Gottfried Helnwein

By | May 12, 2013 at 9:12 pm | No comments | Pintura

Gottfried Helnwein (8 de octubre de 1948 Viena, Austria) pintor, fotógrafo, artista del performance y de instalación de origen austríaco-irlandés. Estudió en la Universidad de Arte Visual en Viena (en alemán: Akademie der Künste Bildenden, Wien). Fue galardonado con el premio Master-class (Meisterschulpreis) de la Universidad de las Artes Visuales, de Viena, el premio Kardinal-König y el premio Theodor-Körner. Ha trabajado como pintor, dibujante, fotógrafo, muralista, escultor, artista de performance y de la instalación, utilizando una gran variedad de técnicas y medios audiovisuales. Conocido también por los diseños de vestuario para teatro, ballet y ópera. Podemos nombrar “The Rake’s Progress” de Stravinsky en la Ópera de Hamburgo, “Der Rosenkavalier” de Richard Strauss en la Ópera de Los Ángeles, y en la Ópera Bonn, “Der Ring des Nibelungen” de Wagner, entre otras.

Sus primeros trabajos consistían principalmente de acuarelas hiperrealistas de niños heridos, así como performances —a menudo con niños— en lugares públicos. Helnwein es un artista conceptual, interesado principalmente en la ansiedad psicológica y sociológica, así como en temas históricos y políticos. Como resultado de ello, su trabajo suele ser considerado provocador y polémico.

Helnwein es parte de una tradición que se remonta al siglo XVIII, a la que pertenecen esculturas llenas de muecas y de expresiones faciales exageradas de Messerschmidt. Se observan, además, puntos en común con obras de Hermann Nitsch y Rudolf Schwarzkogler, otros dos vieneses, que muestran sus propios cuerpos como marco de referencia de la lesión, el dolor y la muerte. También se puede ver la fascinación por el lenguaje corporal expresivo en la obra de Egon Schiele.

Una visión clara parece emerger en el arte de Helnwein y que va a permanecer constante a lo largo de su carrera. Su tema es la condición humana. La metáfora de su arte, aunque incluye autorretratos, está dominada por la imagen del niño, pero no el niño inocente despreocupado como se imagina la gente. Helnwein crea una imagen profundamente inquietante aún provocadora y convincente de que el niño está herido. El niño con cicatrices y el niño marcado emocionalmente. Él retrata la inocencia de la adolescencia en el contexto de los acontecimientos históricos como el Holocausto, para poner de relieve la fragilidad de la humanidad en un mundo inestable.

En el 2004, el Museo de Bellas Artes de San Francisco fue el primer museo norteamericano que organizó la exposición individual de Gottfried Helnwein: “El Niño, las obras de Gottfried Helnwein” ( The Child, works by Gottfried Helnwein) en el Palacio de la Legión de Honor de California (California Palace of the Legion of Honor). El espectáculo fue visto por casi 130.000 visitantes y el San Francisco Chronicle lo citó como la exposición más importante de un artista contemporáneo del 2004. Steven Winn, cronista de arte y crítico cultural, escribió: “el gran formato de Helnwein, imágenes foto-realistas de niños con varios aspectos mostró con valentía el subconsciente de la inocencia, la sexualidad, la victimización y el inquietante aumento de la auto-posesión”.

Harry S.Parker III, Director del Museo de Bellas Artes de San Francisco, explicó lo que hace que el arte de Helnwein sea significativo:

“Para Helnwein, el niño no es sólo el símbolo de la inocencia, sino también de la inocencia traicionada. En el mundo actual, muchos aspectos atentan contra esa inocencia, las fuerzas malévolas de la guerra, la pobreza, la explotación sexual, la alienación y el carácter depredador de los medios de comunicación que por asalto ejercen una fuerte influencia en los niños”. Por otra parte, Robert Flynn Johnson, el curador a cargo de su obra, ha reunido una selección en torno a la reflexión de la obra de Helnwein y con ello, elaboró un ensayo profundo sobre su arte. La obra de Helnwein donde está presente el niño incluye pinturas, dibujos y fotografías, y se extiende desde un sutil hermetismo a escenas de cruda brutalidad. Por supuesto, escenas que testifican la matanza de los inocentes, han sido importantes y motivos muy visitado regularmente en la historia del arte. Lo que hace que el arte de Helnwein sea importante, es su capacidad para hacernos reflexionar emocional e intelectualmente sobre los profundos y expresivos temas que elige. Muchas personas piensan que los museos deben ser un refugio, donde encontrar o descubrir la belleza tranquila, divorciada de la crudeza del mundo. Esta es una noción que por supuesto, vende rápidamente el arte. “Gottfried Helnwein se inspira en muchos aspectos crudos de la vida infantil, los da a conocer lo cual produce incomodidad. Pero también es responsabilidad de los museos, ocuparse de temas importantes, ciertamente polémicos presentes en nuestra sociedad”

Viviendo entre Los Angeles y en Irlanda, Helnwein conoció y fotografió a los Rolling Stones en Londres, e hizo un retrato de John F Kennedy el cual fue la portada de la revista Time en el 20 aniversario del asesinato del presidente. Su propio autorretrato donde aparece gritando y con los ojos vendados y cegado por horquillas (1982), se convirtió en la portada del álbum de Scorpions “Blackout”. Andy Warhol, Muhammad Ali, William Burroughs y la banda de metal industrial Rammstein posaron para él, algunas de sus obras de arte aparecieron en la portada del disco-libro Historia de Michael Jackson. Para el momento de la caída del muro de Berlin, Gottfried Helnwein y Marlene Dietrich escribieron el libro “Some Facts about Myself”. El ensayo fue el último texto que escribió Marlene Dietrich en vida. En 2003 se hizo amigo de Marilyn Manson colaborando con él en el multi-media art-projec “The Golden Age of Grotesque” y en varios vídeo-proyectos experimentales. Entre sus obras publicadas ampliamente está una parodia de la famosa pintura de Edward Hopper Noctámbulos (Nighthawks), titulado Boulevard of Broken Dreams. Esta pintura también inspiró la canción de Green Day del mismo nombre. Examinando sus imágenes desde 1970 hasta el presente, este se ve influenciado por Bosch, Goya, John Heartfield, Beuys y Mickey Mouse, todo filtrado a través de una infancia vienesa postguerra.

En el 2006, Gottfried Helnwein recibe honores por el Consejo de la ciudad de Filadelfia por sus contribuciones artísticas y por mantener viva la memoria del Holocausto.

***

Gottfried Helnwein (born October 8, 1948 in Vienna) is an Austrian-Irish fine artist, painter, photographer, installation and performance artist. Helnwein studied at the University of Visual Art in Vienna (German: Akademie der Bildenden Künste, Wien). He was awarded the Master-class prize (Meisterschulpreis) of the University of Visual Art, Vienna, the Kardinal-König prize and the Theodor-Körner prize. He has worked as a painter, draftsman, photographer, muralist, sculptor, installation- and performance artist, using a wide variety of techniques and media. The artist is also known for his stage and costume designs for theater, ballet and opera productions. amongst them Stravinsky’s “The Rake’s Progress” at Staatsoper Hamburg, “Der Rosenkavalier” by Richard Strauss at the Los Angeles Opera, Wagner’s “Der Ring des Nibelungen” at Bonn Opera and many others.

His early work consists mainly of hyper-realistic watercolors, depicting wounded children, as well as performances – often with children – in public spaces. Helnwein is concerned primarily with psychological and sociological anxiety, historical issues and political topics. As a result of this, his work is often considered provocative and controversial.

Viennese-born Helnwein is part of a tradition going back to the 18th century, to which Messerschmidt’s grimacing sculptures belong. One sees, too, the common ground of his works with those of Hermann Nitsch and Rudolf Schwarzkogler, two other Viennese, who display their own bodies in the frame of reference of injury, pain, and death. One can also see this fascination for body language goes back to the expressive gesture in the work of Egon Schiele.

A clarity of vision in his subject matter was emerging in Helnwein’s art that was to stay consistent throughout his career. His subject matter is the human condition. The metaphor for his art, although it included self-portraits, is dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead created the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within. He portrays the innocence of adolescence against the backdrop of historical events like the Holocaust to highlight the fragility of humanity in an unstable world.

In 2004 The Fine Arts Museums of San Francisco organized the first one-person exhibition of Gottfried Helnwein at an American Museum: “The Child, works by Gottfried Helnwein” at the California Palace of the Legion of Honor. The show was seen by almost 130,000 visitors and the San Francisco Chronicle quoted it the most important exhibition of a contemporary artist in 2004. Steven Winn, Chronicle Arts and Culture Critic, wrote: “Helnwein’s large format, photo-realist images of children of various demeanors boldly probed the subconscious. Innocence, sexuality, victimization and haunting self-possession surge and flicker in Helnwein’s unnerving work”.

Harry S.Parker III, Director of the Fine Arts Museums of San Francisco explained what makes Helnwein’s art significant:

“For Helnwein, the child is the symbol of innocence, but also of innocence betrayed. In today’s world, the malevolent forces of war, poverty, and sexual exploitation and the numbing, predatory influence of modern media assault the virtue of children. Robert Flynn Johnson, the curator in charge, has assembled a thought-provoking selection of Helnwein’s works and provided an insightful essay on his art. Helnwein’s work concerning the child includes paintings, drawings, and photographs, and it ranges from subtle inscrutability to scenes of stark brutality. Of course, brutal scenes—witness The Massacre of the Innocents—have been important and regularly visited motifs in the history of art. What makes Helnwein’s art significant is its ability to make us reflect emotionally and intellectually on the very expressive subjects he chooses. Many people feel that museums should be a refuge in which to experience quiet beauty divorced from the coarseness of the world. This notion sells short the purposes of art, the function of museums, and the intellectual curiosity of the public. The Child: Works by Gottfried Helnwein will inspire and enlighten many; it is also sure to upset some. It is not only the right but the responsibility of the museum to present art that deals with important and sometimes controversial topics in our society”.

Living between Los Angeles and Ireland, Helnwein met and photographed the Rolling Stones in London, and his portrait of John F Kennedy made the front cover of Time magazine on the 20th anniversary of the president’s assassination. His Self-portrait as screaming bandaged man, blinded by forks (1982) became the cover of the Scorpions album Blackout. Andy Warhol, Muhammad Ali, William Burroughs and the German industrial metal band Rammstein posed for him; some of his art-works appeared in the cover-booklet of Michael Jackson’s History album. Referring to the fall of the Berlin Wall Helnwein created the book Some Facts about Myself, together with Marlene Dietrich. In 2003 he became friends with Marilyn Manson and started a collaboration with him on the multi-media art-project The Golden Age of Grotesque and on several experimental video-projects. Among his widely published works is a spoof of the famous Edward Hopper painting Nighthawks, entitled Boulevard of Broken Dreams. This painting also inspired the Green Day song of the same name. Examining his imagery from the 1970s to the present, one sees influences as diverse as Bosch, Goya, John Heartfield, Beuys and Mickey Mouse, all filtered through a postwar Viennese childhood.

In 2006 The Council of the city of Philadelphia honored Gottfried Helnwein for his artistic contributions in keeping the memory of the Holocaust alive.


• The Murmur of the Innocents 24 | 2011

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 200 cm x 300 cm

• The Murmur of the Innocents 23 | 2011

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 180 cm x 275 cm

• The Murmur of the Innocents 22 | 2011

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 200 cm x 300 cm

• The Murmur of the Innocents 20 | 2010

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 180 cm x 118 cm

• The murmur of the Innocents 18 | 2010

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 180 cm x 252 cm

• The murmur of the Innocents 17 | 2010

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 180 cm x 257 cm

• The Murmur of the Innocents 16 | 2010

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 220 cm x 330 cm

• The Murmur of the Innocents 19 | 2010

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 162 cm x 111 cm

• The Murmur of the Innocents | Anna | 2010

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 160 cm x 109 cm

• Murmur of the Innocents 13 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas)

• The Murmur of the Innocents 1 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 198 cm x 290 cm

• The Murmur of the Innocents 6 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 219 cm x 328 cm

• The Murmur of the Innocents 5 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 190 cm x 320 cm

• The Murmur of the Innocents 2 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 197 cm x 297 cm

• The Murmur of the Innocents 4 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 160 cm x 231 cm

• The Murmur of the Innocents 8 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 183 cm x 295 cm

• The Murmur of the Innocents 7 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 165 cm x 226 cm

• The Murmur of the Innocents 9 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 165 cm x 202 cm

• The Murmur of the Innocents 11 | 2009

The Murmur of the Innocents | Mixed media (oil and acrylic on canvas) | 160 cm x 121 cm

• The Disasters of War 28 | 2011

The Disasters of War | Mixed media (oil and acrylic on canvas) | 201 cm x 163 cm

• The Disasters of War 24 | 2007

The Disasters of War | Mixed media (oil and acrylic on canvas) | 195 cm x 242 cm | In Memory of Francisco de Goya

• The Disasters of War 2 | 2007

The Disasters of War | Mixed media (oil and acrylic on canvas) | 194 cm x 317 cm | In Memory of Francisco de Goya

• The Disasters of War 3 | 2007

The Disasters of War | Mixed media (oil and acrylic on canvas) | 200 cm x 293 cm | In Memory of Francisco de Goya

• The Disasters of War 6 | 2007

The Disasters of War | Mixed media (oil and acrylic on canvas) | 201 cm x 272 cm | In Memory of Francisco de Goya

• The Disasters of War 7 | 2007

The Disasters of War | Mixed media (oil and acrylic on canvas) | 199 cm x 281 cm | In Memory of Francisco de Goya

• The Disasters of War 4 | 2007

The Disasters of War | Mixed media (oil and acrylic on canvas) | 204 cm x 299 cm

• The Disasters of War 13 | 2007

The Disasters of War | Mixed media (oil and acrylic on canvas) | 180 cm x 125 cm | In Memory of Francisco de Goya

• Untitled | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 192 cm x 286 cm

• Untitled | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 192 cm x 258 cm

• Untitled | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 192 cm x 249 cm

• Untitled (Modern Sleep) | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 199 cm x 132 cm | detail 21C Museum International Contemporary Art Foundation, , Louisville, Kentucky

• Untitled (Payton 0) | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 481 cm x 334 cm

• Untitled (Payton 1) | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 160 cm x 106 cm

• Untitled (Payton 2) | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 160 cm x 106 cm

• Untitled (Payton 3) | 2005

Untitled | Mixed media (oil and acrylic on canvas) | 160 cm x 106 cm

• Los Caprichos | 2006

Los Caprichos | Mixed media (oil and acrylic on canvas) | 160 cm x 107 cm

• Los Caprichos 3 | 2006

Los Caprichos | Mixed media (oil and acrylic on canvas) | 160 cm x 107 cm

• Sleep 7 | 2004

Sleep | Mixed media (oil and acrylic on canvas) | 152 cm x 111 cm

• Sleep 8 | 2004

Sleep | Mixed media (oil and acrylic on canvas) | 152 cm x 111 cm

• Epiphany | Epiphany III (Presentation at the Temple) | 1998

Epiphany | Mixed media (oil and acrylic on canvas) | 210 cm x 310 cm | Barry Friedman, New York

• Epiphany | Die Erweckung des Kindes (The Resurrection of the Child) | 1997

Epiphany | Mixed media (oil and acrylic on canvas) | 160 cm x 150 cm

• Epiphany | Epiphany I (Adoration of the Magi) | 1996

Epiphany | Mixed media (oil and acrylic on canvas) | 210 cm x 333 cm | Denver Art Museum | Kent Logan Collection

• Paradise Burning | The American paintings III | 2003

Paradise Burning | The American paintings III | Mixed media (oil and acrylic on canvas) | 116 cm x 147 cm

• Paradise Burning | The American paintings III | Stage Fright | 2003

Paradise Burning | The American paintings III | Mixed media (oil and acrylic on canvas) | 157 cm x 203 cm

• Paradise Burning | The American paintings III | I Walk Alone | 2003

Paradise Burning | The American paintings III | Mixed media (oil and acrylic on canvas) | 121 cm x 172 cm

• Paradise Burning | The American paintings III | Leda and the Swan | 2003

Paradise Burning | The American paintings III | Mixed media (oil and acrylic on canvas) | 142 cm x 203 cm

• Paradise Burning | The American paintings III | The Flesh is Weak | 2003

Paradise Burning | The American paintings III | Mixed media (oil and acrylic on canvas) | 96 cm x 152 cm

• Paradise Burning | The American paintings III | Dark Hour | 2003

Paradise Burning | The American paintings III | Mixed media (oil and acrylic on canvas) | 96 cm x 152 cm

• Paradise Burning | The American paintings III | Midnight Mickey | 2001

Paradise Burning | The American paintings III | Mixed media (oil and acrylic on canvas) | 216 cm x 300 cm

• Downtown | The American Paintings II | Downtown 19 | 2002

Downtown | The American Paintings II | Mixed media (oil and acrylic on canvas) | 101 cm x 66 cm

• Downtown | The American Paintings II | Downtown 16 | 2002

Downtown | The American Paintings II | Mixed media (oil and acrylic on canvas) | 66 cm x 96 cm

• The American Paintings | Untitled | 2000

The American Paintings | Mixed media (oil and acrylic on canvas) | 213 cm x 163 cm

• The American Paintings | Suspects I (The Three Graces) | 2000

The American Paintings | Mixed media (oil and acrylic on canvas) | 241 cm x 190 cm | Martin Muller, San Francisco, San Francisco

• The American Paintings | American Prayer | 2000

The American Paintings | Mixed media (oil and acrylic on canvas) | 213 cm x 187 cm

• The American Paintings | Art in America | 2000

The American Paintings | Mixed media (oil and acrylic on canvas) | 198 cm x 274 cm

• The American Paintings | Cops I (Little Women) | 2000

The American Paintings | Mixed media (oil and acrylic on canvas) | 152 cm x 195 cm

• Oil and acrylic 1988 – 2000 I | Head of a Child III | 2000

Oil and acrylic 1988 – 2000 I | Mixed media (oil and acrylic on canvas) | 299 cm x 218 cm

• Oil and acrylic 1988 – 2000 I | Head of a Child 5 | 1998 

Oil and acrylic 1988 – 2000 I | Mixed media (oil and acrylic on canvas) | 160 cm x 109 cm | Vicki and Kent Logan | San Francisco

• Oil and acrylic 1988 – 2000 I | Kiss I | 1998

Oil and acrylic 1988 – 2000 I | Mixed media (oil and acrylic on canvas) | 160 cm x 106 cm

• Oil and acrylic 1988 – 2000 I | Lest you forget | 1995

Oil and acrylic 1988 – 2000 I | Mixed media (oil and acrylic on canvas) | 153 cm x 380 cm

• Oil and acrylic 1988 – 2000 II | Righteous Men | Righteous Man V (Blue Boy) | 1999

Oil and acrylic 1988 – 2000 II | Righteous Men | Mixed media (oil and acrylic on canvas) | 192 cm x 150 cm

• Oil and acrylic 1988 – 2000 II | Righteous Men | Righteous Man III (detail) | 1991
• Oil and acrylic 1988 – 2000 III | Ascension | 1995

Oil and acrylic 1988 – 2000 III | Mixed media (oil and acrylic on canvas) | 212 cm x 141 cm | Margret Jhin Walsh, San Francisco

• The Child Dreams | The Child Dreams 6 | 2011 

The Child Dreams | Mixed media (oil and acrylic on canvas) | 240 cm x 437 cm

• Self-Portraits 1989 – 1993 | It’s only Rock ‘n’ Roll II | 1993

Self-Portraits 1989 – 1993 | Mixed media (oil and acrylic on canvas) | 210 cm x 310 cm

• Self-Portraits 1989 – 1993 | Self-Portrait 29 | 1991

Self-Portraits 1989 – 1993 | Mixed media (oil and acrylic on canvas) | 210 cm x 140 cm

Web oficial: www.helnwein.com