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Currently you are here >> The subject matter >> The Crowning of Creation >> The Crown
21. The Crown

Picture information:
210cm x 160cm, oil on canvas

The story:
This painting is the completion and culmination point of the Crowning of Creation. I wanted to compose the crown in such a way that it was evocative of a virtual relic, reminiscant of the torch of the freedom statue in the film "Planet of the Apes." I therefore transformed the Grand Snail I into a real crown. The form without its tail is clearly recognisable. In this painting all the previous mussel and snail shell forms also emerge in red, blue and green.

The snails or mussels are placed in positions where precious stones would normally sit and thereby add to the value of the crown. My approach uses the symbols of femininity as embellishment for the crown. Hence the woman is not in truth the Crowning of Creation but ultimately merely an adornment for the man, as the crown itself is more masculine than feminine. That is to say: edged, angular, tinny and not always shapely. Nevertheless: masculinity and femininity belong inextricably together - although perhaps not always as is universally expected.

To me it is clear: this statement is not particularly popular at this point in time. Nevertheless I firmly believe that research into the behaviour of men and women would come to a similar conclusion, regardless of whether anybody wishes to listen.

Back to the painting: The lower half of the crown is disappearing into the unspecified sand of the red planet and is bordered by an enormous painted picture frame.


Die Krone der Schöpfung - Die Krone

This painted frame is intended to humorously underline my earlier idea of providing all of this cycle's paintings with a specially developed frame. Just as a car designer pays careful attention to the alloy rims of the car and how they integrate into the design of the whole, I concern myself with exceptional frames which support my artistic statements in the best possible way. The motive on the frame is a repetition of a previous picture frame. It is once again consciously imperfectly painted, with evident fractures and unfinished elements revealing underlying layers beneath. This can be understood as a parable of life in reality and yet should at the same time be interpreted as a humorous indication of the validity of my realizations.

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