Fussmann, Klaus o.T. (Akt, liegend vor Spiegel). 1977. Kohle auf Velin. 71 x 72 cm. Signiert, datiert "26. VI. 1977", ortsbezeichnet "Berlin" und schwer leserlich betitelt. Punktuell auf Unterlage mon…

German Post War Fussmann, Klaus n.d. (Nude, lying in front of a mirror). 1977. charcoal on wove paper. 71 x 72 cm. Signed, dated "26. VI. 1977", inscribed "Berlin" and illegibly titled. Mounted in spots on support, mounted in passepartout and framed under glass. - Only slight traces of studio on verso due to technique and inherent to the work. Slight traces of mounting in places and superficial paper abrasion in the margins. Charcoal fixed. Overall in very good condition. Powerful, deep and expressive drawing in the blacks from the artist's early work. Cf. Fussmann 114 and 126 (variants). - The examination of mirrors plays an important and recurring role in Klaus Fussmann's oeuvre. For the first time in 1977, the year in which our work was created, the artist showed mirrors in combination with female nudes. He only differentiated the positions of the reclining bodies in the lower half of the picture in front of a mirrored surface that takes up the upper half of the picture in details - the simple picture structure always remained the same in principle - whether in charcoal drawings, paintings or prints. The pictorial theme runs like a common thread through the artist's work until 1984; in the period that followed, mirrors expressed a fascination and function that essentially contributed to the complexity of the works: arrangements of bodies and mirror projections do not correspond to the correct perspectives and laws of optics, but rather follow Fussmann's conception and idea of a projection of a body onto the plane of the mirror. Influences that explain his fascination may lie in the philosophical and psychological construct of the unconscious that is revealed through the mirror. Complex levels arise between illusion, hallucination and reality, whether of the nude and the mirror image, which Fussmann interweaves on the pictorial level. Charcoal on wove paper. Signed, dated, inscribed and hardly readable titled. Spot-mounted to underlying mat, framed free-standing under glass. - Only slight traces of studio on the verso due to technique and inherent to the work. Slight traces of mounting in places and superficial paper abrasion in the margins. Charcoal fixed. Overall in very good condition. Powerful, deep and expressive drawing in the blacks from the artist's early work - The exploration of mirrors plays an important and recurring role in Klaus Fussmann's oeuvre. For the first time in 1977, the year in which our work was created, the artist showed mirrors in combination with female nudes. He only differentiated the positions of the reclining bodies in the lower half of the picture in front of a mirrored surface that takes up the upper half of the picture in details - the simple picture structure always remained the same in principle - whether in charcoal drawings, paintings or prints. The pictorial theme runs like a common thread through the artist's work until 1984; in the period that followed, mirrors expressed a fascination and function that essentially contributed to the complexity of the works: arrangements of bodies and mirror projections do not correspond to the correct perspectives and laws of optics, but rather follow Fussmann's conception and idea of a projection of a body onto the plane of the mirror. Influences that explain his fascination may lie in the philosophical and psychological construct of the unconscious that is revealed through the mirror. Complex levels arise between illusion, hallucination and reality, whether of the act and the mirror image, which Fussmann interweaves on the pictorial level.