2013, Jan Sch\u00fcler published the first inventory catalogue of paintings and drawings by Maina-Miriam Munsky (1943\u20131999). In the winter semester 2022\/2023, he will hold a visiting professorship at the University of Fine Arts M\u00fcnster (in the class of Cornelius V\u00f6lker).<\/p>\n","protected":false},"excerpt":{"rendered":"