Malte
Sartorius
Malte Sartorius was born in Waldlinden, Germany, 1933 and studied at Göttingen and at Stuttgart Academy of Art under Karl Rössing. A revered teacher of graphic art at Braunschweig College of Art for some forty years, he has held over eighty one-man exhibitions in public and private galleries in Europe and North America during this period and is the recipient of numerous national and international prizes and awards, most recently receiving 1st prize for engraving in the Ninth International Bienal at Ourense, Spain. Some sixty public collections have acquired Sartorius’ work, including Victoria and Albert Museum, London; Nationalgalerie, Berlin; Kunsthalle, Hamburg; Landesmuseum, Münster; Nationalmuseum, Stockholm; Musée d’Art et d’Histoire, Geneva; Library of Congress, Washington; National Gallery of Modern Art, New Delhi; and Museu de Arte Moderna, Rio de Janeiro. Malte Sartorius has been represented by Francis Kyle Gallery since 1982 and has held five one-man exhibitions in 1984, 1986, 1989, 2001 and 2008. In 1986, on the occasion of the Ridgeway Exhibition, the Gallery published a limited edition portfolio of his work commissioned for this event, together with a poem by Kevin Crossley-Holland. Besides many comprehensive catalogues, an illustrated monograph on Malte Sartorius by Joachim Kruse was published in 2001 (Verlage Th. Schäfer, Hanover).
Sartorius inhabits a world of objects, but looks at them in
a different way. His attitudes are influenced by another deep-rooted
German tradition - the feeling for the classic, combined with a
nostalgia for the colour and warmth of the South. He aligns himself
with the great German Neo-classical architect Schinkel, and with
the Goethe who wrote 'Kennst du das Land?'. The aim of those who
work within this particular tradition has always been to obey the
laws of classic measure and proportion, yet at the same time to
imbue the result with passionate feeling.
He
evokes the South with singular power and purity. And he is also
the master of a poetic quietism, particularly clearly manifested
in the still lifes which combine a Morandi-like play of shapes,
with a feeling for the harmonies of domestic existence, or those
of the unhurried routines of a printmaker's studio. The feeling
for the classic is here merged with an evocation of the values of
everyday life - something perhaps commoner in 17th century art than
it has been in that of our own time.
Edward
Lucie-Smith
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