{"id":2256,"date":"2022-03-19T14:08:45","date_gmt":"2022-03-19T13:08:45","guid":{"rendered":"https:\/\/sommerlatte-art.com\/works\/literature\/excerpt-discovery\/"},"modified":"2022-03-19T14:08:55","modified_gmt":"2022-03-19T13:08:55","slug":"excerpt-discovery","status":"publish","type":"page","link":"https:\/\/sommerlatte-art.com\/en\/works\/literature\/excerpt-discovery\/","title":{"rendered":"excerpt-discovery"},"content":{"rendered":"

[et_pb_section fb_built=”1″ _builder_version=”3.22″ use_background_color_gradient=”on” background_color_gradient_start=”rgba(0,0,0,0)” background_color_gradient_end=”rgba(12,12,12,0.28)” background_color_gradient_direction=”239deg” custom_padding=”79px|0px|57px|0px|false|false”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”3.25″ max_width=”80%” custom_margin=”0px||0px” use_custom_width=”on” width_unit=”off”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/sommerlatte-art.com\/wp-content\/uploads\/2022\/03\/Die-Entdeckung-eines-neuen-Kontinents-zwischen-Luxemburg-und-Belgien-Titelbild-Kopie.jpg” _builder_version=”4.9.0″ hover_enabled=”0″ title_text=”Discovery of a new continent between Luxemburg and Belgium” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.0.6″ min_height=”36px”]back to Literature<\/a>[\/et_pb_text][\/et_pb_column][et_pb_column type=”2_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.0.6″]<\/p>\n

Discovery of a new continent between Luxemburg and Belgium<\/h1>\n

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Most of the oil paintings, works on paper and reliefs illustrated in this publication were shown in an exhibition at the Kunsthaus Taunusstein in 2018. The exhibition \u2013 titled Spurensicherung \u2013 Retrospektive von Erlebtem, Empfundenem und Erdachtem \u2013 was mounted because many of my friends and acquaintances had no or only the vaguest idea of my work as an artist and encouraged me to take the plunge and put together a comprehensive survey exhibition.<\/em><\/p>\n

Mounting a retrospective covering a period of some sixty years set in motion a process of becoming more aware of the traces I have left in the form of my many drawings, my paintings and my artistic experiments over the course of that period. To see and recognize my work as markers of my life\u2019s history really does turn the retrospective into an exercise of recovering and securing evidence that testifies to my development, much of which I had not been aware of at the time, but which, with the benefit of hindsight, I do now recognize as intermittent progress.<\/em><\/p>\n

Dr. Peter Foster, Curator of the Wiesbaden Museum:<\/em><\/p>\n

Visual art has been a constant in Tom Sommerlatte\u2019s life. In the 1960s, studying natural sciences in Berlin, New York 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.<\/em><\/p>\n

The two dominant traits of Sommerlatte\u2019s character appear to be openness and dedication. Openness towards artistic trends, in order to attain, through painting, the \u201cfreedom\u201d of colour and form. Freedom also in terms of being able to develop a world of ideas \u2013 independent of de facto conditions \u2013 and to bring these ideas to bear in life. In the first instance, for Sommerlatte, this freedom is evidently of an inward, intellectual nature. From there, he seeks to take it outward into the material realm \u2013 concrete and idealized in equal measure. When I first looked at Sommerlatte\u2019s works, I was moved to think how art has always and in various ways given expression to the dream of a human world. That this dream could never come true did not bother the artists; on the contrary, it motivated them to keep trying, to disregard a history riddled with catastrophic crash landings.<\/em>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

back to LiteratureDiscovery of a new continent between Luxemburg and Belgium   Most of the oil paintings, works on paper and reliefs illustrated in this publication were shown in an exhibition at the Kunsthaus Taunusstein in 2018. The exhibition \u2013 titled Spurensicherung \u2013 Retrospektive von Erlebtem, Empfundenem und Erdachtem \u2013 was mounted because many of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1957,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-2256","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/pages\/2256","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/comments?post=2256"}],"version-history":[{"count":5,"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/pages\/2256\/revisions"}],"predecessor-version":[{"id":2261,"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/pages\/2256\/revisions\/2261"}],"up":[{"embeddable":true,"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/pages\/1957"}],"wp:attachment":[{"href":"https:\/\/sommerlatte-art.com\/en\/wp-json\/wp\/v2\/media?parent=2256"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}