Description

As used in German, the French word 'collier' denotes a particularly valuable form of neck jewellery - it represents a promise and betokens dignity to the woman wearing it. This is the sense in which Dorothea Pruhl lays claim to the term for her jewellery. Spaciously gestural, Dorothea Pruhl takes full advantage of the powers of persuasion inherent in what is only seemingly a simple form. Her feeling for form, schooled as it is on the Classic moderns, is based on a sculptural idea and takes proportion and scale into account. Concentration on essentials, empathy in the extreme and vigorous plasticity are the distinguishing features of her works. They are the critically reflected expression of an entirely subjective artistic agenda. More or less recognisable, the object visualised contains no subliminal messages: hence it permits no interpretations containing extrinsic references. These are works that are exactly what they purport to be. They are not ambivalent. There is no narration, none at all.

Dorothea Pruhl: Colliers/Necklaces

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Hardback by Florian Hufnagl

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Short Description:

As used in German, the French word 'collier' denotes a particularly valuable form of neck jewellery - it represents a... Read more

    Publisher: Arnoldsche
    Publication Date: 08/04/2009
    ISBN13: 9783897903012, 978-3897903012
    ISBN10: 3897903016

    Number of Pages: 96

    Non Fiction , Home & Garden

    Description

    As used in German, the French word 'collier' denotes a particularly valuable form of neck jewellery - it represents a promise and betokens dignity to the woman wearing it. This is the sense in which Dorothea Pruhl lays claim to the term for her jewellery. Spaciously gestural, Dorothea Pruhl takes full advantage of the powers of persuasion inherent in what is only seemingly a simple form. Her feeling for form, schooled as it is on the Classic moderns, is based on a sculptural idea and takes proportion and scale into account. Concentration on essentials, empathy in the extreme and vigorous plasticity are the distinguishing features of her works. They are the critically reflected expression of an entirely subjective artistic agenda. More or less recognisable, the object visualised contains no subliminal messages: hence it permits no interpretations containing extrinsic references. These are works that are exactly what they purport to be. They are not ambivalent. There is no narration, none at all.

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