Dresden 1889 - 1987 West-Berlin
Rechtwinkelige Durchdringung: Zeichen F auf Schwarz
Plate, worked on on both sides, in tempera, paper, and varnish on card. 50 x 35 x 0.3 cm. Inscribed with artist's negative number '149/6a' in white verso right. - Unobtrusive, probably work process-related traces of contact on the varnished surface.
Thomaschke Tafelwerk 25; Dittrich/Mayer/Schmidt Tafeln 29
Artist's gift (1974), in private possession since, Cologne
Dresden 1969 (Kupferstich-Kabinett der Staatlichen Kunstsammlungen Dresden), Hermann Glöckner zum 80. Geburtstag. Zeichnungen, Gemälde und Tafeln aus den Jahren 1911 – 1945, cat. no. 102
Created from 1930 onward, Hermann Glöckner's panels form a central group of works within his rich oeuvre. The vast majority of these works consist of non-objective, geometric compositions generated on the basis of the artist's very individual process of abstraction; at the same time, they strive not so much for the purity of mathematical constructions as their expansion through chance and disturbance. In their linking of artistic content and artisanal form, the panels - which are extremely diverse in terms of their technical realisation - possess a decidedly object-like character expressed not least by their renunciation of any framing and the artistic incorporation of both sides of the work. In the course of the 20th and 21st centuries this concept of the panel, which Glöckner developed in opposition to the traditional painting, has often been acknowledged as an important contribution to constructive-concrete art.
Glöckner was born in Cotta, near Dresden, where he lived until 1975 with some interruptions. In Dresden, in the 1920s, he found countless opportunities to explore the formal vocabulary of the avant-garde. Dresden's Gemäldegalerie or the collection of Ida Bienert brought outstanding works of international modern art to the Saxon city, as did the International Art Exhibition of 1926. Works by Dexel, Feininger, Kandinsky, Klee, Lissitzky, Man Ray and Mondrian were shown in galleries like Kühl or Neue Kunst Fides.
After his ostracism and isolation during the Nazi period, it was the Kupferstich-Kabinett of the Staatliche Kunstsammlungen Dresden that supported the recognition of Hermann Glöckner's work, regardless of the cultural-political implications in East Germany. Although it came late, in 1965, the first purchase was made for the collection. In 1969 the first public solo exhibition featuring the works Glöckner had made since 1945 followed, and the present panel was also presented there (see comparative illus.). The “Zeichen F” of the early double-sided panel refers to Hermann Glöckner's wife Frieda and was created by the artist as a “birthday panel for Frieda” (see Ivana Thomaschke, Hermann Glöckner Werkverzeichnis bis 1945. Dresden 1967 [unveröffentlicht], Tafelwerk Nr. 25, o. S. as well as Christian Dittrich, Rudolf Mayer and Werner Schmidt, Hermann Glöckner: Die Tafeln 1919 - 1985, Dresden/Stuttgart 1992, p. 97). In addition to the recto featuring the overlapping rectangles forming a double letter F in gold on a black ground, the centre of the verso presents the interwoven initials of the artist in intersecting black lines on gold, in an inversion of the verso's colours.