Lienhard von Monkiewitsch Art

Lienhard von Monkiewitsch studied from 1964–67 in Braunschweig University of Art (HBK) and from 1967–69 studied painting and graphics from Alfred Winter-Rust. After completing his studies, he received the DAAD scholarship for Paris in 1969–70 and the Niedersächsische Förderpreis in 1970. In 1971, he was awarded the Prize New Forum Bremen. In 1979, he received the Villa Massimo Scholarship, which was associated with a one-year stay in Rome. Since 1985, followed by longer work stays in Los Angeles and exhibitions in New York, Los Angeles, Boston, London and Tokyo. In 1986, he was awarded the Niedersächsische Künstlerstipendium, in 1997 the art prize of the SPD parliamentary group of the Lower Saxony Landtag and in 2005 the German Critics' Award in the field of fine arts. Between 1972–79, Monkiewitsch was a lecturer and from 1980–2006, Professor of Painting at the College of Fine Arts in Braunschweig (HBK). From 1999–2004, he was vice president of the college. Monkiewitsch was a member of the Deutscher Künstlerbund, at whose annual exhibitions he regularly participated from 1971–90. Lienhard von Monkiewitsch deals with the representation of space in his pictures. He became known in the late 1960s, early 1970s with Raumillusionistischen works on which only tiled empty floors can be seen. The viewer was challenged to complete the missing walls and to fill the rooms with their imagination. If Monkiewitsch used the means of perspective here as well, he later succeeded in rewriting the space since 1984 with deep, matt, absorbing colors, which led to a black that, on the one hand, seems to push itself up against the screen due to the special type of pigment application On the other hand, the depth of the infinite space suggests. Based on the work The Black Square by Kazimir Malevich, the painter has found a multitude of new space-suggesting constellations through two cuts into this iconic non-representational painting of the 20th century and through a self-imposed rule for the transfer of the three forms that have now emerged. With these disrespectful reinterpretations and cuts, ultimately destruction, he has become an unorthodox representative of concrete art.