would probably have led without DADA and the psychoanalysis Sigmund
Freuds not to the world-wide significance.
inventor of the the Menetekelism as well as one the most important German SURREALIST apart from
Max Ernst, Edgar Ende, Richard Oelze and Mac Zimmermann presented his works in
this Internet Exhibition.
The dadaists Tsara and Picabia came 1919 to of Paris, where the straight poet Andre
Breton with Aragon and Soupault had created the magazine „Litterature ",
Max Ernst followed 1922. Due to
internal discords the DADA circle dissolved.
One united again: In
addition the poets Andre Breton, Eluard, Aragon as well as further writers, and
the painters Picabia, belonged Max Ernst, Man Ray and Marcel Duchamp.
One can differentiate two different periods with the oil pictures from Helmut Ullrich:
a verismo group of paintings, at which the pictures are painted in old-masterly
meticulousness. With these work the
figures (objects), added into the picture connection, inserted into a
perspective designed image space according to the rules of the central
perspective, the colour perspective and the air perspective.
The objects are given bodyful modelled, the forms of the things are often
monstrous, and it also with the brush and the color order a alteration, which
sometimes appear the thing strange, thus differently than in nature to appear
produced leaves. Ullrich lasiert the pictures very carefully, often lays on top of
each other it forty and more dye films. Some
of the pictures under-paints Ullrich
first grey. Thus it reaches the
artist that the colors shine mysteriously as from a deep reason.
This enigmatically strengthened by a tremendously careful staggering of
the transitions. Beyond that the musical value of the colors in their
relationship is balanced to each other to harmonies or dissonances, ever after
it requires the picture statement. In
summary is said: Ullrich uses infinite effort and care on each picture, on which he
often works many months partially also years!
If one compares with it the roughly painted surfaces, which offer the
American painters today to old Europe as works of art and with the iIdiotic and
also at high prices sell validity craze of the establishment public, one asks
oneself again and again in satisfying: why
do we believe that the Americans are better artists as our creative humans?
Did we become too tired? Ullrich
paints from the imagination, not from a vision. Those the pictures given title do not call a topic, which the
artist wants to turn on himself before considered and then in the mark act.
Ullrich says, the titles follows to the pictures, the pictures gives
oneself its titles.
other group of its pictures shows such, calls we it naturalistic area.
The area of the second sort is the picture of a vegetative principle, it
is actually the picture of an area, which grants its appearance to the things
only. This area is full secrets, he
west and weaves and floats, it proceeds and decreases/goes back.
And the objects of the imagination get something supernatural, SURREALISMS
the pictures Helmut Ullrich plays
that all surrealists own feeling of the threat of humans by not understandable
powers a large role. Stranger and
partially unreal things are each other assigned each other in the pictures in an
area, whose sinister has first something oppressing.
If the viewer sinks himself then however into the thought connection of
the picture, then the disconcertingly flies, dissolves.
SURREALISM of Ullrich has another
character than that the first and second generation:
They are not logic dreams or visions, but imagitative allegories of the
uncanny ness and enigmatically of the world connection all being ends, also
humans. Their secret solves the
viewer, if it is received into the picture to be able to formulate logical
conceptual without coming however there, the experienced.
Ullrichs SURREALISM is a parable SURREALISM. Any more revolt, like in the first years are not sense and a
goal of this surrealistic painting, but all senses keep always awake for the
uncanny ness of our world, from which are awake openness then the possibility of
an evolution from the reason, arises into a new human world".
the introduction for art exhibition Helmut
Ullrich and FRANZ RADZIWILL 1895-1983 (Franz Radziwill is considered an important painter of the Neue Sachlichkeit, he is the
Tachist at the first hour) which in the gallery Heseler, Munich, took place:
"The SURREALISM still lives in the forming art, in the literature
and in the film from its original trunks and in always new, strong impulses.
One can understand oneself today only heavily the enthusiasm, which after
the First World War in France a part the modern artist shank seized, as them in
the gospel of the SURREALISM the creation of a new, marvellous WORLD FROM the
DREAM to the heart was put. Andre
Breton, 1924 its first "communist manifesto of the SURREALISM" (1929 a
second) published and by the power of its worthy-serious personality as Prophet,
when highest judge, when "Pope of the SURREALISM" functioned.
Bretons and its surrealistic teachings is not conceivable without the
preliminary work of the DADAISTEN, which made themselves still during the First
World War to a true full never-ending task:
to the radical dismantling of the conventional reason, moral and view of
art. At the same time an ingenious
loner, Giorgio de Chirico, broke through the wall of the conventional picture
conception. Its "Pittura
Metafisica" anticipates crucial courses of the later SURREALISM in its
soberly realistic painting of disconcerting dream faces.
Few years before the SURREALISTics went for the article in the picture
into Germany also the painters of the "new realism" to the work
providing in prevention of the expressionism and abstract view of art again
right. In order to implement this
right, they increased traditional realism to the as it were verism and the
purchase of the represented things to magically quiet, often uncanny expression.
SURREALISM artists dives into the labyrinth reasons of the subconscious and
lifts things to the light, which normal humans know similarly from own dream
experience, in its from reason, moral and other conventions certain lives
however to the indistinct edges of consciousness moves rapidly again displaced
or. The SURREALIST however places
it in its works often in sharpness, as real before eyes. Dream range and external world are considered to it as equal.
In addition, this external world proves from a certain point of view as
surreal. If both ranges - dream face and fantastic external world - in
the spirit of the artist step into one another, then that multilayered,
enigmatically SURREALISM results, how HELMUT
ULLRICH before us spreads it. In
its work besides a crucial transformation of the new German SURREALISM becomes
visible: Main topic is not any more
the representation of the intimate, private dream sphere, but the collective
fear dream of a existence-threatened man sort.
Formally seen, the SURREALISM shows many faces.
More importantly than each classification the effort is around insight
into the respective artistic special sort.
In the works of Max Ernst, Andre Masson, Joan Miró, Yves Tanguy and
other important SURREALIST artits step all possible style forms and techniques,
taken over and invented, old-masterly and modern, into feature and realize the
conceptions and dreams of the artists of the miracles, peculiarities and frights
of our world".
Richard Hiepe, art historian,
article of TENDENCIES: Publishing
house F. von Damnitz, Munich, Sept. 1961,
"The large old men proved it; in the broken eye of the dreamer the truth is reflected often more sharply than in the together-pinched observer. When Max painted Ernst 1941 its „Europe from the rain ", it saw it already disintegrating as washed, disturb landscape of devastation, suffocated at the own abundance and. It forestalled the death pastures of the bomb carpets and Atom atolls pictorial, like Dali with its „fluent "clocks, the scientifically soft terms of space, time and reliability. If today a younger SURREALIST, light courage HELMUT ULLRICH, lets a gigantic Ikarus crack Munich, like a bomb in the house, then that becomes crazy person the frightening fact, which one does not remember only gladly."
The surrealism is presence, past and future. The pictures the surrealists, Helmut Ullrich, are to how before HIGH-TOPICAL, the events in this time and in the last years this could confirm. Defiance of the infernos in Ullrichs pictures finishes all into highest poetry. Hans Terwege