istvan de meter

Joined Artfinder: Feb. 2021

Artworks for sale: 25

Germany

About istvan de meter

 
 
  • Biography
    Visual art begins for me with drawing; I observe, analyze, abstract, go into detail, take my time for a piece of reality, I learn to see and to define. It requires attention, concentration, attention to detail, a trained hand and a trained eye. I believe I have to be able to visually define everything I want to portray, a hand, a face, a human body, a horse, a cloud, a flower, a teacup.

     INSPIRATION
     Where does the strange bird of inspiration come from? Where do I get my ideas from? First of all I always had a sketchbook handy. During the years I filled more than 200. Things I read, saw, photographed, drew, my sketch books, ideas or techniques from other artists, literature, movies, real world, news paper images, art history, mythology, museums, travel photography, basically any image that intrigues me and gives me a kick or a new idea.

    Strangely personal biographical events were never a topic of my art, I guess they would be much too direct and obvious, my art is not my diary. Inspiration is also a matter of practice and discipline, I never stare at the empty canvas waiting for an idea to strike, I just sit down and paint. I have too many ideas and hardly the time to put them on canvas. Talent without practice is worthless.

     PROCESS
     One cannot plan everything, when I start I don't have to know exactly where I land, the end is open, it often comes as a surprise to me, it is a small adventure. I often start with a vague idea and the image develops during the process. The creative process is often intuitive and irrational, I only partially paint with my head, much flows out of the hand, "it paints itself".

     CRAFT
     To craft belongs also a thorough and sound technique, I have to know my material and master my resources, a painting is supposed to survive its creator. The collector shall get a well crafted piece of art for his money. I like to make my hands dirty and I love the smell of oil colors.

     CONTENT
     When I look at art I look for the statement, the symbols, the metaphor, the story, the joke, the irony, the mood, the atmosphere, the personal perspective, the painter's own world and all that visual message you can not put into words.

    Therefor painting is for me most of the time content, the mental component, the idea, only if the picture conveys a concrete, visual message, it might be encrypted or hidden, it is of interest to me. An image fascinates me when it makes me think and puzzle, when it kicks off a whole range of interpretations and associations.

    I am interested in the archetypal, the mythical, the collective unconscious, in universal human dramas, situations and themes such as love, passion, man, woman, joy, hate, birth, growth, the enigma of existence, friendship, desire, discomfort, death, fear, grief, envy, ambition, murder, revenge, manslaughter, irony, the bizarre, the strange, the idiosyncratic, greek mythology, biblical stories, folklore, kitsch, literature, fairy tales, legends, quotes and fooling around with ideas from movies, books, jokes, self invented stuff, songs or art history. All this i find very exciting.

     HUMOR
     I like both a well-painted picture, as well as an original, witty, funny idea. Life and art would be indeed desolate and bleak without humor, laughter and even sarcasm, therefor they are an important ingredient in my work.

     TO READ A PICTURE
     I want to paint precious pictures, like small travel altars, icons, intensive energy fields, small jewels, for which one has to take his time to decipher and look at, images that stop you and invite you to linger. To read a complex image requires concentration, time and leisure, more than a glimpse at the title plate in the museum or the quick thumb flick through on the net.

     THE DROP OF POISON
     There is no honest creation free of self doubt. That's part of being an artist, and it might be the necessary drop of poison we have to live with...





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Biography

Visual art begins for me with drawing; I observe, analyze, abstract, go into detail, take my time for a piece of reality, I learn to see and to define. It requires attention, concentration, attention to detail, a trained hand and a trained eye. I believe I have to be able to visually define everything I want to portray, a hand, a face, a human body, a horse, a cloud, a flower, a teacup.

 INSPIRATION
 Where does the strange bird of inspiration come from? Where do I get my ideas from? First of all I always had a sketchbook handy. During the years I filled more than 200. Things I read, saw, photographed, drew, my sketch books, ideas or techniques from other artists, literature, movies, real world, news paper images, art history, mythology, museums, travel photography, basically any image that intrigues me and gives me a kick or a new idea.

Strangely personal biographical events were never a topic of my art, I guess they would be much too direct and obvious, my art is not my diary. Inspiration is also a matter of practice and discipline, I never stare at the empty canvas waiting for an idea to strike, I just sit down and paint. I have too many ideas and hardly the time to put them on canvas. Talent without practice is worthless.

 PROCESS
 One cannot plan everything, when I start I don't have to know exactly where I land, the end is open, it often comes as a surprise to me, it is a small adventure. I often start with a vague idea and the image develops during the process. The creative process is often intuitive and irrational, I only partially paint with my head, much flows out of the hand, "it paints itself".

 CRAFT
 To craft belongs also a thorough and sound technique, I have to know my material and master my resources, a painting is supposed to survive its creator. The collector shall get a well crafted piece of art for his money. I like to make my hands dirty and I love the smell of oil colors.

 CONTENT
 When I look at art I look for the statement, the symbols, the metaphor, the story, the joke, the irony, the mood, the atmosphere, the personal perspective, the painter's own world and all that visual message you can not put into words.

Therefor painting is for me most of the time content, the mental component, the idea, only if the picture conveys a concrete, visual message, it might be encrypted or hidden, it is of interest to me. An image fascinates me when it makes me think and puzzle, when it kicks off a whole range of interpretations and associations.

I am interested in the archetypal, the mythical, the collective unconscious, in universal human dramas, situations and themes such as love, passion, man, woman, joy, hate, birth, growth, the enigma of existence, friendship, desire, discomfort, death, fear, grief, envy, ambition, murder, revenge, manslaughter, irony, the bizarre, the strange, the idiosyncratic, greek mythology, biblical stories, folklore, kitsch, literature, fairy tales, legends, quotes and fooling around with ideas from movies, books, jokes, self invented stuff, songs or art history. All this i find very exciting.

 HUMOR
 I like both a well-painted picture, as well as an original, witty, funny idea. Life and art would be indeed desolate and bleak without humor, laughter and even sarcasm, therefor they are an important ingredient in my work.

 TO READ A PICTURE
 I want to paint precious pictures, like small travel altars, icons, intensive energy fields, small jewels, for which one has to take his time to decipher and look at, images that stop you and invite you to linger. To read a complex image requires concentration, time and leisure, more than a glimpse at the title plate in the museum or the quick thumb flick through on the net.

 THE DROP OF POISON
 There is no honest creation free of self doubt. That's part of being an artist, and it might be the necessary drop of poison we have to live with...





 
 
 
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