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 Antonio Caputo - 2010 Gianni Moneta - 1984 Heinz von Cramer - 2000 Herbert Pagani - 1976 Lothar Fischer - 2010 Paolo Rizzi - 1990 Pubblio Dal Soglio - 1987 Toni Kienlechner - 1984 Toni Kienlechner - 1986 Toni Kienlechner - 1988 Testimonianze visitatori - 1990 Testimonianze visitatori - 1991 |
Gianni Moneta wrote about him in 1984
london@duellmemorial.com
Between regeneration and disintegration To propose ancient places that we do not remember , to recall them in contemporary life and pursue them in their symbolic presence through the variations and problems of our daily life. To represent them artistically, with Indian ink or with tempera colours is not only an exercise until this does not disappear from our culture and from every day life, but also from distinctive aspects of the culture of a country.
In his paintings Heinz J. Duell presents the dilemma that this heritage could be overleaped and forgotten in the future without any values or roots. Few are the years that separate us from this loss of witnesses, from symbolic references and the artist wants to remind all of this strongly putting together his references creating a style that is in a polemic relationship with man.
Therefore, the work of this painter can be considered a remark on the world, a gesture of love for people, things and nature as well. A protest against the spiritual degradation, the disrupting of the balance of nature, the artistic harmonies that have contributed to the Italian unique taste, style and painting. We have transformed nature to control and understand it. Isn’t Italy the most forged country by man, where art and architecture compete with the landscape and where mountains and rivers speak our same language?
The landscape, the nature, the work of man in its various achievements, are proposed with a chromatic artistic representation and with the painter delicate touches which offer the artist the possibility to explore the mystery of the forces that flow in our soul. He does not want to contaminate anything of what nature and art have proposed to mankind, and he revaluates them together with admiration and warning. In his neat paintings all of this becomes a problem and preoccupation where the artist describes his torments, his human and intellectual dilemma of who wants to be part of a collective life.
Here is how Heinz J. Duell helps the modern man to avoid melancholy monologues, in order to revive, create and recreate the laws of beauty and order, the discipline of projected painting, the organization of forms and colours with the consciousness that problems in life and art are a continuous source of every creative force.
Therefore, his works are witness and warning, as well as summary and denunciation which make the painting a key to interpret man’s work and the sceneries of nature. Architectural studies and Italian experiences have given to Duell a base which is evident in his black and white works and in his Indian ink landscapes. Also his oil painting with his delicate still lives contains the same serenity. The colour compositions and his artistic touches are truly original.
His oil portraits are the result of a research which seems to us original and deeply profound, these portraits exclude the tight and compliant relationship between the artist and his work to reveal the autonomy of the artist in order to come out with a new form of painting. In conclusion, we want to point out through experiences and artistic tendencies, the deepest principles and feelings of Heinz J. Duell: his art, nature, religion and the dialectic of southern and northern European culture for a civilization which has been growing for two thousands years. Translated by Erminia Paola Maria Merolla |