Following the radical caesura torn by the National Socialist regime and World War Two into the life and work of Bernard Schultze, born in 1915, an intensive transformation took place in his artistic creation. Schultze created a body of work full of surreal form and figure elements at the beginning of the 1950s. Entirely in keeping with the surrealist postulate of écriture automatique, Schultze designed pictorial worlds rich in fantastic and puzzling elements. The unconscious surmounted the rational logos in his work. The processing of the incomprehensible also certainly provided impulses for his versatile image cosmos in the beginning: "Such images, tags of memories rushed into me. I allowed myself to be carried away by them in a string of associations and at the same time tried to watch myself over my own shoulder.”
The “Landscape in a Dream” from 1994 also reveals itself in explosive colour and fine strokes in a non-hierarchical pictorial composition. The work is composed entirely in the sense of the all-over structure: No pictorial element is more or less important than another. The pictorial space can also be expanded conceptually beyond the edges of the painting, just as the pictorial structure can be developed beyond the boundaries of the paper. Like for his artist colleagues K.O. Götz and Jackson Pollock, the canvases were placed on the floor to be worked on. When looking at them, we can comprehend the becoming and passing, the blossoming and decomposition of the various colour forms and in this sense allow the image to be created a second time in the consideration of it. Thanks to the non-hierarchical composition, we also experience consummately democratic art in the reliving of the image structure.
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