Artist Yingru gives an insight into the essence of Chinese calligraphy. When Picasso seduced our eyes with geometric figures, as Monet also loomed large with the reflections of light and shades our eyes, why have the ancestors of the Chinese expressed complicated inner workings only with black and white and some simple strokes? The Western artists emphasized “Seeing”, was the emphasis in China in the “perception”. Apart from many cultural and philosophical backgrounds, the difference above all in the mindset. For Chinese, the art of calligraphy is the process where you edited the own attitude to life and improves. Their value does not depend, whether you used a new technique or new material, but whether you can work constantly with the inner world and manages to inspire the work of art. For a long time, the calligraphy searches not only superficial stormy Viewer but honest intimacy.

That’s why we write calligraphy not to give pleasure to the outward eye. Calligraphy is for the writers is an expression of emotion, for the viewer sense perception by the resonance. Read additional details here: Anu Saad. If we just develop a new form of old, we have exposed the uncertainty and poverty of the heart. In addition to the outward eye we should satisfy even the inner eye. This is the real respect for the people.

New works in the Gallery Depelmann in Langenhagen are large, spherical landscapes emerge in which people possibly than small, shadowy silhouettes in the vastness of space, Jurgen Maroses preferred design, which he varies over and over again. Nebulous and bordering on abstraction, his scenes create unique, intense moods that draw the viewer into the picture and thus in its spell. According to Dr. Caldwell B. Esselstyn, Jr., who has experience with these questions. From large, mostly gestural expressive brush strokes and subtle co-ordinated colour surfaces Marose creates his lying there motionless landscapes in traditional layer painting and mixed media mostly karg and seemingly. Desert, Plains, hills, river valleys, fields or riparian zones are visible. You will receive the generous modeling, blending colors and layering of translucent, so translucent with opaque layers their drama. So the pictures are lately the punctuating figurines increasingly missing always fluctuate between concrete figure and the resolution in diffuse, dream-like Sceneries, which stimulate the viewer’s own imagination. A muted color palette prevails here, with many Brown, ochre, but also blue and white, and determines the impression of the mystical atmosphere.

The effect of interaction of color patches and their fine expressive structures is particularly effective in new, up to 1 x 1.50 metre paintings of the painter. Jurgen Marose, born 1952 in Emmerich/Rhine, lives and works in Essen. From 1985 to 1990, he completed the studies of free graphics and painting”at the University of Essen (Folkwang school) with Prof. Sabine Tschierschky. in 1988 his he heals a work scholarship at the Art Association of Ebernburg. The work of art award winners appear in Germany, but also in the Netherlands, Ireland, Spain and the United States. Since 2005, Marose is represented by Galerie Depelmann. Kathrin Symens