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| Jerry
Bywaters about Hans Vincenz |
The
work of Hans Vincenz was singled out from other contemporary
German artists for this first American showing at the Dallas
Museum
of Fine Arts for definite and significant reasons. After seeing
the almost numberless and elephantine paintings by modern Europeans
at the Salon de Mai in Paris, and at the extensive and flashily
presented Documenta II exhibition in Kassel, Germany, it was a
most pleasant contrast to encounter the relatively small scale
but richly inventive works of Hans Vincenz at his studio in Essen
Werden.<
Painting is this artist‘s essential profession, yet he has
also been successful in a completely different field. Perhaps this
condition accounts for his personal serenity and his escape from
faddish tensions which all too often have motivated other contemporary
European painters. Also, although he produces art in all scales,
Vincenz is not obsessed with gargantuan egoism for its own sake
and many of his best works are relatively small. The thirty-seven
gouaches in this exhibition are typical examples of how even modest-sized
works can be bristling with abstract content and brilliant technical
performance. Here again — with great content in small area — is
a welcome paradox among abstract expressionist paintings of today.
Hans Vincenz is an extremely literate painter, as his notes herewith
ably prove, yet he resists the temptation to interpret his works
of art through psychological titles or involved explanations. Thus
we have a catalogue list made up, strangely but logically, of untitled
works numbered and dated. Others will surely wish to attribute
aesthetic meanings to these works, but the artist presents them
for what they are —purely creative efforts in paint, employing
classic and eternal pictorial means.
Jerry Bywaters, Director - Dallas Museum of Fine Art
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