BENI GASSENBAUER PAINTER / WATERCOLOR ISRAEL

 

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Artistes solidaires auprès des plus démunis gérés par Vitrinart. Les commissions sur les ventes alimentent la structure juridique. Vitrinart accompagne les soins médicaux et de confort des artistes et des populations les plus démunis .

Artists in solidarity with the poorest run by Vitrinart. Commissions on sales supply the legal structure. Vitrinart supports medical care and comfort of artists and the poorest populations.

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Oeuvres en vente-Artworks for sale-Obras en venta

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Autumn light:

57x76cm,

watercolor

 1600$

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Mimosas:

 57x76cm,

watercolor

 1600$

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Laundry day:

57x76cm,

watercolor

 1600$

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Toward the garden:

 57x76cm,

watercolor

 1600$

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The red tapestry:

76x57cm,

watercolor

 1600$

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The market:

103x67cm,

 watercolor

 2100$

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Jerusalem panorama:

103x67cm,

 watercolor

 2100$

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Hurshat Hayareah: 

103x67cm,

 watercolor

 2100$

—Mikael’s entrance:

 57x76cm,

watercolor

 1600$

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Jaffo: water and light games: 

76x57cm, 

watercolor

 1600$

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Artist authorship + no commercial use + no modification           Copyright ©Beni Gassenbauer 

Vitrinart      © Copyright 2012-2014   All right reserved

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Living in Jerusalem for almost 40 years, I am attracted by the light that gives the city its unique atmosphere. It is this game between the transparent air on one side and the shadows saturated with color on the other side that suggests a sense of secret mysteries.

My eye is also drawn by the city’s mysteries through ancient gates, window openings, balconies, backyards and shadowed passageways, where I always finds a vine arbor, a necklace of wisteria or a tuft of jasmine or bougainvillea, whose cool shadows highlight the architecture of white and gold stone. These secret courtyards, gardens and stone stairs lead me to question what lies beyond the visible.

What medium could better express the intrigue of light, air, stone and sky than watercolor? This difficult medium, with no way to correct or alter, provides the necessary lightness and transparency. It allows me to paint -with poetry – the Mediterranean light that burst out in the brightness of the sun and penetrates the deepest shadow, creating breathtaking, intense color contrasts.

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Vivant à Jerusalem depuis près de 40 ans, je suis fasciné par la lumière si particulière de cette ville: le jeu entre la transparence de l’air et les ombres saturées de couleurs me suggère le mystère et le secret. 

L’aquarelle n’est-elle pas l’outil permettant le mieux d’exprimer ce jeu entre la lumière, l’air, la pierre et le ciel? Cette technique difficile, qui ne permet pas l’erreur, m’offre la possibilité de peindre, avec poésie, l’éclat de la lumière méditerranéenne qui joue avec l’ombre profonde, créant des contrastes de couleurs stupéfiants et intenses. 

Mes yeux sont attirés par d’anciens portails, des fenêtres, des balcons, des cours et des passages ombragés où je trouve souvent une vigne, un olivier ou un bougainvillier dont les ombres font ressortir la lumière blanche et dorée de la pierre saturée de soleil. Je cherche à transmettre dans mes tableaux le désir de découvrir le caché et l’invisible, par delà les cours, les jardins ou les escaliers, derrière les murets et au bout des chemins.

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Beni Gassenbauer was born in France in 1949 and settled in Jerusalem in 1976.​
Gassenbauer’s medium is watercolor on paper and he very ably applies transparent layers of paint to create a very rich texture of sharp-focus images. He conveys a sense of drama and adventure in his color application, moving a seemingly random but nevertheless deliberate and rich pigment in the water puddle from the pale pinks of the morning light to the deep, dark shadows created by the harsh Mediterranean sun. This is Gassenbauer’s magic. His tools cannot be more prosaic, but with these simple elements he transforms the paper into a seemingly boundless field of space and light.​
Gassenbauer seduces the viewer to pause and take notice of all the details – a tree, a rock, a wall, or the distant mountains enveloped in the special hue of desert light. The sheer accumulation of details gives a sense of energy and animation to the unpeopled compositions.​
Particularly impressive, both from a visual and technical standpoint, is the artist’s interplay between the two-dimensional paper and the three dimensional space. Here, as in other works, Gassenbauer’s meditation on nature, while not intentionally religious conveys in it the immanence of the sacred.

​MAREK YANAÏ​      Bezalel Academy of Art, Jerusalem

About the exhibition: Beni Gassenbauer and Marek Yanai, Jerusalem double perspective, May 2013:

 

About the exhibition: Jerusalem, double perspective, Beni Gassenbauer and Marek Yanai- May 2013:
​INVITATION TO GAZE:

An invitation to gaze at watercolors is an invitation to wander. The eye wanders back and forth from one area to another, from the whiteness of the paper to the spot of paint, and within the spots – in and out of the shallow depth of the skins of paint. Each touch of the brush, each touch on touch, sketches not only the depiction of the house, mountain or object, but also the way that the brush has moved.
When it’s a double invitation, an exhibition by two, things are even more sharpened. The wandering widens and the eye formulates one experience also according to its experience of the other.
When the two are Marek Yanai and Beni Gassenbauer, good friends, once teacher and pupil, even more so. The same city, the same landscapes, and almost the same angle of view, allow us to give ourselves over to looking at one and the other and to distinguish each one’s special way of working.
While Beni leads us with confidence, Marek makes only suggestions. With one, the whiteness of the paper bears witness to a spot of light; with the other it opens gaps of wandering between the spots.
Beni Gassenbauer, an ex-dentist, doesn’t lay down the tool of his precise craft. With maximum attention he gives us the pleasure of being in the presence of beauty. The views he has discovered are presented to our eyes as an artist’s gift. Here is the open gate of house number 6 , we can go to the end of the path and back. The anemones expect us to take hold of them and lift them to our nostrils. The distant landscapes are also within the reach of hand and eye. The ability to touch doesn’t disappear, all the way through the width, depth and surface of the picture.
With Marek, those same houses planted on the slope become a vision only. Dark areas are interpreted by us as shadows and thereby define the adjacent spot us nothing less than the wall of the house. The weave of shadows, near and far, creates a layout of brushstrokes dependent on one another. Only our act of connection bestows on them their whole form.  So it is in the wrinkles of the figure and in the folds of the hills.
The awareness of the two artists of the act of painting is also shown with two faces.
Beni’s pictures proclaim the victory of the eye. Nothing is missing. Every detail is caught in all its qualities, and every texture, light and weave is reconstructed with success. The row of palm trees, the array of olive trees or the group of pines await us there, at the place where the painter experienced them.  This willing dedication to the view of nature contains within itself the belief that beauty is embodied in the objects themselves. That our world contains views that are worth experiencing, that the artist through his powers of sight and his painting, is capable of bestowing them as a gift.
With Marek, a sense of ‘artistic freedom’ creeps in.  The touches of water flutter and are busy with the internal dialogue amongst themselves. The painter leads and expresses and mainly organizes. The doors of the entrance hall do not reveal a view of the courtyard to whoever is descending the steps. The white area of the outside and its direct continuation in the wide streak of light on the floor creates a ‘pillar’ that separates and mainly leaves us in the narrow space of the stairwell, demanding  of us to occupy ourselves with the system of coordination of the vertical and horizontal lines and the diagonal of the banister.
The oil painting emphasizes the power and the authority of the artist to organize even more clearly. The window frame on the right, the bowl of fruit, the apple, the candlestick and the book, are all precisely laid out in the points of opening of the woven pattern beneath them. The window bars too lose their iron actuality and here become a painter’s grid. A yardstick to measure the objects around it. No sky, treetop or cloud will appear beyond it and disturb its geometric cleanness.
Did we say two artists? Or maybe two faces of the act of painting, and mainly two ways of experiencing reality and through them « catching » beauty .

David Ivgy

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Individual exhibitions: 

​- 2013  Matsart Gallery, Tel Aviv

– 2013  CHUV, Lausanne, Switzerland

​- 2012  Private exhibition, Lausanne, Switzerland​
– 2012  Jerusalem International YMCA

– 2011  Private exhibition, Lausanne, Switzerland​

– 2010  Niederhauser Gallery, Lausanne, Switzerland​

– 1999  Mayanot Gallery, Jerusalem​

– 1998  Aktuarius Gallery, Strasbourg, France​

– 1997  Safrai Gallery, Jerusalem​

– 1996  Aktuarius Gallery, Strasbourg, France

– 1995  Dufresnoy Center, Paris​

– 1994  Safrai Gallery, Jerusalem​

– 1992  Safrai Gallery, Tel Aviv​

– 1991  Jerusalem International YMCA​

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Collective exhibitions:

– 2014 Noyart, Azrieli Towers, Tel Aviv

​-1998  Artexpo, New York

-1993  Jerusalem International YMCA​
-1991  Jerusalem Artists House​

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http://www.beni-gassenbauer.com/

https://www.facebook.com/beni.gassenbauer

http://vitrinartcollectives.wordpress.com/2014/03/09/beni-gassenbauer-painter-watercolor-israel/

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Artist authorship + no commercial use + no modification           Copyright ©Beni Gassenbauer 

Vitrinart      © Copyright 2012-2014   All right reserved

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