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Open Access 3 Jerusalem as Trauerarbeit

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3 Jerusalem as Trauerarbeit

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Chapter Summary

In 1986, Anselm Kiefer produced a painting he entitled Jerusalem. When the work is viewed from a distance, a high horizon with a golden glow shining over its centre appears, which partly due to the title, could be interpreted as a reference to a heavenly Jerusalem. Two metal skis are attached to the surface, which, as Fremdkörper, do not enter into any kind of structural or visual relationship with the painting. Eleven years later, Gerhard Richter painted a much smaller work that, although it was also given the title Jerusalem, was of a very different order. The painting shows us a view of a sun-lit city. But again Jerusalem is hardly recognizable because Richter has let the city dissolve in a hazy atmosphere, which is, in effect, the result of a painting technique using a fine, dry brush in paint that has not yet completely dried.

Keywords: Anselm Kiefer; Fremdkörper; Gerhard Richter; Jerusalem



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