Hans Hermann Schmidt

"Southern landscapes"

01.02.2000 - 31.03.2000

Hans Hermann Schmidt originates from Nuremberg but is by no means unknown in the Tauber valley: for many years as head of the Tauberbischofsheim garrison administration, as a member of the local council in Neunkirchen, and not least as an enthusiastic painter from early childhood. After his official retirement Hans Hermann Schmidt devoted himself exclusively to painting, in effect as a professional, although his knowledge is self-taught and has been developed through attending courses, e.g. at the Summer Academy at Neuburg/Donau. So far he has had six individual exhibitions which have found considerable interest, partly because numerous sales have resulted in many a "true Schmidt" adorning local homes, and also officially through a third price at last year's amateur painters' exhibition in Stuttgart, awarded for his painting "Sunday in Marrakesh" which can also be admired at the FabrikGalerie. The artist draws his inspiration from the important painters Picasso and Matisse. Elements of both can be recognised in his work as Schmidt picks out what enriches his style. The inspiration for harmonic colour combinations, for example, could be derived from Matisse, while some paintings could be inspired by Picasso's cubism period. He does not however allow himself to become tied down and it is quite evident to consider his a unique and unmistakable style. The works on display reveal to the viewer a mixture of colourful "joie de vivre" and a considerable portion of yearning. Yet the colours are in no way gaudy or obtrusive; they are carefully matched and greatly influence the individual mood and impression. These paintings are quite international in character and carry the viewer to Southern landscapes such as Tuscany, France or the far-away Marrakesh. The motives enshrine a clearly perceptible zest for living and Hans Hermann Schmidt's gratitude, as well as his desire to let others share in the beauty of exotic summery perceptions. The spirited and dynamic brush strokes give the canvas a three-dimensional effect which impressively underlines Schmidt's very personal feelings. This plasticity frequently derives technical support through relief structures and the use of white areas. Spontaneity is preferred to perfection, emotion defeats reason.

< retour