Bright and earthly

PeterLangguth and his art

The list of names of his teachers reads like the ticket of admission to the world of renowned artists. Peter Langguth was student of Ackermann, Baselitz, Lüpertz und Sandle at the Karlsruhe Academy of Fine Arts. However, the artist, who decorated the gallery of the German Consulate General and the German House two years ago with his paintings, has successfully developed his own style over the years. There's no denying of his roots in his work, but, on the other hand, the supreme ease with wich he deals with his former teachers in abstract as well as partially concrete terms, shows his skill and self-confidence. This can, for instance, be seen in his series "Der Grübler". The density of composition out of which Langguth develops the design of his paintings, the brightness of his colours given a light transcendency by the use of pastel crayon, the exciting contrast between gravity and ease may unobtrusively lead the viewer deep into the complexity of his pictures. No sooner have figures become visible than they disintegrate into abstraction, the viewer finds himself in a field of tension between expressive style and agreable reduction of form. His range of colours includes shades of green and brown whose light brightness calls to mind the blue of the sky and the yellowness of the sun a lot better than the real use of the latter colours might do. Peter Langguth and his art

Jutta Wellenreuther,
Art critic from Karlsruhe Article from: Badische Neueste Nachrichten

Art and Artist

The artist is a human being and no fancy bird from paradise. The artist is seemingly practising a solitary profession; he must not stand still, he is supposed to be uncomfortable and critical. The true social contact is of special importance to him. An artist owns seismographical capabilities. He needs the observer. He may not get tired in order to advance his artistic abilities. Simultaneously the artist remains a receiver and a transmitter. The fine creativity is limited on receiption and transmission. The more advanced the channels of receiption are the bigger the presents may be, that we are allowed to deliver. The professional artist can not wait until the muse kisses him. There are various methods to bridge the pause of transference. The work demands maximum amount of concentration. The higher the quality of art presents its self, the lesser it is a question of merit of the artist.
The artist's merit comes into existence by improving his ability to receive the presents, which he is allowed to deliver. The best way to make this possible is via a state of high concentration
in order to let go of it at the specific moment to then be able to receive the present.
Or one could quote Leonard Cohen:" You loose your grip and then you slip into the masterpiece".

Peter Langguth 2009