ARTISTS / Art after 1945
Bernard Schultze

Red Sleeping Beauty on black
© Bernard Schultze / VG Bild-Kunst, Bonn

Bernard Schultze

Rotes Dornröschen auf Schwarz / Red Sleeping Beauty on black, 1963-65

Color sculpture mounted on black plate, oil, wire, textiles, plastic mass
114 × 75 × 70 cm

signed and dated right side below: B. Schultze 1963-65; on the reverse label: Württembergischer Kunstverein; on exhibition label titled and dated: red Sleeping Beauty on black: 1963-1965 .

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Provenance: Galerie Müller, Stuttgart; Private collection, Southern Germany.
Literature: Frankfurter Salon, Frankfurt a. M. 1965, cat. no. 106; Bernard Schultze, Kestner-Gesellschaft, Hannover / Badischer Kunstverein, Karlsruhe, 1966, p. 69, cat. no. 112; Bernard Schultze, Städtisches Museum Schloss Morsbroich, Leverkusen 1966, cat. no. 112; Hans-Jürgen Müller, Kunst kommt nicht von Können, Nuremberg 1976, p. 142; Stephan Diederich / Barbara Herrmann (eds.), Bernard Schultze. Verzeichnis der Werke, vol. II: 1939 to 1989, Munich 2015, p. 358.

The wall relief "Rotes Dornröschen auf Schwarz" (Red Sleeping Beauty on Black) from 1963-65 is an exquisite early example of the emancipation of pictorial means from the painting ground into space, created with a wide variety of materials such as wire, papier-mâché, textiles, polyester, putty, and paint. Bernard Schultze's fantasy-inspiring works, initially reminiscent of sprawling landscapes and grimacing countenances, subsequently lead on to the world of the "Migofs," freely invented entities and artistic creatures that exist for him like creatures of nature. The works, almost always colorful and rich in detail, produced in meticulous technique, always arouse the most diverse associations in the viewer. As wall works, they resemble sculptures growing into the room, their core volume dissolved. Bernard Schultze is one of the most important representatives of German Informel. His paintings of the 1950s, however, differ from the works of his colleagues and are often described as "lyrically abstract." They are overgrown landscapes, with relief-like superimpositions of layers of paint, in which forms and colors gradually penetrate forward into space and gradually seem to outgrow the canvas. These seizures of space then culminate in the so-called "Migofs" created since 1961, which detach themselves from the picture surface as fully sculptural reliefs and stand in space.
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