{"id":8712,"date":"2014-11-12T13:47:14","date_gmt":"2014-11-12T12:47:14","guid":{"rendered":"http:\/\/www.conceptualfinearts.com\/cfa\/?p=8712"},"modified":"2022-11-21T10:04:49","modified_gmt":"2022-11-21T09:04:49","slug":"at-the-show-with-the-artist-jutta-koether-lights-up-rosso-fiorentino-piero-di-cosimo-and-botticelli","status":"publish","type":"post","link":"https:\/\/www.conceptualfinearts.com\/cfa\/2014\/11\/12\/at-the-show-with-the-artist-jutta-koether-lights-up-rosso-fiorentino-piero-di-cosimo-and-botticelli\/","title":{"rendered":"At the show with the artist: Jutta Koether lights up Rosso Fiorentino, Piero di Cosimo and Botticelli"},"content":{"rendered":"\n
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Jutta Koether, Cosimo Piero, 2014, Oil on canvas, 170 \u00d7 220 cm (66 7\/8 \u00d7 86 5\/8 inch ). Ph. Annik-Wetter.<\/figcaption><\/figure>\n\n\n\n
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Piero di Cosimo, Venus, Mars and Cupid, 1505, Gem\u00e4ldegalerie, Berlin, Germany.<\/figcaption><\/figure>\n\n\n\n
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Jutta Koether, Fiorentino Rosso, 2014, Oil on canvas, 220 \u00d7 170 cm (86 5\/8 \u00d7 66 7\/8 inch). Ph. Annik-Wetter.<\/figcaption><\/figure>\n\n\n\n
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Rosso Fiorentino, Deposizione di Cristo, 1528, Chiesa di San Lorenzo, San Sepolcro.<\/figcaption><\/figure>\n\n\n\n
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Jutta Koether, Mann mit Medaille, 2014, Oil on canvas, 50 \u00d7 60 cm (19 5\/8 \u00d7 23 5\/8 inch)<\/figcaption><\/figure>\n\n\n\n
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Sandro Botticelli, Portrait of a Man with a Medal of Cosimo the Elder, c. 1474\u20131475, 57.5 cm \u00d7 44 cm (22.6 in \u00d7 17 in), Uffizi, Florence.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

It is said that art is good when it generates other art. With this is in mind we would like to introduce you three paintings by Jutta Koether recently exhibited at Galerie Francesca Pia<\/a> in Zurich. They re-enact three paintings by Piero di Cosimo, Rosso Fiorentino and Sandro Botticelli. Along with the works, Koether has written a brief introduction about the relation between her paintings and these three carefully selected pieces. This writing was conceived by the artist as part of the exhibition. We copy and paste it here below, considering it a \u201cspontaneous\u201d guide to light up not only the magnetic Koether’s approach to painting and her unique way of linking form and information, but also to have an exclusive sight on three of the most \u201cconceptualizable\u201d old masters. Please also note that the images of these three paintings were not part in any way of Koether’s exhibition at Galerie Francesca Pia. We have included them in our gallery just to help, and possibly inspire, our readers.<\/p>\n\n\n\n

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3. Cosimo Piero Gem\u00e4ldegalerie Studies of bodies in transformation. Coolness is another form of resistance, which this picture steers for. The Bruised Grids function here as a pillow. The model was owned by Vasari. It was itself an appropriative picture, had a similarity with Venus and Mars by Botticelli. Panofsky described the 1505 painting by Cosimo as \u201ean enchanting primitivist pastoral\u201c, as a depiction of an exchange of emotions and passion, enabled by the in fact not perfect bodies in an interplay of signals, colors, symbols, among others a phallic reef and a type of butter\ufb02ies, the \u201ebeautiful little mistress\u201c (Callimorpha dominula). The pictorial space can format and re-format itself as a narrow intense hermetic and\/or an open spreading space. The painting is a site of daydreaming: To put oneself into multiple social skins, into excited masquerades of the strung out loose bodies that transform into landscapes\u2026\u201cPulsing with motions of compression and dispersion in varying temporal and spatial formats\u201c.<\/i><\/p>\n\n\n\n

4. Fiorentino Rosso Sansepolcro Another journey in a different timeframe. Painted in 1528 by a stubborn autodidact, who dedicated himself to Florentine red tones, to Italian Mannerism of the sixteenth century, heavily interspersed with elements of Northern European Renaissance and then co-founder of the First School of Fontainebleau. The consequences of the drastic deposition (the decent from the cross) can be traced up to Beckmann and Freud. Christ\u2019s body after the deposition, held by other \ufb01gures and circumstances, hence by the social body, crosses through and divides the painting. So the full picture could be understood as a body, a pictorial body nailed to the pillar in the gallery space, the exhibition is \u201eperformed\u201c as some sort of cruci\ufb01xion. Eroticizing foreignness radiates off the surfaces treated with very different materials. Dissolution of the border between sight and \ufb02esh with diverse possibilities to touch and transgress.<\/i><\/p>\n\n\n\n

6. Botticelli Medaille Stettheimer Botticelli\u2019s young man with the gold coin, on which there is an image of Cosimo de Medici from 1474 hangs in the Uf\ufb01ci not too far from an entombment scene by Rogier von der Weyden. The coin, plastically crafted on a painted ground, shows a man of power of the time. End point of the exhibition and promise and potential for an opening into a new room space to come. While staging a peephole into the far and recent past at once. Impossible lens. Focus: Painting asserted as original text. Maybe at this point one should refuse every other means of communication? Penetrate history\u2019s matrix in an original, painterly, insisting way and through techniques, decor, effects, crusts and noise into the brutalist zones of painting. Post web art, make-up- and make-over arts play a role. As well as Stettheimer (who named this painting a source for her work) and Freud. In the end what counts is to paint what can never be painted to the end. Art fed with exciting personality and living history. Return of the resurrections. Through \u201ecopying\u201c: radical intensifying of the pictures\u2019 reality. The job is never done.<\/i><\/p>\n\n\n\n

Quoted from the unpublished text written by Jutta Koether<\/a> in occasion of the exhibition “Maquis” at Galerie Francesca Pia (August 29 \u2013 November 1, 2014)<\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

It is said that art is good when it generates other art. With this is in mind we would like to introduce you three paintings by Jutta Koether recently exhibited at Galerie Francesca Pia […]<\/p>\n","protected":false},"author":2,"featured_media":8727,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1492],"tags":[1851,1852,1505,1645],"class_list":["post-8712","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-at-the-show-with-the-artist","tag-jutta-koether","tag-piero-di-cosimo","tag-rosso-fiorentino","tag-sandro-botticelli"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/8712","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/comments?post=8712"}],"version-history":[{"count":0,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/8712\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media\/8727"}],"wp:attachment":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media?parent=8712"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/categories?post=8712"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/tags?post=8712"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}