12, Haus an der Kreuzung, fw,3

12, Haus an der Kreuzung, fw, 3
12, Haus an der Kreuzung, fw, 3

10, Haus an der Kreuzung, Öl auf Karton, 30 x 40 cm, 2006. Den Rahmen habe ich bewusst in meiner früheren Manier belassen, in Erinnerung an das erste Bild der Serie gleichen Namens. Während ich selber mein Bild in dieser für mich dezenten Art gerahmt hatte, staunte ich nicht wenig, als ich mir das inzwischen an die Arbeiterkammer verkaufte Original für den Vergleich mit dem zu schwach geratenen Druck kurzfristig wieder ausborgen musste. Nach meiner genauen schriftlichen Angabe, wann ich es wieder zurück bringen würde, wurde es mir sehr dick verpackt ausgehändigt, wog so viel, dass ich vom neuen Gewicht in den Knien leicht einknickte. Nicht der Verpackung wegen, der Rahmen war es, wuchtig breit und goldlackiert, als wäre das Bild mit der Zeitmaschine in ein früheres Jahrhundert gereist.

10, House at the Crossroads, oil on cardboard, 30 cm by 40 cm, 2006. I did not change the frame of this picture as I wanted to keep it in my former style. To my taste it was discreet at least. So I was very astonished when I had to borrow the picture to compare the original and the print, as I had to proof that the print was too pale. The new owner of my picture is a public institution and I had to fill in a form when I would give it back and how the piece of art would be transported. The big packaging they had made for me was rather exaggerated. My knees gave way when the officer handed over the package to me. Unpacking it at the printer’s, I saw that the original frame had been replaced by a broad one, made of gilded wood as if they hat put my picture into a time machine to send it back to an earlier century.

10, Casa alla crociata, olio su tela, 30 x 40 cm, 2006. La cornice la lasciavo come era già all’inizio per ricordarmi al primo quadro di questa serie. Mentre io avevo scelto la cornice discreta restò stupefatta quando vidi l’originale che i funzionari di un’ ufficio pubblico mi davano in prestito dopo l’aver comprato e munita di una cornice imponente e pesante. L’avevo bisogno per la comparazione della stampa troppo pallida. Mi facevano sottoscrivere una formula col termine delle mia restituzione prima di darmelo con imballatura tanto forte che mi fu piegare i ginocchi prendendolo in mano. Guardando il mio quadro dopo, mi sentivo arrivato in un’altro secolo.