PETER DREHER (Mannheim 1932–lives and works in Freiburg) From: Tag um Tag guter Tag. 2008. Oil on canvas (7-parts). Each signed, dated and titled on the reverse: "Tag um Tag guter Tag" I Peter Dreher 2008 (two undated). One inscribed on the reverse: Peter Dreher "Tag um Tag ist guter Tag" 1198 Kopie von Nr. 1281 aus dem Jahr 1994 (canceled). Each 25 × 20.1 cm. The authenticity of these works has been confirmed by the Peter-Dreher-Foundation, Freiburg, February 2022. We thank the foundation for their kind assistance. Provenance: - Galerie Wagner + Partner, Berlin. - Purchased from the above in 2011 by the previous owner, private collection Switzerland. - By descent to the present owner, also private collection Switzerland. In 1972, in Peter Drehers studio in the Black Forest, his first small-format oil painting measuring 25 x 20 cm was produced. The motif may not seem particularly remarkable at first: it shows a drinking glass, empty, on a grey table against a white background. A short time later, however, this everyday object seemed to manifest itself like no other in the artists oeuvre. The sophistication here lies in the unique choice of the motif and the picture format, as well as the technique and the constant repetition of the subject under almost laboratory-like conditions, as identical as possible. As a result, around 5200 consecutively numbered works were created in two series (Day and Night) between 1974 and 2017. Without question, these works have assumed the status of a conceptual opus magnum. The following 7 works are from the Day series from 2008. The painted glass is depicted in its natural size on the canvas, external conditions such as lighting, distance, background, or picture format remain consistently unchanged. Dreher chose the glass as a "simple" object.**because, according to him, it was an object that everyone knows. Simple, not in the formal sense, but as far as everyday perception is concerned, because we perceive it as very ordinary, and we use it without really thinking about it. Regardless of the prominent positioning of this thick-walled object with its old-fashioned appearance, Drehers meticulous style and precise application of paint implies a timeless elegance that has an impact on the viewer of the series. The temptation to pin down differences in the painterly execution of the various glasses may seem appealing, but ultimately leads to the realisation that it is the choice of motif that is paramount, and its repetition only underlines its arbitrariness. Contrary to the assumption that with such an extensive series an element of routine was involved, Dreher nonetheless required exactly the same amount of time to complete each work. The clear, serial concept, combined with the claim to autonomy of each individual glass, bearing in mind the decades of continuous production, therefore enhances his work all the more. PETER DREHER (Mannheim 1932–2020 Freiburg) Aus: Tag um Tag guter Tag. 2008. ?l auf Leinwand, 7-teilig. Jeweils verso signiert, datiert und betitelt: "Tag um Tag guter Tag" I Peter Dreher 2008 (2 undatiert). Eines verso bezeichnet: Peter Dreher "Tag um Tag ist guter Tag" 1198 Kopie von Nr. 1281 aus dem Jahr 1994 (durchgestrichen). Je 25 × 20,1 cm. **Authentizit?t dieser Werke wurde von der Peter-Dreher-Stiftung, Freiburg, Februar 2022, best?tigt. Wir danken der Stiftung für ihre freundliche Unterstützung. Provenienz: - Galerie Wagner + Partner, Berlin. - Bei obiger Galerie 2011 vom Vorbesitzer erworben, Privatsammlung Schweiz. - Durch Erbschaft an den heutigen Besitzer, ebenso Privatsammlung Schweiz. 1972 entsteht in Peter Drehers Atelier im Schwarzwald erstmals ein kleinformatiges ?lgem?lde von 25 x 20 cm. Das Motiv mag zun?chst nicht aufsehenerregend erscheinen: es zeigt ein Wasserglas, leer, auf grauem Tisch vor weissem Hintergrund. Kurze Zeit sp?ter scheint sich dieser Alltagsgegenstand allerdings wie kaum ein anderer im Oeuvre des Künstlers zu manifestieren.**Finesse liegt hierbei in der einmaligen Wahl des Motivs, des Bildformats sowie der Technik und der immer wiederkehrenden Wiederholung des Sujets unter m?glichst gleichen, nahezu laborhaften Bedingungen. Resultierend daraus entstehen zwischen 1974 und 2017 etwa 5200 fortlaufend nummerierte Arbeiten in zwei Serien (Tag und Nacht). Fraglos nehmen diese**Stellung eines konzeptionellen Opus Magnum ein.**folgenden 7 Arbeiten entstammen der Tag-Serie aus dem Jahr 2008. Das gemalte Glas ist in natürlicher Gr?sse auf der Leinwand dargestellt, ?ussere Verh?ltnisse wie Beleuchtung, Entfernung, Hintergrund oder Bildformat bleiben konstant unver?ndert. Dreher w?hlt das Glas als ?einfachen“ Gegenstand aus. Einfach, weil es gem?ss ihm ein Objekt ist, das jeder kennt. Einfach, nicht im Formalen, sondern im t?glichen Wahrnehmen, da wir es als so gew?hnlich wahrnehmen, und es zu unserem unreflektierten Gebrauch geh?rt. Ungeachtet der prominenten Positionierung des dickwandig und altmodisch wirkenden Gegenstandes impliziert Dreher durch seinen minuti?sen Duktus und pr?zisen Farbauftrag eine zeitlose Eleganz,**auf den Betrachter der Serie wirkt.**Versuchung, Unterschiede in der malerischen Ausführung der verschiedenen Gl?ser festzumachen, mag reizvoll erscheinen, endet jedoch in der Erkenntnis, dass**Wahl des Motives im Vordergrund steht und dessen Wiederholung nur seine Beliebigkeit unterstreicht. Entgegengesetzt der Annahme, eine solch umfangreiche Serie trage zur Entstehung einer Routine bei, ben?tigt Dreher jedoch für**Fertigstellung eines Werkes nach wie vor genau**gleiche Zeit. Das klare, serielle Konzept vereint mit einem Autonomie-Anspruch jedes einzelnen Glases akzentuiert sein Werk unter Berücksichtigung der jahrzehntelangen fortlaufenden Produktion seiner Werke daher umso st?rker.
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