175:
characterized by perspective fragments of architecture. Here his preferred material was no longer watercolour, but oil-based paint, which was still applied on paper until 1990 when he began to use canvas. On large formats (225 cm x 175 cm) the subject of ground-plans was varied in so far as line elements of the pictures define partitions of flat areas. Two extensive work groups differ from each other in colours: a blue-green and an earthy red. On the occasion of an international work-meeting
Keining started to reduce the ground-plans to stripes. These pictures were part of a major exhibition together with Erwin Heerich at the Heidelberger Kunstverein (Art association of Heidelberg, Germany). Stefan Berg, director of
205:
advertisements from the 1950s. Again and again script appeared as an element of the pictures. Keining used several slides projected one after another onto the canvas for the composition of the pictures. Some portions of the pictures are characterized by sprayed paint, others by brushed paint. The overlay of the portions leads to the impression of two or more visual levels in the pictures; e.g., the sharp silhouette of painted script stands out in front of a sprayed blurred ornament in the background. As the sprayed application of paint already blurs the contours more or less, the overlay of portions of the pictures increases the blur. This approach elicits great ambiguity undermining definitive interpretations.
143:
103:
111:
201:, Germany. Since oil does not adhere permanently to plaster, a new technique was necessary. In order to distort the contours Keining used a spray gun and synthetic resins. He created eight wall paintings (about 200 cm x 150 cm) with a distinct ornamental structure. Due to his positive experiences with this material and technique Keining began to work with a spray gun and synthetic resin on canvas also.
127:
119:
90:
135:
25:
171:
1984 he presented watercolour paintings at exhibitions in the
Kunstverein Kassel, Germany, and at the Galerie Luise Krohn in Badenweiler, Germany. These watercolour paintings using imagery from architecture are barely discernable due to being flooded by light. Then, between 1984 and 1985 the figure became the focus of Keining’s artistic interest.
204:
Until then
Keining’s work had been characterized by the well-thought-out processing of specific subject areas (series, work groups). From this point on, however, he created instead individual pictures that combined in different ways elements such as flowers, animals, ornaments, but also comics and
170:
Keining’s first exhibition was in 1979 in the Westfälischer
Kunstverein, Münster, Germany, where he presented large watercolour paintings (about 70 cm x 90 cm) with motifs from architecture, in which the interplay of light and shadow in deserted spaces was of particular significance. In
208:
The art historian Daniel Spanke about
Keinings works: “But this diversity of possibilities of paintings, which Keining has worked for during the years, is by no means a juxtaposition of arbitrary, seemingly incompatible styles, but is based on a development that went through different styles of
182:
As
Keining began looking for further abstract elements for pictures, script (letters) and text elements in particular played an important role. For the first time, names of brands and names of models of American car manufacturers appeared in his paintings. This was stimulated by a study visit to
285:
2013: Coming Soon, Galerie König, Hanau; Am Anfang war das Wort, (G), QuadrArt
Dornbirn, Österreich (G); Blurred & Bombed, Museum der Stadt Ratingen; Roman d’apprentissage d’une collection, ikob, Eupen, Belgium, (G); Paintonpaper, Galerie Ebbers, Kranenburg (G); Zufall, Kulturbahnhof Eller,
187:. In 1999 Keining created a work of 90 pieces (Lukas colorplates): The relatively small paintings show all colour nuances of the well known producer of artist's paints; the producer’s specific names and numbers of the colours are integrated in the pictures thereby underscoring the use of text.
174:
In 1986, architecture again became the central theme of
Keining’s painting. By this time, Keining was working at a larger studio. He created works in which the three-dimensional quality of the architecture is reduced to a flat depiction reminiscent of ground-plans, but also works that are
306:
2010: Galerie Ebbers, Kranenburg; Museum van Bommel van Dam, Venlo, Niederlande; ikob-Internationales
Kunstzentrum, Eupen, Belgium (c); Farbe in der zeitgenössischen Kunst, Neuer Kunstverein Gießen, (G C); Geheimnisvolle Zwischenwelten, Museum Pfalzgalerie, Kaiserslautern
544:(9) Museum Katharinenhof (Kranenburg) (Editor): Horst Keining. Kirschbaum Laserscan, Düsseldorf (1993), with texts by Hans van der Grinten: Zu einigen neuen Bildern Horst Keinings und Hans Gercke: Von der Wirklichkeit der Bilder: Zu den Arbeiten von Horst Keining.
209:
painting and pictures, in order to trace the essence of the picture. Thereby the interest of the observer is directed to an important fundamental question of human culture: How is the world transformed to a picture and what happens during this transformation.”
150:
During his youth, Horst
Keining lived in Hattingen and Bochum, Germany. He received his high school diploma at the Goethe-Schule in Bochum in 1968. In 1970, after two semesters of studying civil engineering at the
328:
2007: Revision, Ludwig Museum Koblenz (C); Galerie am Hauptplatz, Fürstenfeldbruck; Vilnius Painting Trienal, Vilnius, Lithuania, (G); IKOB-International Art Centre East Belgium , (G), Eupen, Belgien.
584:(2) Daniel Spanke: Was das Bild im Innersten zusammenhält, Ornament und Komposition in neueren Gemälden Horst Keinings. In Daniel Spanke (Herausgeber): View. DruckVerlag Kettler, Bönen (2010),
194:. By smudging the freshly applied oil-paint Keining distorted the text to such a degree that it was almost illegible – thus giving the observers freedom to imagine their own sexual fantasies.
341:
2004: Neuer Kunstverein, Aschaffenburg (C); Galerie am Hauptplatz, Fürstenfeldbruck; Stadtmuseum Siegburg (C); Flottmann-Hallen, Herne (C); Museum der Stadt Ratingen (C).
531:(7) Hans Gercke (Heidelberger Kunstverein) und Gabriele Uelsberg (Städtisches Museum Mülheim an der Ruhr) (Editor): Heerich Keining. Art-Print-Publishers, Essen (1998),
46:
547:(10) Oberhessisches Museum Gießen (Editor): Horst-R. Keining – Arbeiten 1975–1980 with texts by Hans van der Grinten e.a.: Zu den Aquarellen Horst Keining. (1981)
130:
Horst Keining - Mariakirchen, 9 wallpaintings, resin, each 200 cm x 150 cm, 2003, Castle Mariakirchen at Arnsdorf, Copyright Norbert Faehling and the artist, 2013
114:
Horst Keining - Streifenbilder (Stripe paintings), each 110 cm x 320 cm, oil on canvas, 1996 at Art Association, 1998, Copyright Norbert Faehling and the artist
630:
429:
239:
511:(5)Krefelder Kunstverein und Kunstverein Unna (Editor): Horst Keining: Zweiundzwanziggalerien Vierundzwanzigbilder. Art-Print-Publishers, Essen (2000),
620:
344:
2002: Galerie König, Hanau (C); Museum Baden, Solingen (C); Galerie von Fellner, Krefeld; Museum Katharinenhof, Kranenburg; Kunstverein Lingen (C).
317:(G), Eupen, Belgium; Galerie Andreas Brüning, Düsseldorf; The IKOB-Collection, Museum van Bommel van Dam, Venlo, Niederlande; The IKOB-Collection,
197:
In 2003, Keining received a commission for paintings to be applied directly on the plaster walls of rooms in the Mariakirchen moated castle near
292:
2011: Kunst nach 1945, Museum der Stadt Ratingen (G); Met andere ogen, Museum van Bommel van Dam, Venlo (G), Niederlande; Galerie von Fellner,
615:
610:
605:
635:
490:(3) Museum Baden (Solingen) und Galerie König (Hanau) (Editor): Horst Keining Lukas Tutti & Cie. Art-Print Publishers, Essen (2002),
487:, with texts by Daniel Spanke e.a.: Was das Bild im Innersten zusammenhält, Ornament und Komposition in neueren Gemälden Horst Keinings.
589:
536:
526:
516:
505:
495:
484:
473:
70:
314:
289:
2012: Collection Museum van Bommel van Dam, Venlo, Niederlande; IKOB-International Art Center East Belgium, Eupen, Belgium. (G)
106:
Horst Keining-90-Lukas-plates, each 24,3 cm x 33,1 cm, 2000, 2002 at Kunsthalle Lingen,Copyright Achim Kukulies and the artist
625:
167:. He successfully completed his study of painting in 1976. Keining continues to live and work in Düsseldorf till today.
468:(1) Stephan Berg: Der blinde Fleck. In Gert Fischer (Herausgeber): Mariakirchen. Rheinlandia-Verlag, Siegburg (2004),
156:
500:(4) Städtische Galerie im Rathauspark (Gladbeck, editor): Horst Keining Lukas. Art-Print Publishers, Essen (2001),
423:
275:
146:
Horst Keining - Teilung auf Rot (Partition on red), 189 cm x 147 cm, oil on canvas, 1994, copyright by the artist
138:
Horst Keining - Rilke, 185 cm x 270 cm, Diptych, resin on canvas, 2006, Copyright Norbert Faehling and the artist
562:
521:(6) Kunstverein Lingen (Editor): Horst Keining: Achtundvierzigberühmtemänner. Buxus Verlag, Lingen (1999),
331:
2006: New Spray, Kunsthalle Wilhelmshaven (C); Panorama, Kunsthalle Gießen (C); Galerie Ebbers, Kranenburg.
645:
152:
225:
122:
Horst Keining - Flowertiger, 210 cm x 370 cm, resin on canvas, 2011, Copyright W. Rieger and the artist
640:
354:
232:
179:
commented: “The stripe pictures shimmer subtly between abstract flatness and three dimensionality”.
318:
567:
585:
532:
522:
512:
501:
491:
480:
469:
93:
Horst Keining-Fortuna, 75 cm x 90 cm, resin on canvas, 2012,Copyright W.Rieger and the artist
33:
176:
191:
142:
102:
541:(8)Galerie Schütte (Editor): Horst Keining. Art-Print-Publishers, Essen (1997 and 1996)
442:
262:
160:
110:
39:
599:
388:
253:
184:
164:
126:
446:
357:(G); Kunstverein Lingen (C); HEERICHKEINING, Städt. Museum Mülheim an der Ruhr (C).
118:
456:
159:. During the first two semesters at the Kunstakademie he studied with Professor
350:
2000: Galerie Schütte, Essen; Krefelder Kunstverein (C); Kunstverein Unna (C).
572:
363:
1997: Muzej Novejse Zgodovine, Celje, Slowenien (GC); Galerie Schütte, Essen.
89:
86:(born February 9, 1949, in Hattingen at River-Ruhr) is a German visual artist.
395:
301:
249:
573:
Interview between Horst Keining and Martin Leyer-Pritzkow (German Language)
134:
198:
190:
An extensive group of paintings (2002) is based on fragments of texts of
360:
1998: HEERICHKEINING, Heidelberger Kunstverein (C); Kunstverein Bochum.
221:
2017: Horst Keining, IKOB International Art Centre East Belgium, Belgium
297:
293:
563:
Literature fromand about Horst Keining in the German National Library
508:, with a text by Beate Reifenscheid: Horst Keinings Lukas Farbtafeln.
322:
479:(2)Daniel Spanke (Editor): View. DruckVerlag Kettler, Bönen (2010),
334:
2005: Galerie König, Hanau; DIN A 4, Galeriea Fundacion Alzh. Leon,
335:
279:
141:
133:
125:
117:
109:
101:
88:
381:
1984: Galerie Luise Krohn, Badenweiler; Kasseler Kunstverein (G).
18:
231:
2016: Zugewinn, Museum Moyland Castle, Bedburg-Haus, with
557:
438:
Kunst aus NRW, Reichsabtei Aachen Kornelimünster, Germany
296:; Galerie Ebbers, Kranenburg [G); Pamenkalnio Gallery,
51:
568:
Art works from Horst Keining at Martin Leyer-Pritzkow
375:1989: Nijmegs Museum, Nijmegen, Niederlande (G).
271:2014: Zur Welt kommen, Galerie König, Hanau,(G)
315:IKOB International Art Centre of East Belgium
8:
404:1979: Westfälischer Kunstverein Münster,(G).
372:1993: Museum Katharinenhof, Kranenburg (C).
218:2019: ScoOP, Stadtmuseum Hattingen, Germany
430:IKOB International Art Centre East Belgium
240:IKOB International Art Centre East Belgium
71:Learn how and when to remove this message
268:2014: JIGGER, Galerie Ebbers, Kranenburg
384:1983: Museum Katharinenhof, Kranenburg.
369:1995: Kunstverein Zagreb, Kroatien (G).
245:2016: Best of Galerie König, Hanau, (G)
347:2001: Städtische Galerie Gladbeck (C).
420:Pfalzgalerie, Kaiserslautern, Germany
7:
401:1980: Oberhessisches Museum, Gießen
366:1996: Heidelberger Kunstverein (G).
258:2015: ACEC - Galerie, Apeldoorn, (G)
394:1981: Galerie Appel & Fertsch,
455:Commanderie van St.Jan, Nijmegen,
338:, (G); Galerie Ebbers, Kranenburg.
14:
435:Kunsthalle Wilhelmshaven; Germany
408:C=Catalogue; G=Group exhibitions
621:21st-century German male artists
163:and from then on with Professor
23:
631:Kunstakademie Düsseldorf alumni
417:Ludwig Museum, Koblenz, Germany
445:, Collection Van der Grinten (
224:2016: Kaviar & Roter Tee,
1:
452:Stadtmuseum Ratingen, Germany
616:21st-century German painters
611:20th-century German painters
606:German contemporary artists
412:Works in public collections
310:2009: Galerie König, Hanau.
662:
261:2014: Blurred Pop, Museum
558:Homepage of Horst Keining
424:Museum van Bommel van Dam
387:1982: Städtische Galerie
276:Museum van Bommel van Dam
636:Painters from Düsseldorf
378:1986: Kunstverein Soest.
238:2016: Museum = k (x+y),
157:Kunstakademie Düsseldorf
274:2014: A Glorious Gift,
213:Exhibitions (selection)
153:Ruhr-University Bochum
147:
139:
131:
123:
115:
107:
94:
32:This article includes
226:Martin Leyer-Pritzkow
145:
137:
129:
121:
113:
105:
92:
626:German male painters
426:, Venlo, Netherlands
355:Kunstverein Arnsberg
233:Katharina Sieverding
155:, he changed to the
319:Museum of Young Art
248:2015: BLURRED TWO,
148:
140:
132:
124:
116:
108:
95:
40:properly formatted
282:, Niederlande,(G)
265:, Bedburg-Hau,(C)
81:
80:
73:
653:
441:Sammlung Museum
432:, Eupen, Belgium
286:Düsseldorf, (G).
177:Kunstmuseum Bonn
76:
69:
65:
62:
56:
54:
49:this article by
34:inline citations
27:
26:
19:
661:
660:
656:
655:
654:
652:
651:
650:
596:
595:
581:
554:
465:
414:
325:, Austria, (G).
215:
192:Marquis de Sade
100:
77:
66:
60:
57:
52:correcting them
50:
44:
28:
24:
17:
12:
11:
5:
659:
657:
649:
648:
643:
638:
633:
628:
623:
618:
613:
608:
598:
597:
594:
593:
580:
577:
576:
575:
570:
565:
560:
553:
552:External links
550:
549:
548:
545:
542:
539:
529:
519:
509:
498:
488:
477:
464:
461:
460:
459:
453:
450:
443:Moyland Castle
439:
436:
433:
427:
421:
418:
413:
410:
406:
405:
402:
399:
392:
385:
382:
379:
376:
373:
370:
367:
364:
361:
358:
351:
348:
345:
342:
339:
332:
329:
326:
311:
308:
304:
290:
287:
283:
272:
269:
266:
263:Moyland Castle
259:
256:
246:
243:
236:
229:
222:
219:
214:
211:
99:
96:
79:
78:
61:September 2020
31:
29:
22:
16:German painter
15:
13:
10:
9:
6:
4:
3:
2:
658:
647:
646:Living people
644:
642:
639:
637:
634:
632:
629:
627:
624:
622:
619:
617:
614:
612:
609:
607:
604:
603:
601:
591:
590:3-936848-15-7
587:
583:
582:
578:
574:
571:
569:
566:
564:
561:
559:
556:
555:
551:
546:
543:
540:
538:
537:3-926905-47-6
534:
530:
528:
527:3-933038-10-3
524:
520:
518:
517:3-9805405-1-0
514:
510:
507:
506:3-00-007724-3
503:
499:
497:
496:3-936295-00-X
493:
489:
486:
485:3-936848-15-7
482:
478:
475:
474:3-935005-74-1
471:
467:
466:
462:
458:
454:
451:
448:
444:
440:
437:
434:
431:
428:
425:
422:
419:
416:
415:
411:
409:
403:
400:
397:
393:
391:, Düsseldorf.
390:
386:
383:
380:
377:
374:
371:
368:
365:
362:
359:
356:
352:
349:
346:
343:
340:
337:
333:
330:
327:
324:
320:
316:
312:
309:
305:
303:
299:
295:
291:
288:
284:
281:
277:
273:
270:
267:
264:
260:
257:
255:
251:
247:
244:
241:
237:
234:
230:
227:
223:
220:
217:
216:
212:
210:
206:
202:
200:
195:
193:
188:
186:
185:New York City
180:
178:
172:
168:
166:
165:Erwin Heerich
162:
158:
154:
144:
136:
128:
120:
112:
104:
98:Life and work
97:
91:
87:
85:
84:Horst Keining
75:
72:
64:
53:
48:
43:
41:
38:they are not
35:
30:
21:
20:
447:Joseph Beuys
407:
242:, Eupen, (G)
207:
203:
196:
189:
181:
173:
169:
149:
83:
82:
67:
58:
37:
641:1949 births
592:, Seite 25.
476:, Seite 15.
457:Netherlands
161:Karin Rissa
600:Categories
579:References
463:References
389:Düsseldorf
254:Düsseldorf
228:Düsseldorf
396:Frankfurt
302:Lithuania
250:Malkasten
235:a.o. (G)
199:Arnstorf
298:Vilnius
294:Krefeld
47:improve
45:Please
588:
535:
525:
515:
504:
494:
483:
472:
353:1999:
323:Vienna
313:2008:
36:, but
336:Spain
280:Venlo
586:ISBN
533:ISBN
523:ISBN
513:ISBN
502:ISBN
492:ISBN
481:ISBN
470:ISBN
398:(G).
307:(G).
602::
321:,
300:,
278:,
252:,
449:)
74:)
68:(
63:)
59:(
55:.
42:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
