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ABOUT THE ARTIST
Artist Hans Schiebold creates large-scale landscape paintings of such depth that each reads like a geological time clock of its scene. It has been said that Schiebold does not paint, but rather sculpts in media on canvas and this is a fair assessment of the singular technique that has secured the artist a listing in the "Who's Who in American Art."
Hans Schiebold believes that risk is necessary in order to be creative and his long career marked by innovation and daring, stands in support of this. There is an exaggerated boldness to his landscape paintings that, through their combination of color, texture and scale represents a style uniquely his own. Observers of his scenic paintings must overcome an urge to touch the artist's renderings of granite-like textures or highly glossed water surfaces.
Schiebold uses his own acrylic-based mixed media and unconventional tools: palette knives, spatulas, hand-shaped metal tools, sponges, nets, patterned rollers, almost anything that will create the pattern or texture he desires. His media is applied thickly in abstract patches of color that merge together when viewed from afar to form complex scenes of heightened realism. "These are landscapes, but they are very process oriented," Schiebold explains. The representational style of Schiebold's landscape paintings continue to carry the influence of his early abstract paintings: Hans Schiebold was active in the New York abstract art scene of the 1970s and his paintings were displayed in major museums on the east coast and featured in international museum shows.
At that time Hans Schiebold was a professor of Fine Arts at Wesleyan University in Connecticut. The artist, having trained in decorative wall and ceiling arts in the former East Germany, emigrated from his home country on the eve of the Berlin Wall's creation. Arriving in the United States while still in his twenties, Schiebold obtained his MFA and taught for twelve years before moving west to pursue painting full time. The artist has a deep appreciation for the public function of art: "In Gothic times," Hans Schiebold notes, "cathedrals were the highest form of art, and they were public. Art was didactic, and the service of society was important." But today, "Contemporary art is dogmatic to the point of exclusion." For Hans Schiebold, having a following is one way to confirm that an artist has made contact with society in a meaningful and constructive way. "Everyone who reacts to art can be a critic," he believes.