ALL ABOUT THE ARTIST MR:KLAUS JÜRGEN MIEGEL
Instead of a meaningless profile I would like to take the opportunity and present my thoughts concerning art today.
Although this attitude is often rejected, and mostly vigorously and even fanatically denied, in my opinion art still depends on a certain degree of skill. This skill is revealed through a technique which clearly expresses what the artist wants so say with his/her works. This almost automatically excludes the necessity of an interpretation by a third party, but also by the artist him-/herself.
To my mind, a separation of mind and technique is not possible where art is concerned. The artist who feels a burning desire in him-/herself to communicate his/her ideas and who is thus truly interested in telling the world something will always find a technique and the corresponding skill to master it so that it eventually expresses this interest – and every artist needs to possess this interest, otherwise he/she shouldn’t call him-/herself an artist. Someone who only pretends to feel this interest will have great difficulties in conveying his/her ideas to the world and therefore depends on the popular, but bloodlessly composed and only supposedly deeply reflected interpretations of others.
Consequently, a lack of artistic technique is clearly a sign of missing or only alleged commitment. This is only partly connected with virtuosity. A technique is always good if it expresses what the artist wants to say. If it doesn’t fulfil this requirement it is bad – however perfect and virtuoso it may be regarded. Thus, an official “spoon-feeding” and even the nowadays ever so popular promotion of “art” would become obsolete to the same extent to which people who are truly interested in art would be enabled to look at works of art in a completely uninfluenced manner – so that they would once again learn to look at a picture without being subjected to such an influence. Without the customary manipulation, which we have become so used to nowadays, a viewer will always be attracted to those works of art that he/she – and only he/she – considers vivid and expressive.
Every person has got an innate feeling for art, and the same goes for musicality. Both senses can be trained, but they cannot be generated anew – whether critics like it or not. One doesn’t have to put it as drastically as Michelangelo, who said that an artist who cannot draw is simply incapable, or the painter Tintoretto, who originated from the genre of colouring and who also remarked, “You can buy a lot of colours along the bridges of Rialto and you can paint many colourful pictures with them, but those in this city who are really able to draw I can count off on the fingers of one hand.”
Even the most stupid have come to understand that you needn’t necessarily have to be a chef to judge the quality of a good meal; yet, for many decades the official art opinion-makers have been trying to disguise the fact that the same is true for the evaluation of art – partly because they feel embarrassed, and partly because the latter is the only foundation for their acting as an art windbag. Unfortunately, this way of supposedly talking knowledgably about art is financially valued more highly in our superficial and talkative times than most artistic works themselves are.
Of course, taste is often very diverse – thank God! The official exertion of influence on art trends and ideals of beauty as well as the almost always deliberately indistinct and pompous (and often even perverse and foolish) interpretations of critics must be regarded as evil as the rash condemnation of one or the other art trend, as the latter is/are usually the reason why it becomes possible for us to experience a premiere of the fairy tale “The Emperor’s New Clothes” in galleries all over the world on a daily basis. In this scenario there is, of course, no (“stupid”) child who would be allowed to openly claim, “But the emperor is all naked!” We have come to a point where most adults leave their personal opinion concerning art in the cloakroom – together with their coats. This goes for openings at art galleries as well as for visits in a museum, and even people with a higher level of education are not immune to this phenomenon. Too often critics are allowed to patronise the audience or viewers with their mostly far-fetched prattle, thus concealing the missing commitment of so-called artists; without any real authority these critics want to make “non-critics” believe that they or any official source hold a monopoly on artistic taste. If this official patronising of art and the artists were to come to an end – but only then – we could eventually go without all the mistaken promotion of art. Even the greatest optimism, however, cannot warrant hope for such a development in our superficial “modern” times.
Thus, I tell all those officially nominated and self-appointed critics, “Once done is worth a thousand times beaten to death.”, or to comfort them, “Even a dreadfully bad wine might occasionally make a good vinegar.”
[Klaus Jürgen Miegel, Offenbach, September 2006, on the occasion of the Offenbach Art Views]
ABOUT THE ARTIST
Born 1942 close to Aachen Germany, I studied Art (Painting and Graphic)
as well as economy.But even wile working for some 20 years as a Manager,
for some global players, I kept up at all times to work as an artist.
Klaus Jürgen Miegel studied Painting and Graphics on the famous artist school in Amsterdam Ostorp.
Even so his background therefore is rather that of an European Artist, the influence of the Japanese Sumi-e and suiboku painting technique is evident in many of his works of art. This is understandable if one knows, that Miegel also studied those techniques by Professor Kohei Aida, while staying in Japan and Sout East Asia in the years 1968and 1969. So that his present techniques enable the artist to often create really brethtaking results with just a few paintingstokes! Miegel is so able to show the real personality and even the soul behind the surface of his Portraits, may they be human, or that of one of his lively, active animals!
Other residences abroad:
Sweden 1964 - 1967
Thailand 1967 - 1969
Laos 1969 - 1971
Africa 1976 – 1980
Australia and Newsealand 2001 – 2002
2 jurneys around the world with stopp offs in more than 90 countries
Art Exhibitions last listed first:
2007 Festval of Artists Mühlheim Germany
2006 Haus der Stadtgeschichte Offenbach
2006 Im Jagdschlosshotel DA Kranichstein, Kulturgesellschaft Darmstadt
2005Willy Brand Hall Mühlheim Germany
2004 Galerie Regenbogen Mühlheim Germany
2004 Willy Brand Hall Mühlheim Germany
2004 Schlösschen im Prinz-Emil-Garten, Darmstadt
2004 Jagdschlosshotel DA Kranichstein, Kulturgesellschaft Darmstadt
2003 City Library of Offenbach Germany
2003 Stadtpavillon Offenbach Germany
2003 Willy Brand Hall Mühlheim Germany
1991 Markloher Galerie Germany
1982 Castel of Phillipsruhe Hanau Germany
1981 Fair „Du und Dein Pferd“ Hannover Germany
1981 Artgallery Kubus of Klaus von Francheville Hannover Germany
1981 Museumsgalerie Kastenscheuer Hochdorf Enz 9 years permanent until
1979 Townhall of Nienhagen Germany
1979 and 1980 Volksbank Celle Germany
1978 Im CAC in Cairo Maadi Egypt
1977 INFA Fair Hamburg Germany
1977 Traveling exhibituion in VB all over Germany
1977 Fair „Du und Deine Welt“ Hamburg Germany
1976 Hotel Germania Schwäbisch Hall Germany
1976 Kunsthaus Schaller Stuttgart Germany
1976 Fair Sirksdorfer Freizeitpark Germany
1975 Kunsthaus Schaller Stuttgart Germany
1974 Anlässlich der Festspiele in Schwäbisch Hall Germ
1970 Settha Palace Hotel Vientiane Laos
1969 Montien Hotel Bangkok Thailand
1969 Akasaka Tokyu Hotel, Tokio Japan
1968 Rama Hilton Hotel Bangkok Thailand
1967 Friemurare Hotellet Linköping Sweden
1966 Frimurare Hotellet Linköping Sweden
Artportfolios und Zykles:
1974 Artportfolio Windhunde ( 8 Lithographs)
1974 Artportfolio Schwäbisch Hall ( 6 Lithographs)
1981 Artportfolio Regenbogenkinder (Lithographs)
1982 Artportfolio Katzenradierungen ( 5 Engravings)
1983 Artportfolio 10 Tierportraits (Engravings)
1984 Artportfolio 4 Katzen (Lithographs)
1992 Artportfolio 15 Szenenbilder zu Hamlet (Engravings)
2005 Zyklus „Hommage a Michelangelo“
2006 Zyklus „Hommage a Pablo einem Egoisten und Macho“
2006 Zyklus „German Management “ Zeichnungen und gesperrte Aquarelle
in connection with my book, „Wenn Hermes den Raum betritt“ über die Sprachlosigkeit der Führenden in Politik und Wirtschaft
Works of the artist are among others in the posession of:
The Historischen Museums Hanau, Graphische Abteilung
The Vatikans
The Regierungspräsidiums of Baden Württemberg,
The Bundespräsidialamtes
The Altbundespräsidenten,
The Dynasty of Monaco,
The Queen of England,
The Prinzen of Wales as well as
The Family of the President Anwar El Sadat of Egypt
1. Art-Books:
Kunstbuch „Mein Skizzenbuch“ von Jägern und Gejagten
Kunstbuch „Mein Skizzenbuch vom Großen Pand“
2. Art-Books planned:
Kunstbuch „My African Arch“
Kunstbuch „My Arch of the Asian Rainforest”
Kunstbuch „My Nordic Arch“
See also videos and mowie pictures about my art via my homepage artgallery-miegel.com and than use the link „zu den Videos“ Some of those videos have been selected more than 20Tousand times just within 2 weeks!!!
EDUCATION AND BIOGRAPHY
I studied Art (Painting and Graphic)
as well as economy.But even wile working for some 20 years as a Manager,
for some global players, I kept up at all times to work as an artist.
Summery of a review of the SWR Stuttgart on the occation of an Exhibition
of Art in the Gallery „Kunsthaus Schaller” Stuttgart Germany:
Klaus Jürgen Miegel studied Painting and Graphics on the famous artist school in Amsterdam Ostorp.
Even so his background therefore is rather that of an European Artist, the influence of the Japanese Sumi-e and suiboku painting technique is evident in many of his works of art. This is understandable if one knows, that Miegel also studied those techniques by Professor Kohei Aida, while staying in Japan and Sout East Asia in the years 1968and 1969. So that his present techniques enable the artist to often create really brethtaking results with just a few paintingstokes! Miegel is so able to show the real personality and even the soul behind the surface of his Portraits, may they be human, or that of one of his lively, active animals!
Other residences abroad:
Sweden 1964 - 1967
Thailand 1967 - 1969
Laos 1969 - 1971
Africa 1976 – 1980
Australia and Newsealand 2001 – 2002
2 jurneys around the world with stopp offs in more than 90 countries
FUTURE SHOWS
Represented by the arthouse Gallery Offenbach, Kaiserstrasse 36, 63069 Offenbach, Germany.
Please contact:
Mr.Uwe Kampmann
from
Arthouse Gallery Offenbach
e-mail: uk1304@aol.com
with the code: crown of art
I am however allways looking for opportunities for an art exhibition of my artwork on a world wide scale!!!!
