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Year: 1958-1963
Material: oil/canvas
Dimensions: 100 x 80 cm

„ Art does not reproduce the visible, but visible art.“
(Paul Klee)

Abstraction (Lat. abduction) is a basic aesthetic concept that early in the history of art since the 20th Century, a non-imaging artistic process (abstraction) and describes the results (abstract art). The focus of abstract painting, the composition of colors and shapes available on the image carrier.

Intended as an opponent of abstraction in the history of art is the concept of representation, figuration, were, which is figurative, narrative and illusionistic. The abstraction heralded a development that ranged from Cubism (1907) on the abstract expressionism (from the 1940s) and color field painting (from the 1950s). In the wake of these developments is the painting in its material and media conditions aware: the older painting wanted to be the roughness and shape of the image carrier, the properties of the pigments and the illusionistic means to forget, we can understand modern painting these conditions just as their specific conditions . Painting is now no longer an illusion, but it shows what a picture - Distribution of color on the canvas.

Kasimir Malevich. Black Square on White, 1915, oil / canvas, 97 x 97 cm, Tretyakov Gallery, Moscow / 2 Amended in 1923, Russian Museum, St. Petersburg.

Ever since Kazimir Malevich (1878-1935) is today regarded as incunabula abstract painting "Black Square" painting is an image no image more, it refers to itself, makes no reference to an outsider, a spatial or temporal.

The development of abstraction in Europe was violently interrupted by World War II. Example is the exhibition "Degenerate Art" in 1937 in Germany, which marked the high point of the destruction of modern art. After 1945, the attention given to the west to the rehabilitation of abstract art, but it was the language of the free world transfigured in opposition to the art behind the Iron Curtain. Sun was the legendary 1959 "Documenta II" in Kassel, mainly abstract post-war art. During this time, Fritz Griebel painted the work presented here.

On a green-black primed surface colorful square and rectangular areas of color to a white, light blue and gray area are located. The bright areas of color are not painted geometrically exact. In the upper right section is a blue area just seems to form only. Interestingly, the upper whitish rectangle from which to extract a circular form appears and directs to the three upper circular shapes. Striking is the color distribution: To the whitish-blue surface, which is the center of the image, primarily orange rectangles and squares are arranged. While the right half of the blue and red shapes are determined to see in the left half red and green and black tones, this is also part of the image by more seamless juxtaposition of color fields characterized. Overall, the picture in complementary color contrast is built up.

All colors are mixed or in layers one above the other painted. Obviously, this can be seen in the image center: under the white paint shows through orange, the white goes to a light blue and gray over. On the light blue area seven vertical blue lines are painted, they are repeated in the left upper zone, where they mix with the orange background.

Sint Jans Geertgen dead: Lamentation of Christ, c.1484, oil / oak wood, 175 x 139 cm, Kunsthistorisches Museum, Vienna.

Fritz Griebel gave the picture entitled "Lamentation". The Lamentation of Christ is an independent iconographic episode in the Passion story. It is linked with the Grabtragung and burial of Christ. Unlike Pietà representations, which considers Mary her dead son on her lap, where the body of Christ is located on the ground and is generally mourned by seven people: the mother of God, Mary Magdalene, John, Nicodemus, and Mary of Cleophas, and Salome .

The abstract composition reveals an inner vision of the artist Griebel. He freed himself from the ancient iconographic representation of the Lamentation of Christ, and transformed them into geometric shapes. The bright center of the image points to the body of Christ, he is embraced by the bright areas of color that can be understood as trusting. Griebel symbolically refers to them in the form of the seven vertical blue stitches. Using the principles of abstraction succeeds Fritz Griebel to illustrate the essence of the biblical story: attachment beyond death.