hase – Übersetzung – Keybot-Wörterbuch

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"Führender Name" in Schiedsverfahren (S.638). "Häufig empfohlen" in den Bereichen Gesellschaftsrecht, M&A und Konflitklösung. Wettbewerber sagen "alter Hase, dem macht keiner was vor" (S.553, 666 u. 640).
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"Leading Name" in the field of Arbitration. "Frequently recommended" in the fields of Corporate, M&A and Dispute Resolution. Competitors say: "He's an old stager. You can't put anything over on him."
  Figurative Kunst  
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Immendorffs Verehrung für seinen Lehrer hat sich in einem humorvollen Umgang mit diesem besonderen Verhältnis in seiner Kunst niedergeschlagen. Was für Joseph Beuys der Hase war, ist für Jörg Immendorff das Motiv des Affen, das sich wie ein roter Faden durch sein Werk zieht.
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Jörg Immendorff, Alter Ego - Das andere Ich, 1995, "Der Bildhauer im Maler ist sein bester Feind", Bronze with green-brown patina, divided, the inside polished, Total 38,5 x 26 x 36,6 cm, Edition 980
© The Estate of Jörg Immendorff Photo: Achim Kukulies

Jörg Immendorff (b. 1945 in Bleckede, d. 2007 in Düsseldorf), along with Markus Lüpertz and Georg Baselitz, belongs to the trailblazers of the New Wild and Fierce Painting movements that made a lasting impression on the German art scene at the beginning of the 1980s. He first studied stage design at the Düsseldorf Academy of Arts, and later studied free art with Joseph Beuys.

Immendorff‘s admiration for his teacher is reflected in his art through humorous manipulation of this special relationship. What the rabbit represented for Joseph Beuys is represented by the motif of the ape for Jörg Immendorff; it is drawn through his work like a golden thread.

The split sculpture “Alter Ego - Das andere Ich” is concerned with the bipolarity and contrariness of man. Engraved on the side of the pedestal are the texts “The sculptor in the painter is his best enemy” and “Alter Ego” - an obvious reference to the two sides of the artist. The two separate halves of the sculpture symbolize Immendorff’s pictorial and sculptural work and allow themselves to be joined into an artistic unity.
  Figurative Kunst  
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Immendorffs Verehrung für seinen Lehrer hat sich in einem humorvollen Umgang mit diesem besonderen Verhältnis in seiner Kunst niedergeschlagen. Was für Joseph Beuys der Hase war, ist für Jörg Immendorff das Motiv des Affen, das sich wie ein roter Faden durch sein Werk zieht.
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Jörg Immendorff, Untitled - rotes Pferd, Affe, Rad, 2002, Silkscreen on hand-made paper, 60 x 50 cm
© The Estate of Jörg Immendorff Photo: Achim Kukulies

Jörg Immendorff (b. 1945 in Bleckede, d. 2007 in Düsseldorf), along with Markus Lüpertz and Georg Baselitz, belongs to the trailblazers of the New Wild and Fierce Painting movements that made a lasting impression on the German art scene at the beginning of the 1980s. He first studied stage design at the Düsseldorf Academy of Arts, and later studied free art with Joseph Beuys.

Immendorff‘s admiration for his teacher is reflected in his art through humorous manipulation of this special relationship. What the rabbit represented for Joseph Beuys is represented by the motif of the ape for Jörg Immendorff; it is drawn through his work like a golden thread.

Immendorff has portrayed himself, as he so often does, as a painter-ape with a paintbrush. The ape riding on the horse takes center stage in his graphic work “Untitled – rotes Pferd, Affe, Rad” The horse appears to stroll into the picture unfazed by events, and is silhouetted in high contrast before a luminously ocher-orange background. The ape appears timid and lost on the horse. In an interview, Immendorff said, “For me, the ape was and is simply a second self. Symbol for the ambivalence of the artist’s existence, of conviction and self-doubt. He is absurd and wise, and stands for polar opposites.” (Immendorff in conversation with Pamela Kort, 1992)