Lot 1 D

Stephan Berg describes as follows: "In the 1970s, the spectrum of the colored bands is once again significantly extended. More and more, the rotating flicker of the early 1950s gives way to increasingly stable structures consisting of a few solemn diagonal, vertical or horizontal bands along with a dominant color tone. In spite of their massive, sometimes monumental appearance, these works as well evince a fundamental instability. Assisting streaks along the edges of the wide bands, only a few millimeters wide and scarcely visible from a distance, set the entire pictorial surface into a soft but permanent vibration." (Stephan Berg, Den Abgrund vor Augen, in: Günter Fruhtrunk, Retrospektive 1952-1982, Kunstmuseum Bonn a.o., Cologne 2023, exhib.cat., p.15)

"The making of versions-the serial —is the main principle of Fruhtrunk's art. He painted his works freehand, and for that reason they inevitably have differences. The principle of the series precludes pure reproductions; no work is a hundred percent like another. In that sense, every single painting is always an unmistakable original. Günter Fruhtrunk was concerned with exact realization of his painterly intention, with perfection of the craft, with the adequate pictorial solution, and with precision in execution and statement." (Silke Reiter, Mathematics of intuition, Versions of pictures in Günter Fruhtrunk's Oeuvre, in: Günter Fruhtrunk Gesellschaft (Hg.), Günter Fruhtrunk, Werkverzeichnis der Bilder, bildmotivisch, vol.1, Berlin 2018, p.60)