In addition to the special choice of colors, the application of paint also contributes to the atmospheric character of the pictures: many of the motifs seem to elude permanent access by the viewer, since the open style and the sometimes smoky painting style leave the picture objects in a state of limbo. Nothing is fixed and permanent, everything is fading, according to the melancholic content of the pictures. But the power of art is to capture these fleeting moments of passing in a beautiful form. And Lukrezia Krämer believes in this power.

In some of her new paintings from 2019, the painter for the first time ventures into an artistic border area between landscape and abstraction by increasingly reducing the motifs of her pictures, giving the color a new quality. In paintings such as "Hinterland" and "Zugwind" the landscape section determines the distribution of the color, but here the colored balancing of the picture surface comes to the fore artistically in comparison to the work in the motif.

Whatever further steps Lukrezia Krämer decides to take in her art, through her studies in Siegfried Anzinger's class at the Düsseldorf Art Academy, which she completed in 2019 as his master student, and through her own strong artistic visions, she has all the prerequisites to be able to set new impulses in the field of painting in the future.

Prof. Dr. Guido Reuter

Art Academy Dusseldorf

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In addition to the special choice of colors, the application of paint also contributes to the atmospheric character of the pictures: many of the motifs seem to elude permanent access by the viewer, since the open style and the sometimes smoky painting style leave the picture objects in a state of limbo. Nothing is fixed and permanent, everything is fading, according to the melancholic content of the pictures. But the power of art is to capture these fleeting moments of passing in a beautiful form. And Lukrezia Krämer believes in this power.

In some of her new paintings from 2019, the painter for the first time ventures into an artistic border area between landscape and abstraction by increasingly reducing the motifs of her pictures, giving the color a new quality. In paintings such as "Hinterland" and "Zugwind" the landscape section determines the distribution of the color, but here the colored balancing of the picture surface comes to the fore artistically in comparison to the work in the motif.

Whatever further steps Lukrezia Krämer decides to take in her art, through her studies in Siegfried Anzinger's class at the Düsseldorf Art Academy, which she completed in 2019 as his master student, and through her own strong artistic visions, she has all the prerequisites to be able to set new impulses in the field of painting in the future.

Prof. Dr. Guido Reuter

Art Academy Dusseldorf

__________________________________________________________________________________

 ___________________________________________________________________________________________________

Contact: mail@lukreziakraemer.com                                         LUKREzia Krämer - © 2019 - 2022                                          Webdesign: www.vincentslegers.com

IMPRESSUM

Lukrezia Krämer. The inner world of the outer world

Even if it may appear at first glance that many of Lukrezia Krämer's pictures are landscape impressions - the scenic detail and the partly open texture of the painting could speak for this - they convey moods rather than momentary sensory impressions.

The painter creates the mood of the pictures through her fine sense for colors. The tonality of the images can sometimes be more contrastive and sometimes harmonized. On the one hand, the choice of colors appears to be based on the natural model, but on the other hand, the natural is exaggerated in most of the pictures. In addition to the special choice of colors, the application of paint also contributes to the atmospheric character of the pictures: many of the motifs seem to elude permanent access by the viewer, since the open style and the sometimes smoky painting style leave the picture objects in a state of limbo. Nothing is fixed and permanent, everything is fading, according to the melancholic content of the pictures. But the power of art is to capture these fleeting moments of passing in a beautiful form. And Lukrezia Krämer believes in this power.

In some of her new paintings from 2019, the painter for the first time ventures into an artistic border area between landscape and abstraction by increasingly reducing the motifs of her pictures, giving the color a new quality. In paintings such as "Hinterland" and "Zugwind" the landscape section determines the distribution of the color, but here the colored balancing of the picture surface comes to the fore artistically in comparison to the work in the motif.

Whatever further steps Lukrezia Krämer decides to take in her art, through her studies in Siegfried Anzinger's class at the Düsseldorf Art Academy, which she completed in 2019 as his master student, and through her own strong artistic visions, she has all the prerequisites to be able to set new impulses in the field of painting in the future.

Prof. Dr. Guido Reuter

Art Academy Dusseldorf

Marise Schreiber about the painting "Bereht", Lukrezia Krämer, 125 x 160 cm, oil/canvas, 2020.

Lukrezia Krämer chose the title from Middle High German. Clarification follows: The translation stands for the noun "light" or the verb "light". In 2019, Krämer received the first prize for her work "Wunderland". Here, too, the artist remains thematically in nature. It is a view of a still young piece of forest, painted with sensitive colors. A “ghost forest” can be associated with this forest. The daughter of an imaginative family of artists who grew up in Rösrath certainly knows the surrounding of Rösraths forests, which are even called „Ghostbush“. The narrow, bare tree trunks striving upwards outline the wind-ruffled, colorless forest floor. In this way, Krämer irritatingly paints the actually calm scenery. Thus, the viewer feels how diverse the views of a rather pale landscape painting can be. Both the foreground and the deep background are literally immersed in a glow.

„Surrealistic, mystical, full of secrets, never with concrete references to reality"

Gisela Schwarz about Lukrezia Krämer, KStA 2017

"This art has nothing to do with environmental protection, but with longing and with painting. Vis à vis, Lukrezia Krämer presents a landscape with nothing but air and water. The work overtakes the romanticism of William Turner with an imaginary light. The oil paint is almost submerged in the chalk background, turning this imaginary milieu into the art of appearances. There is a sense of beauty here that needs to be defended on a daily basis in the harsh reality.”

Helga Meister, Westdeutsche Zeitung 2019

Marise Schreiber About Lukrezia Krämers painting „Wunderland“, oil/canvas, 125 x 150 cm, 2017.

At first glance, Lukrezia Krämer's work could be told quickly. The viewer thinks of the story of "Alice in Wonderland", a little girl in the middle of a fantasy world.

 That's not what the artist is about. The realistically painted landscape makes generous use of both the horizontal and the vertical. Another stylistic device are the almost classical perspectives. Using a romantic setting, Krämer achieves an up-to-date, unobtrusive tension. The artist paints the recognition value for a landscape as we think we know it. And yet, in the age of mechanization and digitization, a closer look reveals a discord, an irritation. The pictorial composition is disturbed by the miniature child in the (innocent) white Sunday dress. The idyllic forest solitude is broken by questions like, "What is a child doing alone in the forest and who is watching it?"

Lukrezia Krämer. The inner world of the outer world

Even if it may appear at first glance that many of Lukrezia Krämer's pictures are landscape impressions - the scenic detail and the partly open texture of the painting could speak for this - they convey moods rather than momentary sensory impressions. The painter creates the mood of the pictures through her fine sense for colors. The tonality of the images can sometimes be more contrastive and sometimes harmonized. On the one hand, the choice of colors appears to be based on the natural model, but on the other hand, the natural is exaggerated in most of the pictures. In addition to the special choice of colors, the application of paint also contributes to the atmospheric character of the pictures: many of the motifs seem to elude permanent access by the viewer, since the open style and the sometimes smoky painting style leave the picture objects in a state of limbo. Nothing is fixed and permanent, everything is fading, according to the melancholic content of the pictures. But the power of art is to capture these fleeting moments of passing in a beautiful form. And Lukrezia Krämer believes in this power.

In some of her new paintings from 2019, the painter for the first time ventures into an artistic border area between landscape and abstraction by increasingly reducing the motifs of her pictures, giving the color a new quality. In paintings such as "Hinterland" and "Zugwind" the landscape section determines the distribution of the color, but here the colored balancing of the picture surface comes to the fore artistically in comparison to the work in the motif.

Whatever further steps Lukrezia Krämer decides to take in her art, through her studies in Siegfried Anzinger's class at the Düsseldorf Art Academy, which she completed in 2019 as his master student, and through her own strong artistic visions, she has all the prerequisites to be able to set new impulses in the field of painting in the future.

Prof. Dr. Guido Reuter

Art Academy Dusseldorf

Marise Schreiber about the painting "Bereht", Lukrezia Krämer, 125 x 160 cm, oil/canvas, 2020.

Lukrezia Krämer chose the title from Middle High German. Clarification follows: The translation stands for the noun "light" or the verb "light". In 2019, Krämer received the first prize for her work "Wunderland". Here, too, the artist remains thematically in nature. It is a view of a still young piece of forest, painted with sensitive colors. A “ghost forest” can be associated with this forest.

The daughter of an imaginative family of artists who grew up in Rösrath certainly knows the surrounding of Rösraths forests, which are even called „Ghostbush“. The narrow, bare tree trunks striving upwards outline the wind-ruffled, colorless forest floor. In this way, Krämer irritatingly paints the actually calm scenery. Thus, the viewer feels how diverse the views of a rather pale landscape painting can be. Both the foreground and the deep background are literally immersed in a glow.

"Surrealistic, mystical, full of secrets, never with concrete references to reality"

Gisela Schwarz about Lukrezia Krämer, KStA 2017

"This art has nothing to do with environmental protection, but with longing and with painting. Vis à vis, Lukrezia Krämer presents a landscape with nothing but air and water. The work overtakes the romanticism of William Turner with an imaginary light. The oil paint is almost submerged in the chalk background, turning this imaginary milieu into the art of appearances. There is a sense of beauty here that needs to be defended on a daily basis in the harsh reality.”

Helga Meister, Westdeutsche Zeitung 2019

Marise Schreiber About Lukrezia Krämers painting „Wunderland“, oil/canvas, 125 x 150 cm, 2017.

At first glance, Lukrezia Krämer's work could be told quickly. The viewer thinks of the story of "Alice in Wonderland", a little girl in the middle of a fantasy world. That's not what the artist is about. The realistically painted landscape makes generous use of both the horizontal and the vertical. Another stylistic device are the almost classical perspectives. Using a romantic setting, Krämer achieves an up-to-date, unobtrusive tension. The artist paints the recognition value for a landscape as we think we know it. And yet, in the age of mechanization and digitization, a closer look reveals a discord, an irritation. The pictorial composition is disturbed by the miniature child in the (innocent) white Sunday dress. The idyllic forest solitude is broken by questions like, "What is a child doing alone in the forest and who is watching it?"