From 1995 until 2003, Matthias Weischer studied at the Hochschule für Grafik und Buchkunst in the East German city of Leipzig, where he was influenced by Neo Rauch and met artists such as David Schnell. This led to the formation of a group of like-minded artists, known as the Neue Leipziger Schule, who focused on the quality of painterly aspects. Their large-scale paintings with a theatrical character quickly gained attention and the young group soon conquered the art market.
In the 1950s and 1960s
Weischer made a name for himself with his paintings of weathered interiors and forgotten studios where time seems to have stood still. These rooms are arranged like stage sets, overflowing with furniture, lamps, carpets, and draperies, provoking a series of questions: Who lived here and who chose the furniture? Were these rooms ever actually lived in, or are they products of the imagination? He draws inspiration from illustrations in cultural history books or interior design magazines from the 1950s and 1960s, but distorts them in a way that removes any specific indication of time or region. With exceptional technical skill, Weischer evokes our collective memory and confronts us with fragments from our own past in a thought-provoking way.
Following his stay at Villa Massimo in Rome in 2007, Weischer’s work undergoes intriguing changes. He begins to paint with more freedom, intuition, and spontaneity, resulting in smaller and more poetic works. Gone are the large quantities of objects, replaced by a single tree trunk, a rug, or a skull. The colors used in his paintings evoke the feeling of Italian frescoes. A prime example of this development is seen in the painting ‘Paneele’ from the museum’s collection. Weischer started this canvas in 2006, but did not complete it until 2008.
www.ftn-books.com has now 2 Weischer publications available.
