{"id":1904,"date":"2020-04-21T19:04:28","date_gmt":"2020-04-21T17:04:28","guid":{"rendered":"https:\/\/sommerlatte-art.com\/?page_id=1904"},"modified":"2025-01-11T16:54:14","modified_gmt":"2025-01-11T15:54:14","slug":"reviews","status":"publish","type":"page","link":"https:\/\/sommerlatte-art.com\/en\/reviews\/","title":{"rendered":"Reviews"},"content":{"rendered":"

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Reviews<\/h3>\n

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New perception of form and color<\/h1>\n

Publications and speeches on the oeuvre of Tom Sommerlatte<\/p>\n

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Colorful, diverse, idiosyncratic<\/span><\/strong><\/h3>\n

by <\/strong>Beke Heeren-Pradt,
Wiesbadener Kurier, 15.06.2024<\/span><\/h3>\n
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(Excerpt) Tom Sommerlatte has found inspiration in many places around the world during his long life. Although he studied natural sciences and business administration and made a career as an entrepreneur, he never neglected his artistic “self”. After studying art parallel to his chemistry studies, he developed his own style in his artistic work over the decades, which he always sees as a second pillar, second facet of his personality – and has always lived this way. An extensive oeuvre has emerged from this, from which 55 works can be seen in the Idstein Gerberhaus. The artist has determined that 25 percent of the sum raised by the sale of works from the exhibition will go to the Hospice Foundation Idsteiner Land. The exhibition is a piece of the mosaic in the picture of the activities of the hospice foundation and a cultural highlight for Idstein. The response to the vernissage reflected a great deal of interest in the world of colors and forms of the artist who is a member of the Wiesbaden Artists Group 50.\u00a0<\/p>\n

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Opening speech by Dr. J\u00f6rg Daur, Deputy Director of the Wiesbaden Museum (2018, Kunsthaus Taunusstein)<\/span><\/h3>\n

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A couple of months ago, when Tom Sommerlatte asked me whether I might be willing to talk about his pictures, I agreed without a moment\u2019s hesitation.<\/p>\n

I have known Tom Sommerlatte for many years. To be precise, I first came across him soon after I arrived in the Rhine-Main area at the end of the 1990s, and initially our acquaintance was rather one-sided and confined to the context of the Friends of the Museum Wiesbaden, where I did various odd jobs as a student. \u00a0more \u2026<\/strong><\/a><\/p>\n

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Speech by Dr. Peter Forster, Curator of the Wiesbaden Museum (2008, Gallery Wort+Art)<\/h3>\n

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Visual art has been a constant in Tom Sommerlatte\u2019s life. In the 1960s, studying natural sciences in Berlin, New York State and Paris, he also attended classes at the local academies of fine art. Not content with academia alone, he always sought out the company of practicing artists as well. His close contacts with painters and his numerous trips through half of Europe helped shape the style of his paintings and drawings, which we see here today.\u00a0<\/span>\u00a0more\u2026<\/strong><\/a><\/p>\n

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Something new in the fourth dimension<\/h3>\n

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The studied natural scientist has dedicated himself to the \u201cdiscovery of something new in the fourth dimension that will impact the whole world.\u201d On his voyage of discovery, he seems to revel in an intoxicating harmony of colors and forms \u2013 an impression, however, only adequate to the initial encounter with his images. Created amidst the spontaneous flow of feeling, these exuberant paintings are, in fact, meticulously planned. Upon closer inspection, our first impression turns out to be an illusion, as with the ostensible \u201cSymphony in Blue\u201d as a scene with people, plants and elk.
<\/span>\u00a0
Angelika Eder, Wiesbadener Kurier, 2010<\/span><\/p>\n

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Following his own path<\/h3>\n

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Tom Sommerlatte comes from the world of managers, is an honorary professor, a bestselling author, and a painter.<\/p>\n

His pencil drawings and etchings bear curious titles like: The Children of Progress are Aging or For the Sake of Their Endangered Cause, the Loners Show Solidarity. Each piece is an independent expression of a pictorial idea \u2013 each a delicately crafted delight.<\/p>\n

His oil paintings oscillate between figuration and abstraction. Surfaces give only a hint of the figurative, before transforming into basic geometric forms: circle, ellipse, and arc. The work abstracts, without being bound by the tenets of abstract art.<\/p>\n

Tom Sommerlatte’s work exudes the ideal of a human world in harmony with nature. Far from na\u00efve, they indulge with intellectual acumen a utopia not found in the world of Jonathan Meese or Neo Rauch. Sommerlatte’s work is free of constraints and boundaries, utterly free, open to everything, light and insouciant.<\/p>\n

Ingeborg Toth, Wiesbadener Tagblatt, 2008<\/p>\n

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Fanciful poet<\/h3>\n

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Tom Sommerlatte engraves finely interlaced inner structures. He attaches great importance to forming focal points, as he unites floral and organic elements into tendrils and rhythmically varied structures. The titles of his ornamental works (like The Fragile Balance Between Uncertainty and Indifference<\/em>) suggest that he has more profound ideas in mind.<\/span><\/p>\n

AS, Mainzer Allgemeine Zeitung<\/em>, 1996<\/span><\/p>\n

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The Dynamics of Light<\/h3>\n

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For Tom Sommerlatte, the investigation of chromatic energy means a heightened awareness of the intrinsic dynamics of light; in his work, light ever more forcefully captures the poetic capacity of color.<\/span><\/p>\n

Verena Flick, Wiesbadener Kurier, 1990<\/p>\n

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