German artist who 'painted with nails', Guenther Uecker, dead at 95
His works, created from the 1950s saw him hammer nails into furniture, TV sets, canvases and a tree trunk, creating undulating patterns, the illusion of movement and intricate shadow plays.
While he became famous for using a hammer instead of a brush to "paint with nails", Uecker, considered one of Germany's most influential artists, later also used other materials, from sand to stones and ash.
Uecker was born on March 13, 1930, in Wendorf in what is now the eastern state of Mecklenburg-Western Pomerania. He grew up on Wustrow, a peninsula north of the Baltic Sea port of Wismar, experiencing the horrors of World War II.
A few days before the German surrender, the ship "Cap Arcona" sank near his hometown, with 4,500 concentration camp prisoners on board.
Uecker helped bury the dead who washed up on shore, a traumatic experience he addressed decades later in his work "New Wustrow Cloths".
Fearing the advance of the Russian Red Army, a young Uecker nailed shut the door of his family home from the inside to protect his mother and sisters.
Uecker remembered that "panicked, instinctive act" in a 2015 TV documentary with public broadcaster Hessischer Rundfunk.
"That had a profound impact on me and was perhaps a key experience for my later artistic work."
'Intrusiveness and aggression'
Even as a child, Uecker was constantly drawing.
This displeased his father, a farmer, who thought his son was "a failure and not quite normal", Uecker recalled in a 2010 interview with the Rheinische Post daily.
As a young man in East Germany, Uecker in 1949 began an apprenticeship as a painter and advertising designer, then studied fine art.
But Uecker, who wanted to study under his artistic idol Otto Pankok, fled East Germany in 1953 and transferred to the University of Dusseldorf.
Uecker, who created his first nail paintings in the late 1950s, later said that the nail attracted him for its "intrusiveness, coupled with a strong potential for aggression", something he said he also carried within himself.
In 1961, he joined the art group Zero of Otto Piene and Heinz Mack, who sought to counter the devastation of World War II with a spirit of optimism and lightness.
Zero aimed to return art to its absolute basics, they wrote in their manifesto: "Zero is the beginning."
Uecker's work often addressed contemporary issues. His ash paintings, for example, were a response to the 1986 Chernobyl nuclear accident.
After xenophobic riots targeted migrants in a suburb of Rostock in 1992, he created a series called "The Tortured Man" which was exhibited in 57 countries.
Uecker's works are exhibited in museums and galleries, but he also designed cathedral church windows and the prayer room of Berlin's Reichstag building housing the lower house of parliament.
Asked once whether he was bothered by being known simply as the nail artist, he said he wasn't. "Something like that is necessary for identification ... People need a symbol, an emblem."
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Euronews
a day ago
- Euronews
Influential German 'nail artist' Günther Uecker dies aged 95
Günther Uecker, one of the most iconic and influential figures in post-war German art, has died at the age of 95. He was known around the world for his hypnotic nail reliefs - extraordinary textured surfaces created by hammering thousands of carpenter's nails into everyday objects like chairs, pianos, tree trunks, sewing machines, and canvases. His family confirmed he died at the university hospital in his hometown of Düsseldorf in western Germany on Tuesday night. They did not give a cause of death. Born in 1930 in the small Baltic village of Wendorf, the son of a farmer, Uecker rose to international fame from humble beginnings. After relocating to Düsseldorf in the 1950s, he studied and later taught at the city's revered art academy. He soon became part of the ZERO group, a radical post-war collective focused on light, movement, and purity in art. In 1956, inspired by Russian revolutionary poet Vladimir Mayakovsky's belief that 'poetry is made with a hammer,' Uecker began hammering nails into canvases, chairs, and spinning disks. His early kinetic pieces created clattering soundscapes and optical effects that blurred the line between painting, sculpture, and performance. Uecker once rode a camel through the hallowed halls of the Düsseldorf Academy in a surreal 1978 art intervention, and in 1968, alongside fellow artist Gerhard Richter, famously "occupied" the Kunsthalle Baden-Baden, their protest culminating in a kiss in front of the press. But beneath the playfulness ran a deep moral current. Uecker traveled the world with messages of peace, often creating works in countries under dictatorship or censorship. After the Chernobyl disaster, he painted using ash. He exhibited banners bearing messages of human rights in Beijing, and in a haunting series, painted words of violence -Verletzungswörter - in languages from around the globe. Despite international fame (his works now command over €1 million and appear at top galleries and fairs), Uecker retained an anti-establishment spirit. 'Don't join the establishment,' he told Apollo magazine in a late interview. In recent years, renewed global interest in the ZERO group, including a major retrospective at the Guggenheim Museum in 2014, brought his work to new audiences. Two households, both alike in dignity, in fair Spain, where we lay our scene... A bastardised Shakespeare opening that suits the ongoing 'rivalry' between two family-owned taverns, who both claim to be the world's oldest establishments. There's Madrid's Sobrino de Botín, which holds the coveted Guinness World Record as the world's oldest restaurant. Founded in 1725 and located a stone's throw from the famed Plaza Mayor, it is famed for its wood-fire oven and has attracted patrons like Truman Capote, F. Scott Fitzgerald and was immortalised by Ernest Hemingway in his book 'The Sun Also Rises' - in which the author described Botín as 'one of the best restaurants in the world." It was awarded the Guinness accolade in 1987 and celebrated its 300 years of continuous service earlier this year. Then there's Casa Pedro, located on the outskirts of Madrid. The rustic tavern has boldly claimed that they have a shot at the title. The establishment has hosted Spanish King Juan Carlos I and current Spanish monarch King Felipe VI, and the owners assert their establishment endured the War of Spanish Succession at the start of the 18th century - therefore making Casa Pedro older than Botín. 'It's really frustrating when you say, 'Yes, we've been around since 1702,' but... you can't prove it,' says manager and eighth-generation proprietor Irene Guiñales. 'If you look at the restaurant's logo, it says 'Casa Pedro, since 1702,' so we said, 'Damn it, let's try to prove it.'' Guiñales' family has hired a historian and has so far turned up documents dating the restaurant's operations to at least 1750. She continues to hunt for records proving that Casa Pedro dates back to 1702. The question remains: How can either restaurant claim the title? Guinness provides its specific guidelines only to applicants, according to spokesperson Kylie Galloway, who notes that it entails 'substantial evidence and documentation of the restaurant's operation over the years." Antonio González, a third-generation proprietor of Botín, states that Guinness required Botín show that it has continuously operated in the same location with the same name. 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France 24
2 days ago
- France 24
German artist who 'painted with nails', Guenther Uecker, dead at 95
His works, created from the 1950s saw him hammer nails into furniture, TV sets, canvases and a tree trunk, creating undulating patterns, the illusion of movement and intricate shadow plays. While he became famous for using a hammer instead of a brush to "paint with nails", Uecker, considered one of Germany's most influential artists, later also used other materials, from sand to stones and ash. Uecker was born on March 13, 1930, in Wendorf in what is now the eastern state of Mecklenburg-Western Pomerania. He grew up on Wustrow, a peninsula north of the Baltic Sea port of Wismar, experiencing the horrors of World War II. A few days before the German surrender, the ship "Cap Arcona" sank near his hometown, with 4,500 concentration camp prisoners on board. Uecker helped bury the dead who washed up on shore, a traumatic experience he addressed decades later in his work "New Wustrow Cloths". Fearing the advance of the Russian Red Army, a young Uecker nailed shut the door of his family home from the inside to protect his mother and sisters. Uecker remembered that "panicked, instinctive act" in a 2015 TV documentary with public broadcaster Hessischer Rundfunk. "That had a profound impact on me and was perhaps a key experience for my later artistic work." 'Intrusiveness and aggression' Even as a child, Uecker was constantly drawing. This displeased his father, a farmer, who thought his son was "a failure and not quite normal", Uecker recalled in a 2010 interview with the Rheinische Post daily. As a young man in East Germany, Uecker in 1949 began an apprenticeship as a painter and advertising designer, then studied fine art. But Uecker, who wanted to study under his artistic idol Otto Pankok, fled East Germany in 1953 and transferred to the University of Dusseldorf. Uecker, who created his first nail paintings in the late 1950s, later said that the nail attracted him for its "intrusiveness, coupled with a strong potential for aggression", something he said he also carried within himself. In 1961, he joined the art group Zero of Otto Piene and Heinz Mack, who sought to counter the devastation of World War II with a spirit of optimism and lightness. Zero aimed to return art to its absolute basics, they wrote in their manifesto: "Zero is the beginning." Uecker's work often addressed contemporary issues. His ash paintings, for example, were a response to the 1986 Chernobyl nuclear accident. After xenophobic riots targeted migrants in a suburb of Rostock in 1992, he created a series called "The Tortured Man" which was exhibited in 57 countries. Uecker's works are exhibited in museums and galleries, but he also designed cathedral church windows and the prayer room of Berlin's Reichstag building housing the lower house of parliament. Asked once whether he was bothered by being known simply as the nail artist, he said he wasn't. "Something like that is necessary for identification ... People need a symbol, an emblem."
France 24
4 days ago
- France 24
Bust attributed to Donatello splits Slovakia
The sculpture of Italian noblewoman Cecilia Gonzaga spent centuries in a manor house in central Slovakia, whose owners, the noble Csaky family, left it behind when they fled the advancing World War II front in 1945. Moved about and ultimately forgotten in the aftermath, it was sitting in a depository at the Spis Museum in the eastern town of Levoca when art historian Marta Herucova stumbled across it. The bust had been marked "unknown author". But Herucova noticed the base was inscribed with the words: "Ceciliae Gonzagae opvs Donatelli" (Cecilia Gonzaga, a work by Donatello). If confirmed, it would be only the eighth artwork signed by the Italian Renaissance sculptor discovered worldwide. Herucova made the find in 2019, but it was only announced in February -- surprising the country. "Who would expect an original Donatello to appear in Slovakia?" former museum director Maria Novotna told AFP. But the bust is now a subject of controversy. Nationalist Culture Minister Martina Simkovicova decided to remove it from the museum and bring it to an unknown location in late May, citing security. The move dismayed critics and art historians, who say the bust needs expert conservation and research to confirm if it is really by Donatello (1386-1466). War story The bust has an epic backstory. After the Csaky family fled, Soviet troops looted their house, which then became a juvenile detention centre for girls after the communist government took over former Czechoslovakia in 1948. The girls played with the bust and even defined its eyes with blue pen, said Peter Cizmar, the son of a former guardian. In 1975, artwork still surviving at the centre was moved to the nearby Spis Museum. Attributed to an unknown 19th-century artist, the bust "was put in a depository and had not left it since", said former director Novotna, an art historian. Novotna was in charge of the museum catalogue as a young worker, and now bemoans a lack of time for research as she was swamped with work. Dinner companion In 2019, Herucova was working on the museum's 19th-century collection when she found the piece. "The bust just came up," she said. After noticing the inscription, she started in-depth research. She suspected forgery, but the material, details and inscription were all too telling, she said. "Even artists who made Renaissance-style busts never signed them in the name of the original author," Herucova told AFP. She wrote about the finding in the French art history magazine Revue de l'Art, waiting for someone to contest the bust's origin -- which has not happened. Herucova also contacted Count Moritz Csaky, who had no clear recollection of its origin either, as his family left for Vienna when he was 11. But he did recall seeing the bust placed on the porch, where the family dined in summer. "He said there used to be two original Gothic statues next to it, which are also in the museum today," Herucova said. 'Safe and protected' Herucova also contacted Italian art history professor Francesco Caglioti, who voiced doubt about the authorship but declined to elaborate. She is now pinning hopes on research in cooperation with foreign institutions. But for now, the bust is hidden away. Simkovicova, the culture minister who ordered it be moved with the help of a police commando, said it was "now safe and protected". Police chief Jana Maskarova later said the bust was at an interior ministry centre in Topolcianky, central Slovakia. Simkovicova promised to display the bust when "conditions are favourable". Herucova hopes the ministry will not try to revamp the bust, which should retain its patina, she said. "It's supposed to go to a professional place where they know how to do lab analyses." Emancipated noblewoman Research suggests the bust was made when Cecilia Gonzaga (1426-1451) became engaged to influential politician Oddantonio da Montefeltro. Her father made the match, seeking to bolster relations between the families, but the well-educated Cecilia chose a life in a convent over marriage. It is known that Cecilia's brother commissioned artworks from Donatello. The Gonzagas later fostered strong ties with the imperial court of Vienna and were united by marriage with the Csaky family. Some studies suggest the bust was made after Cecilia became a nun, possibly based on an earlier coin bearing her likeness. Novotna said she believed the bust was Donatello's work. © 2025 AFP
