Tel Aviv from the windows of the house
From the window of my studio
Berlin 2011

Conversations on the wall

 

Jan Rauchwerger. Valery Sharov (1962) and Rafi, a carpenter from Jaffa (2012)

 

 

 

A little tribute for Jan's 70th birthday

 

 

When asked what kind of present he'd like for his birthday, Jan replied: "I'd  like to get together with people who were my students over the years - indeed, over decades. Many of them have asked for such a meeting and I, too,shall be happy to have it".

A meeting, then, was organized, and took place this last December at Jan's studio, in a wonderful atmosphere, both festive and relaxed. Old friendships were renewd and Jan had many stirring reunions with his past-students. It  was a happy, memorable evening.

Jan Rauchwerger 70 (1)
Jan Rauchwerger 70 (2)
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Jan Rauchwerger 70 (37)

 

 

 

Solo exhibition by my wife Galit

 

A week ago a solo exhibition by my wife Galit has been opened. Galit has worked on the exhibition with curator/photographer Ronit Shany. Both the exhibition and catalog, have been made with care, intelligence and professional accuracy.

I highly recommend visiting this exiting exhibition.

In the catalog article, Ronit writes : “Although this is indeed an exhibition of photography, Rauchwerger is not the typical photographer. Her contact with art began already in early childhood in kibbutz Ein Harod…She photographs wherever she happens to be: in Jaffa (her home),in Jerusalem (her father’s home), …or in cities such as Paris and New York (during a stay with her family). Her photography is always a reaction to life around her.”

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The exhibition “Inner Courtyard” is taking place at the “Bineth Gallery, Tel Aviv

 

JAN IN CABRI

 

 

I have always loved etchings, and for the past 17 years I have been going to work at the Gottesman Etching Center in Cabri several times a year.

The last time I went to work at the etching center was the last week of July 2012. I was working on three iron plates, measuring 120X60 cm and using several techniques such as sugar, acid and dry point.These three plates eventually combined into one print entitled "Bouquet". When working on an etching one must deal with the intensity of labor, the resistance of the materials and with quick and harsh decisions. These were all made possible by working with the etching specialist- the wonderful Ofra Raif who I have been working with for all these years. While working on an etching my life becomes totally and utterly intense- and that it is actually what I look for and love doing.

 

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Portrait in the process

Etching

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The conservation of "Safed's Landscape" by Jan Rauchwerger

    September 13, 2012

 

 

 

The painting "Safed" has been a part of our home for many years. The Galilean landscape is one we are especially fond of, and the more we look at the painting the wider our visual and emotional connotations grow. The painting is in a way, a connection between the landscape, the painter, and us. It reminds us of past events, meetings and discussions, and bears the memory of dear friends.The artistic evaluation of the painting should be done by an expert and we will leave it to Jan and his friends. We will only mention that to us this painting of Safed evokes emotion, pleasure and thoughts.

When we noticed the painting was damaged, and cracks started appearing on its surface, it was clear to us that we will do every effort to restore it. We had sent it several times to be restored and re-framed, but we believe that it is thanks to Ms. Sharon Tagar—who did the latest restoration—that the painting had reached its right state, and we are grateful for that .

To our minds, Ms. Tagar has done an excellent restoration job, and although we come from a different line of work, we can identify an analogy between her working methods and our profession- which is medicine.

Her work began with the collection of data and contacting the artist and restorators who had worked on the painting in the past. Only when this was thoroughly done she started the actual restoration process including the selection of materials and their adjustment. The restoration had achieved the paintings original character and we believe it is very well executed. The entire process of restoration is documented in Ms. Tagar's records. We would like to note Ms. Tagar's impeccable working manner in which attention is given to the registration and delivery of the painting. We would also like to thank Shimon Ben Shabat from Pe'er Framing who was responsible for the painting's new frame.

The painting of Safed hangs in our living room on an inner wall that receives a large amount of light. On one of its sides hangs a painting of the Ar"i synagogue painted by Veksler, which we have had since we were living in kibbutz Ein Hahoresh. On the other side an aquarelle by Streichman is placed. This drawing was previously hung in a different part of the house but we decided to move it in order to protect it from people and weather.

Jan's painting of Safed had returned safely to us and it gives us, and our visitors, a great deal of pleasure.

To you, Jan, we send a special thanks for this painting and for helping with the restoration process

IRENA IRITH GROSWASSER REIDER

ZEEV GROSWASSER

 

The conservation and restoration

The conservation and restoration of paintings can slow down or prevent their deterioration. The conservator is responsible for controlling their environment and for the active treatment of their structure, with minimal sacrifice of the painting's aesthetic and historic integrity.

After completing my MA in modern and contemporary art in London, I studied painting conservation at the Courtauld Institute (University of London) for three years. My work as a painting conservator includes technical examination, preservation, and conservation-restoration of paintings. My treatments have to be as reversible as possible and fully documented.

 

1 Raking light Before Treatment
2 Detail 1 of cracks before treatment
3 Detail 2 of cracks before treatment
4 Front before retouching (two losses in bottom left corner)
5 Front after treatment

The oil on canvas painting depicting a view of Safed's Landscape, painted in 1978 by Jan Rauchwerger, presented a challenging problem of ongoing cracking and flaking of the paint layer from its canvas support. There might be a number of reasons for paintings to suffer from flaking: Paintings that are very old (two hundred years or more) become fragile because of the ageing of the materials they are made of. Another reason for flaking paint in paintings that are "younger" (50 years old or less) is the choice of materials by the artist- cheap paints or fabric supports. A third reason might be adventurous attempts by the artist to combine materials that do not last very long together- oil and acrylics, use of highly resinous paint etc. The environment in which the painting is located also plays a part in its effect on the flaking of paint: if the painting is hung over a radiator or fireplace and exposed to extreme heat or the ultra violate radiation of the sun. Sometimes the history of the painting also plays a part in its condition: people have sometimes rolled paintings during times of war and conflict in order to save them from destruction, theft or during smuggling. If done in haste, the rolling of paintings can cause severe damage to the paint layer and lead to flaking. Finally, vandalism can cause a shock to the paint layer that may result in the cracking and flaking of the paint layer.

In this case of Rauchwerger's "Safed Landscape", the flaking of the paint layer might have resulted from a combination of the environmental conditions in which the painting was kept in during the first years after its completion. After cleaning the painting from dust and surface dirt on the front and back, I inserted a natural adhesive (isinglass) through the cracks, while using magnification glasses to make sure the paint layer returns to its right place. Where the paint layer was already missing, I used a natural gesso filler and special conservation paints that, on the one hand, can mimic the look and flow of oil paints, but are chemically different, and therefore will be able to be removed in the future without damaging the original paint. The entire procedure was fully documented in a written report with photographs.

Sharon Tager

Painting conservator

 

Jan Rauchwerger at the Bineth Gallery. 31.05.2012 – 29.06.2012

 

 

The Bineth Gallery, Tel Aviv is holding a solo exhibition, opening on 31.05.2012, of the works of Jan Rauchwerger. This year the gallery celebrates its 50th anniversary and this, one of its cornerstone exhibitions, includes about thirty of the artist's works from different periods.

 

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  For the video of Jan Rauchwerger at the Bineth Gallery click here

 

 

 

 

 

 

 











Jan Rauchwerger “The feast of my life”. Solo etching exhibition,

May – September 2013

 

 

 

 

I allow myself to develop ideas from my paintings in etching.

Еtching workshop gives me this opportunity.

Etching technique, successes and occasional failures that need to be overcome

during work process, mutual patience and confidence in each other,

me with Ofra and Ofra with me. 20 years of working together.

This exhibition is an interesting result of all these years and the very

first personal exhibition in Gottesman centre in Kibbutz Cabri (Western Galilee).

What will happen next?

 

Jan Rauchwerger exhibition K (1)
Jan Rauchwerger exhibition K (2)
Jan Rauchwerger exhibition K (3)
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Jan Rauchwerger exhibition K (18)
Jan Rauchwerger exhibition K (19)
Jan Rauchwerger exhibition K (20)
Jan Rauchwerger exhibition K (21)
Jan Rauchwerger exhibition K (22)
Jan Rauchwerger exhibition K (23)

 

 

 

 

 

 


Mordechai Ben Yoseph, or Max Yosephovich as he was called in Russian, would have been 100

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At the Tefen Museum - "Print Time"

 

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<< Start < Prev 1 2 3 4 Next > End >>
1970's

Changes in the processes of work and study;

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1990's

Long journey throughout Italy new studio

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Since 2010

  "Picking up the pieces"  after large museum

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Sculpture

Along the years, it became clear that I, often,

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Early works

Independent works during the last years of

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1980's

Move to Jaffa, to a ground floor house; enjoy

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2000-2010

Liveand work in NY - and a different

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Etching

I work in different techniques of copper etching

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The corner of Har-Zion Avenue and Chachmei Israel Avenue

 

A crossroads, with imposing patriotic street names.

Walking the dog.

A banality, there is basically no landscape here.

But there is a life, in all its manifestations.

Where will the spirituality come from?

The spirituality, if indeed it comes, will derive from painting,

from the creative process.

From nowhere at all – it is best not to think about it.

If thinking, then after work.

To read, watch and talk with old friends –

great artists, poets and philosophers.

It is what contains the joy of life for me now.

And also Galit, children and granddaughters.

And all this is happening to me!

News News News

Studio Chronicles 2017

Jan Rauchwerger. Studio Chronicles 2017. 44th. week, year 2017.   Trip to Berlin, 2017.

News  - 
October 16, 2017
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New solo exhibition at Gordon Gallery, Tel Aviv, 14.04.2016

  Jan Rauchwerger "LOST FORM", Gordon  Gallery,

News  - 
April 20, 2016
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