WOLFRAM, painting, permanent artist of the Galerie Capazza since 1986

« Birth of the artwork


The artist’s creative drive is something that has always fascinated me.


What are the prerequisites for a particular person to become an artist?


A genetic predisposition is clearly essential: it may be that the artist`s brain works in a slightly different fashion, allowing for a heightened sense of observation, acute visual perception and an innate ability for draftsmanship.


The artist may also have grown up in a family environment that favours the visual. Encounters with particular people - especially artists - may well have left a profound impression. So, indeed, might the discovery of particular works of art.


The artist will also have to respond to the intellectual and artistic trends of the era in which he lives.


All these factors are important in the development of an artistic sensibility, but there will always remain an unknown element in the question of why some people - artists - have this creative impulse.


The artist is attuned to what needs to be expressed. Images real and imaginary, born out of memories, fantasies and even anxieties are the base elements in his creative process. Like a master alchemist, he transforms these into something `other` and `higher` - a work of art - using his craftsmanship and his sensitivity.


The work of art is born: it remains only for the onlooker to respond in order for the creative process to be completed. »


B. Rodi Extract of Meeting at the transformation point, Editions Galerie Capazza, 2013 - Translation Giles Milton

Biography

Wolfram Aichele, painter, born in 1924 in Freiburg im Breisgau (Germany). He grew up in the town of Pforzheim, where his father, the animal painter Erwin Aichele taught drawing.

Very early, he shows a taste for the atmosphere of small villages with their half-timbered houses that he applies to draw. Popular art attracts him. He is also fascinated by the works of German Gothic. His adolescence is marked by great mountain races that reveal him the alpine landscape, from which he retains the reflection of the light on the glaciers, the game of atmospheric changes and the crystalline structure of the seracs.
Wolfram is not very keen on academic studies and is trained as a carpenter before learning how to carve wood in Upper Bavaria.

The call to the flag interrupts this training.
In 1942, Wolfram was sent to Russia and became seriously ill. He remains a long time between life and death. Restored, he is transferred to the Western Front where he is taken prisoner. After two years of captivity in the United States, he returned to Germany in 1946. He could then complete his training as a sculptor.

In 1949, he enrolled in the sculpture class of the Academy of Fine Arts in Stuttgart and began to paint and mosaic. This period of personal research is first and foremost marked by a deepening of his interest in avant-gardes and the discovery of "degenerate artists".

At the same time, he is attracted by Byzantine art, which seems to respond to a quest for an art that expresses a spiritual dimension. He learns icon painting and explores the theology that is related to him. In 1954 he began a long journey in the Balkans, visiting Serbian monasteries, staying for several weeks at Mount Athos.

Beginning in 1955, Wolfram creates small-format paintings in which the memory of his journey blends with reminiscences of Central European folk art. But these charming compositions reveal above all the lessons learned from artists of the Blaue Reiter, cubism and works from the Russian period of Chagall.

The following year, Wolfram moved to Paris. He definitely adopts watercolor, which he will explore the technique in a very personal way throughout his career. His spatial research tends towards an abstraction of the forms, in profit, in favor of the luminous effect supported by colored tensions. The human figure disappears, the themes are reduced to a few interiors, still lifes, architectures, and especially landscapes divided into facets, balanced like architectural constructions, and whose vibrating aspect is not without evoking the music. Interest in Kandinsky and Klee is always present, but Wolfram's highly independent sensitivity and character, as well as his intimate sense of the spiritual, can not be satisfied with any theoretical system or current.

Wolfram found his pictorial language at the end of the 1960s, a period that corresponds to the beginning of his full recognition by the public. He mixes transparencies of an airy lightness with research of materials that are not expected of a watercolorist. The choice to limit oneself to the only works on paper, far from being a constraint, leads to a demanding deepening, always renewed.
In the 1980s, Wolfram introduced collages. He composes from pieces that he himself painted beforehand, or with falls of his own watercolors. The works thus acquire a tactile relief.

In the last years of his life, Wolfram moves further away from the transparency effects traditionally associated with watercolor.

He is concentrating more and more on the pure game of colors that become astonishingly intense, especially the red which takes a prominent place. It is no longer a question of space: his works have become totally abstract.

In the late 1970s Wolfram had settled with his wife and two children on the edge of the Bois de Vincennes. He lived there until his death in 2016.

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Main personal exhibitions

2019  Galerie Capazza, tribute exhibition, Nançay

2015  Château Hohenheim, Stuttgart, Allemagne

2014  Arts Elysées / Galerie Capazza de Nançay, Paris

2013  Galerie ART-Aujourd’hui  Paris

2009  Exposition "Familientreffen" à l'association artistique "Buslatgilde" Neulingen/Pforzheim, Allemagne

2008  Galerie Olivier Nouvellet, Paris rue de Seine

2005  Association artistique “Buslatgilde” Knittlingen - Allemagne
Galerie Olivier Nouvellet, Paris rue de Seine

2004  Galerie Capazza, Nançay, France

2002  Centre Culturel "Nikolaus-Cusanus-Haus" Stuttgart-Birkach, Allemagne

1997  Galerie Municipale "Kunsthöfle", Stuttgart-Bad Cannstatt, Allemagne

1996  Centre Culturel "Johanneshaus", Oeschelbronn, Allemagne

1993  Galerie Ruf, Munich, Allemagne
Galerie du Pontgirard, Monceau-au-Perche. France

1992  "La petite Galerie"(Max Fullenbaum), Paris

1991  Galerie de Luxembourg, Grand-duché

1988  Galerie Capazza, Nançay, France

1987  Galerie de Luxembourg, Grand-duché de Luxembourg
Galerie Wolf, Pforzheim

1986  Galerie Capazza, Nançay, France

1984 Bundesbank (Banque Fédérale) Francfort/M. Allemagne
Galerie Chichio Haller, Zurich, Suisse

1983  Kunstverein Backnang, Allemagne

1982  Galerie Jean-Louis Roque, Paris

1980  Galerie d'Art Municipale, Esch-sur-Alzette, Grand-duché de Luxembourg

Galerie "Haus zum Dachs", Fribourg en Brisgau, Allemagne

1978  Galerie L'Orangerie, Oostende, Belgique
Galerie Paul Bruck, Grand-duché de Luxembourg
Galerie Lenten, Epse, Pays-Bas

1977  Galerie Jean-Louis Roque, Paris
Galerie Betty Thommen, Bâle, Suisse

1976  Galerie d'Art Municipal, Esch-sur-Alzette, Grand-duché de Luxembourg

1974  Galerie L'Orangerie, Oostende, Belgique
Galerie Paul Bruck, Grand-duché de Luxembourg
Galerie Le Chapelin, Paris

1972  Galerie Jean-Louis Roque, Paris Galerie Saint-Léger, Genève, Suisse

1971  Galerie Bettie Thommen, Bâle, Suisse

1970  Gedokhaus Stuttgart, Allemagne

1968  Galerie Möhring, Wiesbaden, Allemagne

1967  Galerie Saint-Fargeau, Paris

1965  Galerie May Düsseldorf, Allemagne

1964   Kunstverein Erlangen, Allemagne - Kunstverein Pforzheim, Allemagne

1963  Galerie Hayden, Munich, Allemagne

1961/62  Galerie May, Düsseldorf, Allemagne

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Main group exhibitions

Participates since 1986 at the collective and annual spring exhibitions at the Galerie Capazza

2008  "Petits formats", Artistic association "Buslatgilde" Katharinenthaler Hofgut,Neulingen/Pforzheim

2000/01  Collective exhibition at Chauray, Deux-Sèvres

1999  Collective exhibition at the Galerie du Pontgirard, Orne

1998/99  Collective exhibition at the Espace Cardin by the Galerie Capazza, Paris

1996  Collective exhibition at the Théâtre du Rond Point by the Galerie Capazza, Paris

1995  Galerie Municipale, Troyes, Aube

1992  BALTIJAS CELS, Triennale Baltique, Riga

1990  LINEART, Gant, Belgique

1989  ART JONCTION, Nice

1982/86/89  Galerie Schaller, Stuttgart, Allemagne

1978/79 Galerie Marbach, Berne, Suisse - 19789ème International exhibition,
Musée de Picardie. Amiens

1966/67/68/70  Rizzoli Gallery, New York, U.S.A.

1963  Herbstsalon München, Allemagne

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Acquisitions  

  • The city of Paris
  • The French State
  • The Museum of History and Art of Luxembourg
  • The Land Bade-Wurttemberg
  • The Federal Bank of Germany (Frankfurt / Main)
  • The Central Bank of Land Baden-Wurttemberg (Stuttgart)
  • Daimler-Benz (Sindelfingen)
  • many private collections
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Bibliography

WOLFRAM
Franck Elgar
Collection Musée de Poche - Paris - 1977

WOLFRAM, een van de grootste aquarellisten van onze tijd
Henk van Gelre
Revue "Tableaun". Nr. l, 1980 - Mijdrecht, Pays Bas

WOLFRAM
Pierre Brisset
Revue "L’Œil" - Paris - 1982

Spielendes Licht, Aquarelle von Wolfram
Michael Bockemühl
Revue "Die Drei" - Stuttgart - 1985

Le dessin, le pastel, l’aquarelle dans l’Art Comtemporain
Gérard Xuriguéra
Editions Mayer - Paris - 1987

Immobiles transhumances
Joseph Paul Schneider
in "Luxemburger Wort" - 1987

Wolfram, the boy who went to war
Giles Milton & Florence Hertz
2011

Art Contemporain
Galerie Capazza - Grenier de Villâtre
Nançay - 1989

Le battement mystérieux de la lumière"
dans "Luxemburger Wort
Joseph Paul Schneider
1991

WOLFRAM, Catalog of the exhibition
Editions Galerie Capazza - Grenier de Villâtre
Nançay - may 2004

30 années de regard, "X vu Par"
Editions Galerie Capazza - Grenier de Villâtre
Nançay - 2007

Noir et Blanc
Editions Galerie Capazza - Grenier de Villâtre
Nançay - 2008

Matières à réflexion
Editions Galerie Capazza - Grenier de Villâtre
Nançay - 2012

Rendez-vous au lieu de la transformation
Editions Galerie Capazza - Grenier de Villâtre
Nançay - 2013

Ensemble depuis 40 ans
Editions Galerie Capazza - Grenier de Villâtre
Nançay - 2014

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