Künstlerbücher / Special Editions






Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landschaften

Andreani, Giulia

Arnolds, Thomas

Bonnet, Louise

Brown, Glenn: And Thus We Existed

Brown, Glenn: Dessins

Brown, Glenn: The Real Thing

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: Man ist nie allein

Elrod, Jeff

Fischer, Urs: Sirens

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Werke in der Sammlung Friedrichs

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Gemälde und Aquarelle

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Spiegelbilder

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Raedecker, Michael

Reyle, Anselm: After Forever

Riley, Bridget: Gemälde und andere Arbeiten 1983–2010

Riley, Bridget: Die Streifenbilder 1961–2012

Riley, Bridget: Measure for Measure. New Disc Paintings

Riley, Bridget: Paintings 1984–2020

Sammlung im Wandel: Die Sammlung Rudolf und Ute Scharpff

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund:Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: Ein Gespräch mit Jia Wei


Vergriffene Bücher


Impressum / Datenschutz



Glenn Brown: Dessins
Text Andreas Schalhorn

Französisch / Englisch
Hardcover, 28 x 35 cm

68 Seiten

30 Farbabbildungen


50,00 Euro

Durch das Buch blättern


Erstmals steht in einem Buch das zeichnerische Werk des britischen Künstlers Glenn Brown im Mittelpunkt. Diese Zeichnungen sind dabei keine Skizzen oder Studien, sondern eigenständige Werke. Brown greift auf Reproduktionen Alter Meister zurück, die er zitiert, zerlegt, zusammenstückelt und transmutieren lässt. Häufig wechselt er auf dem Blatt die Orientierung oder schichtet mehrere Details übereinander. Die mit einem Fineliner ausgeführte Linie mäandert zwischen Umriss, Ornament, Volumen und Bildrauschen, aus dem heraus vielfache figurative Metamorphosen entstehen. Der Bildteil des Buches wird von einem Essay begleitet, in dem Andreas Schalhorn, Kurator für moderne und zeitgenössische Kunst am Kupferstichkabinett Berlin, diesen Prozess nachzeichnet. Er zeigt, wie aus Porträtstudien oder Himmelfahrten von Rubens und Murillo, Boucher und Greuze oder auch dem Fuß von Menzel unheimliche Figuren wachsen, die einen treffenden Ausdruck für das fragmentierte Menschenbild unserer heutigen Zeit finden.

(Auszug aus dem Essay von Andreas Schalhorn)

Overall one gains the impression that the artist must have retreated deep into the study room, immersing himself into the universe of print and drawing collections. In Paris, where these drawings are presented for the first time at Galerie Max Hetzler, the internationally renowned Department of Prints and Drawings at the Louvre comes to mind, which holds many treasures from the hand of the aforementioned artists. In London, where Glenn Brown lives, he may have visited the equally famous Department of Prints and Drawings at the British Museum. (And the author of these lines may be permitted to add to this grouping the collection of prints and drawings at the Kupferstichkabinett of the Staatliche Museen zu Berlin, for which he works as a curator.)

Yet contrary to that impression, Brown – in his drawings as in his paintings – does not directly study and adapt the originals but rather reproductions from art books. This becomes evident in the inscription on Drawing 23 (after Boucher) (2014). On the left margin of the paper, the artist signed and dated the work in ink and then added the inscription ‘Boucher 694 Seated Nude Great Drawings of All Time III’, referring to the four-volume Great Drawings of All Time, edited by art historian Ira Moskowitz and published in 1962 in New York. It is by the French Rococo painter François Boucher, executed in red chalk with heightenings in white, and it depicts, as Brown notes on his work, a female nude sitting on an imaginary cloud... Brown has translated Boucher’s work, building on the tone and colour gradations inherent in the use of red chalk, into a composition of black lines presented on an almost clinically white background. The choice of paper is remarkable here. Instead of a conventional drawing paper, Brown often uses sheets made from polypropylene. It is a synthetic and, in this case, transparent material with an exceptionally smooth, easy-to-print-on surface and therefore common in advertising. Its use in an art context is therefore noteworthy, even if artists have produced drawings on a range of artificial papers especially since the 1960s. Brown draws on polypropylene sheets of various sizes with a fine liner and lightfast ink, resulting in homogeneous lines. This drawing instrument does not allow him to achieve lines that notably swell and shrink in width, as could a quill pen. To emphasize the outline and shades of Boucher’s female figures, Brown simply places lines more closely together.

Throughout, Brown refrains from the gestures of the Old Masters in his drawings. He is no copyist who merely traces his templates like a slave. When he gradually appropriates the motif and style of a given drawing, or more precisely, its reproduction, the source receives a new reinterpretation. The body of the nude in Brown’s drawing based on Boucher appears to be coated with a second, porous skin, which almost appears to be tattooed, due to the complex use of cropped lines. The face, in contrast, seems to dissolve almost fully. To achieve these occasionally morbid transformations, derived from one or several templates, Brown often draws on both sides, or several sheets, of the transparent polypropylene... The interaction between individual motifs, perspectives or image fragments results in irritating, almost surreal interferences characteristic of these painstakingly developed line drawings.



In Zusammenarbeit mit Galerie Max Hetzler Berlin | Paris