Andreas Loeschner-Gornau
German Artist

Paintings on paper

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Older ArtWorks:

Work Until-2011

Work 2012-2016

"Adam and Eva"

Oil painting on paper

Oil painting on paper 40cm

"The Countess Anna Orzelska"

Oil painting on paper

Oil painting on paper 40cm

"Cassandra"

Oil painting on paper 40cm

Oil painting on paper 40cm

"Runner"

Oil painting on paper

Oil painting on paper 40cm

"Madonna"

Oil painting on paper

Oil painting on paper 20cm

"Martin Lutherer"

Oil painting on paper

Oil painting on paper 40cm

"The yellow Nymph"

Oil painting on paper

Oil painting on paper 40cm

"Pinocchio"

Oil painting on paper

Oil painting on paper 50cm

"Turning point"

Oil painting on paper

Oil painting on paper 50cm

Oil painting on paper

"Adam and Eva" Oil painting on paper 40cm

Oil painting on paper

"The Countess Anna Orzelska" Oil painting on paper 40cm

Oil painting on paper 40cm

"Cassandra" Oil painting on paper 40cm

Oil painting on paper

"Runner" Oil painting on paper 40cm

Oil painting on paper

"Madonna" Oil painting on paper 20cm

Oil painting on paper

"Martin Lutherer" Oil painting on paper 40cm

Oil painting on paper

"The yellow Nymph" Oil painting on paper 40cm

Oil painting on paper

"Pinocchio" Oil painting on paper 50cm

Oil painting on paper

"Turning point" Oil painting on paper 50cm
One of the traditional lines of painting begins with book illumination. Book illustration in antiquity appeared between the 2nd and 4th centuries AD with the invention of the bound codex, but could be traced back to the 2nd millennium BC. going back to the tradition of painted scrolls. After the fall of the Roman Empire, Byzantine illumination continued the ancient heritage with changes in style, but essentially in an unbroken tradition until the end of the Byzantine Empire in the 15th century. In the Middle Ages, Byzantine art influenced large parts of the Near East, the Balkans, Russia and, to a lesser extent, Coptic art. In the Occident, i.e. western, Latin Europe, book illumination was characterized by a constant change in style. In the early Middle Ages, Merovingian and Insular book illumination first appeared in Ireland and England. In Carolingian art, book illumination was under a strong Byzantine influence and then merged into Ottonian book illumination. The Romanesque was the first epoch that united regional painting schools into a European style through connecting features. Gothic began in France and England around 1160/1170, while in Germany Romanesque forms remained dominant until around 1300. As the leading art nation, France remained decisive for the stylistic developments of illumination throughout the entire Gothic period. In the Renaissance, book illumination became less important due to the advance of book printing and printmaking processes. Until then, it was on an equal footing with panel and wall painting. Modern, artistically designed books are usually not attributed to illumination. Islamic book art began in the 11th century and was determined by two opposing basic positions: on the one hand, Islam is a book religion, on the other hand, a ban on images prohibits figurative representations, even if the Koran does not formulate the ban directly. Religious works are therefore limited to magnificent ornamentation and calligraphy. Although the ban is not limited to the religious sphere according to the strictly orthodox view, extremely imaginative figural painting can be found in the secular sphere. Starting from Arabia, Islamic book art spread to Persia, India, the Ottoman Empire and Spain. Pre-Columbian America had its own illumination tradition, which lived on for a while after the Spanish conquest of South and Central America under the auspices of Christian colonization. Only a few Aztec and Maya codices survive today. For Loeschner-Gornau, book illumination always represented something valuable. With his works, paintings on paper, he embraced them in the tradition of medieval book illumination.