Ernst Kraft
Recent publications about the work and the artist:
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Left:
Il Resto del Carlino (Macerata) 9 maggio 2008
Corriere Adriatco, 9 maggio 2008
"Gostac", Ernst Kraft
(Translation soon))
Appena arrivato, rimane ad ammirare lo spazio esterno del luogo in cui ci troviamo, ne scatta il sublime respiro e, una volta entrato, osserva l'interno, subito col fiuto artistico proiettato all'allestimento.
Incontro alchemico di artisti e curatori, strette di mano, "Ernst o Ernesto fa lo stesso" e ci si trova, ancora una volta, con istintivo e lucido raccordo, per creare la giusta soluzione espositiva.
Nel progetto comune della mostra le opere sono singole pennellate, che vanno ogni volta ricomposte e amalgamate tra di loro.
Spazi di rapida potenza
Esse richiedono una certa spazialità, con distanze a volte asimmetriche, che ricordano le sezioni auree di geometria, in modo da distinguere, tra le une e le altre, la differente portata espressiva.
In alcuni casi sono ravvicinate, per ricomporre insieme, il loro primo concepimento artistico.
Le opere così accontentate e armonicamente combinate, ritrovano la loro compiutezza, nel modo unico e proprio del nuovo evento.
Attrici dalle esigenze a volte capricciose, ma grandi interpreti di ogni singola volontà dell'artista.
Come le frasi di uno scrittore, escogitate e create con la potenza repentina del momento, in tempi di lavoro intensi e decisivi, ma con modi altrettanto precisi e delicati.
Una volta gettato il corpo di colore sulla superficie della tela o della carta, ci affonda lievemente la spatola, come fosse un bisturi a sbucciare schizzi sottili verso l'esterno.
Non va a scagliare graffi o segni d'aggressione, ma risolve la pittura in graffito, più vicino alla ricerca primitiva, che all'atto postmoderno.
La materia così tracciata, pare continui a "buttar fuori", come le curve delle coste sibilline (riferito al nome dei nostri monti, o, come si preferisce, nell'accezione di flusso enigmatico, lasciando aperta l'interpretazione e la lettura, nello spirito della mostra…)
L'occhio vulcanico di monocromo puro e caldo, dove primeggiano il rosso-cotto, il nero-prugna e l'ocra, spazia oltre le dimensioni concesse all'opera.
Il potere del colore si trasforma in visioni dagli spazi illimitati.
Quaderni e cera
Ciò vale anche per il piccolo formato.
Ernst lavora non solo con l'acrilico, ma anche con pigmenti e cera, ancora in uso dal tempo dei romani, che l'hanno impiegata sulle pitture murali. La tecnica antica dell'encausto si va a combinare con i materiali odierni. La resa sui vari supporti è inedita: la tela assume una compattezza rupestre, la carta diventa tanto levigata che pare stampata.
Le opere racchiuse nei quaderni ad anelli, ora aperti a formare dittici di carta, offrono una visione duplicata e mai conclusa, quasi ad afferrare un progetto istantaneo in corso, abbozzato dall'artista sul suo taccuino.
Quando è il momento del Monotipo, Ernst prepara la matrice, per poi stringere a contatto i colori che reagiscono tra loro, con esiti mai prevedibili. Impronte che si espandono verso il profondo, sconfinando oltre ciò che è fenomeno scrutabile dall'occhio e dalla mente.
Minotauri cerebrali
L'installazione delle opere ripercorre idealmente quei labirinti di idee e associazioni, che Kraft ha già espresso in materia nella sua land art e in pittura.
Le visioni proiettate nello schermo si compenetrano nell'immaginazione di chi osserva, e si producono altre idee.
Il tentativo di presentare l'opera di Ernesto può a volte sembrare superfluo e inopportuno, quanto quello di afferrare le idee scaturite da e con le sue opere.
Il loro significato si traduce in una assoluta e coerente ricerca di nonsense.
L'autore al limite, si sbilancia ad intitolare "scrittura ermetica", alcuni dei suoi lavori fatti di segni.
Ma non concede nulla più a linguaggi codificati. Gli stessi titoli che compaiono nei video, portano fuori strada, verso improbabili sentieri del pensiero.
Inguaribili astrazioni senza distrazioni
And unobtrusiveness is dazzling, upon occasion,
The vertebral silence indisposes the licit sail…
Enunciati paradossali, simili a giochi di parole, ma che risultano sensati a confronto di:
%Wdsreyukàl uyplòàrf ftrsd hi huip$,
&eyredtj uiglh* gljklòànnv xcvopkjo opà rupi^z.
Questo perché l'astrattismo è sempre insito nella realtà conoscibile delle cose, è presente in ogni operazione logica, benché dotato di irrazionalità. Tutti gli ambiti si sviluppano grazie a una componente astratta: dalla fisica, alla poesia, alla musica, persino in cucina, e in modo speciale essa viene espressa in arte.
Ernst intende così la pittura, quanto la videoarte: forme di naturale e artificiale astrazione.
Non è frutto di casualità, nessun segno è mescolato a caso, ma risponde a un rapporto con una certa realtà, stabilito dall'essere pensante. Tutti i segni significativi si combinano con altri, creando tante assolute verità e continue evocazioni, rimandi, labirinti di idee, immagini, che si dissociano, o si incontrano.
Ecco, la magia linguistica di espressioni non codificate.
"The Gostac regained"
"Un'articolazione nella quale sembra esserci un linguaggio umano o qualche altro sistema simbolico, che invece non può tenere alcun significato identificabile…
per creare un'espressione drammatica, sintatticamente corretta, semplicemente pronunciabile, usando parole senza senso.
Famosi esempi come "The gostac distims the doshes" di Lewis Carroll o "The vertebral silence indisposes the licit sail" di Lucien Tesniére, oppure ricordando quelle di Chompky: "Colorless green ideas sleep furiously","Le cadavre exquis boira le vin nouveau".(About the Gostac trilogy).
Gostac è tutta da gustare così come installata e concepita: mostra come opera d'arte, espressa in ogni sua componente.
Chi visita ne fa parte integrante, può condividere e vivere la libera esperienza di segni, cogliendo ogni possibile eco, rivelazione o significato.
Dal momento in cui si entra, emerge qualcosa di non afferrabile, qualcosa che all'uscita si può comunque portare con sé.
Tolentino 9 maggio 2008
Francesca Zacconi
Art historian
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Ernst Kraft muestra su 'laberinto de piedra' de Alemania con la presentación de un catálogo
La Universidad de Málaga impulsa esta iniciativa, que recoge el proceso de creación de la obra y que es fruto del hermanamiento con su homónima germana de PassauPassau es una pequeña península en cuyo centro reverdece un breve espacio entre árboles. Ortspitze está justo donde los ríos unen sus aguas y, desde 2007, la instalación de Ernst Kraft acompaña a los caminantes que por allí pasan. Esta obra es testigo de sus pensamientos y reflexiones: el laberinto de Kraft no se hizo para perderse, sino para encontrarse. Este artista holandés afincado en Mijas utilizó 26 toneladas de adoquines que fue introduciendo en la tierra del lugar formando un entramado de senderos. "Cada senda es una alegoría de la capacidad del hombre para encontrar su propio destino", decía la rectora de la Universidad de Málaga, Adelaida de la Calle, el pasado día 11 en su texto de presentación del catálogo que recoge el proceso de creación de la obra. Esta propuesta artística surge como resultado del hermanamiento que existe entre las universidades de ambas ciudades. En el centro del laberinto se encuentra una piedra con una inscripción que lo certifica. Durante el acto Kraft agradeció a todos los que le han apoyado durante su incursión en este trabajo. Un mes empleó el artista en componer la instalación y, lo que al principio iba a ser una obra efímera, se quedará en Ortspitze de forma permanente. No es el primer laberinto que compone. El año pasado pudimos ver 'El laberinto transparente' en la Casa de la Cultura de Las Lagunas y ya está pensando en el siguiente...
Presentaion of the catalogue
Laura Benavides. Mijas Semanal
19 sept. 2008
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Passau Neue Presse, by Elke Zanner, 6 oct. 2007
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Mijas Semanal. 5 oct. 2007
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Passau Neue Presse, by Christian Karl, 21 sept. 2007
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(Press cutting from the article "Laberinths and other illusions" by Maria Rubio, translation not ready)
"... (Ernst Kraft) me muestra su taller mientras se fuma un cigarrillo. ... ha aprovechado toda la planta baja de su casita del Barrio Santana para trabajar y ahí, entre el orden el caos, lleva a cabo su creación. El cristo de los artistas preside la sala en la que además, cuelgan muchas de sus obras. En este pequeño universo Kraft se mueve con soltura, me lleva de un lugar a otro, de una idea a otra, con una agilidad sorprendente y es que el artista siempre tiene su imaginación ocupada en la producción de una nueva obra.
El componente abstracto mueve la mayoría de sus pensamientos. Bajo los trazos de líneas envolventes, manchas de colores y estructuras retorcidas encontremos los cimientos de un sentido filosófico que tiene mucho de observación. A Ernst le gusta sentarse a reflexionar sobre los pormenores de la existencia humana, una idea que está muy presente en sus laberintos, pero tambien hacer de cosas tan cotidianas como una baldosa, un ejemplo de abstracción pura. Sin ir mas lejos, el suelo de su taller se ha convertido en el protagonista de una videocreación gracias a un tratamiento digital posterior y como éste muchos otros objetos han pasado a la catagoría del Arte con mayúsculas....."
Recorte del artículo: "Laberintos y otras ilusiones",
por Maria Rubio
Mijas Semanal
Nº 231, 10 Agosto 2007
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"Laberintos Expresivos", Obra de Ernst Kraft,
by Samantha López Ramírez
Arte y Cultura, "Revista Casas mas Terrenos", edit. León Mexico
Nº 13 Marzo-Abril, 2007
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Beatrice Lavalle, Sur Deutsche, 01 02 2007
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".... Kraft plays in this poetical work … with the paradox of the transparent maze, and its concepts of appearance and reality…"
Beatrice Lavalle in Surdeutsch, (above)
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(Right) Victoria Bayona Rodríguez, Diario Malaga Hoy 8 feb. 2007
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"… the work of this Dutch artist is composed with 140 metres of plastic hanging with more then 800 curtain rings, which forms the walls of a maze of 50 square metres…"
"Piérdete en el laberinto de Ernst"
("Get lost in the maze of Ernst")
Monica Lopez, Mijas Semanal, 02 02 2007 (Left)
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"…the installation "The Labyrinth", consists of the actual labyrinth in the adjacent garden, on a 14 x 10 meters surface, four series of prints and a video of 10 minutes with music from Giacinto Scelsi, Schönberg , Yves Bosch and Lázaro Leiva, which will be shown in a continuous loop.
"The labyrinth, as a metaphor of life, and its interconnections of thoughts, memories and emotions, has been the starting point of the project. The brain not only has a visuallikeness to the labyrinth, its functioning is comparable. Suffering from the Alzheimer syndrome could be interpreted as desperately losing the way in the path of the past and present. It is not the case that memories, or reasoning or affective emotions get lost, it's simply hard to find, and to find again, the roads leading to them.
... The labyrinth is an organism. The road system is a labyrinth , as is the city, the district, the office, the home, the dormitory, the computer, the brain and within the brain where there are more labyrinths. In the centre of every labyrinth you find the entrance to the next one. Or vice versa: leaving one, you find yourself in the centre of the labyrinth that holds the one you left behind…
Thus, it occurred to me to design for the green area of the Alzheimer Foundation a labyrinth shaped as an abstract styling of the transversal cut of the brain. I wanted to integrate the symbols of infinity, continuality, the cycles of birth and death, the fact that in every organism exists the germ for new organisms, it repeats, it modifies, but still will be part of the same system, like an endless set of Russian dolls. It seems to me that nothing better symbolizes this idea than the planting of a walnut tree in the centre, in the cross of the axes of the labyrinth. And I will wait patiently until my walnut tree will give birth to its fruits, until they will fall on the gravel of the labyrinth, burst open and show their interior, small labyrinth brains, each one of them capable of creating an infinity of other labyrinths…."
Out of the article: "Ernst Kraft, the labyrinth at Accord Gallery"
Published in Art daily the 8th of October 2006
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"Exhibition Ernst Kraft", the art gallery RU-H in Fuengirola has opened in May the exhibition of recent works of the Dutch painter Ernst Kraft, which will be on display till the 18th of June.
"… Ernst Kraft, who has his studio in the village of Mijas, has a large and intensive Curriculum, with an long list of exhibitions and projects in Spain and abroad, like individual and group shows in the U.K. Germany, Holland, Rumania and Mexico. Currently he is the coordinator of the Spanish seat of the International Drawing Project DIN A4, and honorary member of the cultural association 'Terra dell'arte'.
The exhibition in Fuengirola shows a coloring clearly anchored in Mediterranean soil. Rarely used materials like tar, jodium or Terrazzo red, along with acrylics, latex and encaustic, give the works new dimensions; The wax and encaustic, which spreads in the pigments on the surface this particular way, give an aquarelle appearance to the work but also serves as a finishing.
The works of Kraft show the tension, or the drama, between the graphical creation of an abstract narrative impact and a spacious transparent background. In his work on work on canvas, with their layers of thick and other times deluded paint, time is a fundamental component to show the sequences of movements and their 'resonance in relief' (the texture). Yet in the works on paper it is the spontaneous movement that reigns the works, without before, without after, without retouching…"
"Ausstellung Ernst Kraft", (provinsional translation),
das Aktuelle Spanienmagazine, Nr. 230 - 06 / 2006
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"Ernst Kraft y el proceso creativo", (Translation not yet available)
"... Entro en la sala con la ingenua esperanza de que la obra conclusa y pulcramente colgada en la pared me revele alguno de los interrogantes que va a plantearme el autor, que me van a ayudar a penetrar más en el sentido de arte y necesariamente, de la vida.
Es el mismo ritual de siempre; sin embargo, es esta ocasión, es diferente. Me sorprendo al comprobar que las respuestas a estos interrogantes me las va a proporcionar el proceso creativo de las obras
"Ernst Kraft nos propone una búsqueda. Nos adentra en un proceso intuitivo, más que racional, tras el cual, quizás, el artista se reconocerá anímicamente.
Este viaje comienza, como casi todos, por azar. Una violenta pincelada da pasos a movimientos más rápidos e instantáneos en los que mecanismos irracionales y vitales son su principal baza creativa
La superficie blanca, virgen, resulta violada por un trazo inesperado.
Este primera mancha se asemeja a un accidente, a un impacto infringido contra la tela... drama
El pintor nos conduce a través de formas, texturas y gestos facturados con una expresividad que me evoca el informalismo expresionista.
No caos. Las formas se ordenan intuitivamente en torno a una gran armonía composicional.
Kraft parece, con cada obra, anticiparnos el germen de la siguiente. Quizás no quiere dar por acabado ninguno de sus cuadros, pues persigue que el ultimo sea la génesis del próximo.
Salgo de la sala y no intento indagar en las emociones del autor, sino en las mías propias.
El proceso creativo ha trascendido en mi de tal forma que mis ingenuas interrogantes tienen respuesta: he reflexionado acerca de las sensaciones que se despiertan en mi al contemplar su obra. Me he dejado atrapar por un juego liberado de reglas y convencionalismos en el que lo im`portante es el disfrute contemplativo de la obra de arte, desembarazándome de prejuicios para ver y amar el arte actual...."
Susana González Márquez, Forum, Magazine de arte y cultura, junio 2006
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"Passau se sumerge en el Mediterráneo"
Diario Sur 16 oct. 2006
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".... Dutch artist Ernst Kraft lives and works since fifteen years in Malaga. He presented recently in Mijas and Malaga his book 'Paco Pulpito', a story written by him, which does not only fascinates the young readers.
Was is difficult to establish here? When I came to Malaga in 1989, I was rather lucky: after one month I had my first exhibition... in that time it was very difficult to sell contemporary art. Allthough I've always sold some, I had to take jobs next to it...
How did you come to make this work? ( the book: 'Paco Pulpito') It was actually a whim, fifteen years ago, when my doughter was born, I wanted to write a story for her. The idea came from a dream about an little octopus who wants to be a bullfighter. With this idea I develloped the story, and alongside I worked at the drawings,... years later, when I was working with silkscreen, it gave me another obtion to work out the illustrations...
Had you been thinking then about publishing? No, here it is even more difficult to find a publisher then a gallery...
Are you planning to write more books of this kind? At the moment I'm just into painting. This year I will be participating in several projects and exhibitions abroad...."
Out of the interview: "Paco Pulpito shows Spanish way of life", (In profile: Ernst Kraft, painter and writer), by
Beatrice Lavalle,
Sur Deutsche, 19 januar, 2005
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"...Ernst Kraft is intuitive, instinctive, and electrifying. He needs space to place his canvasses, so he can go around them, and then, when least expected, attack them with a fast and unreflected brushstroke (it takes him a day or two painting a canvas)...
...by intuition, not analytically. Painting, according to this Dutch artist, respons to an intuition, to an inexplicable feeling from the body or the heart. The pictorial 'lenguage' defined by Ernst Kraft is not as analytical as the literary can be, a form of art in which he also dared to work, this never tiring experimentator.
Within some weeks a 'very limited' edittion of a children tale will be published, which he has illustrated as well. A 'wim', he justified himself, like it was a wim to apply the 'henna', which his doughter uses to colour her hair, as a pigment, or to try out sculpture. Nevertheless, the final abstractions laid out on the canvas, do not reflect his flirting with coincidence and casuality. Nobody in the galery will say so, admiring the complexity of centain compositions. When the exhibition room is closed, and the paintings are taken off, it is Ernst Kraft, who has the 'creative hangover' of the 'handyman', who only wanted to work with his hands. The work lives its own live..."
Out of the article: "Working with his hands" by Rosa Diaz Casas
La Opinión de Malaga, 09-02-2004
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"... his participation in this fourth Biennale (the Biennale of Contemporary Art of Florence, Cittá di Firenze.) has consisted in the show of one triptich named after Benjamin Britten's "War Requiem". The triptich with large dimentions, build up with one central panel and two side panels, shows a twisted landscape of abstract forms. In its composition the side panels with their strong black drawings, seem to guard, like apocaliptical horsemen, the main work..
...a work of gestural expresionism, in which the colour, and the texture are the clear protagonists, using acrylics, resins and tar (alquitrán), which are extended in heavy brushstrokes over a double woven canvas...like Federico del Cerro wrote: he makes abstract paintings that reframe the shifting memories of late twentieth century Spanish abstract painting..."
Cristian Venturi
"Artistas de hoy",
Revistart, Nr. 84, 2004
Publications before:
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TABLEAU Fine Arts Magazine -----------------------------------------------------------------------------------------------------------------
(tijdschrift voor beeldende kunst en antiek)
Year 22, nr. 2 - April 2000
Out "Tableau Select", page 85
(Photo:Ernst Kraft: "Sandpaper on a blue background")
"... like several interesting painters that have emerged from Spain in recent years, Ernst Kraft makes abstract paintings that reframe the shifting memories of late twentieth century Spanish abstract painting.
Tapies, Chillida, Millares, Sicilia, and the younger Barcelo are all beckoned by this frequent traveller who sees them at a distance, taking what he needs from them, but refusing to make paintings period. Kraft, as a Dutchman who settled in Mijas, Malaga, in 1989, feels perhaps the tension between cultural assimilation and displacement
On the one hand, one might think that his present Mediterranean habitat is reflected in the earthly colours and sand-like textures of his paintings. On the other, the drawing seems to speak of fragile lines and uncertain bounderies, a sense of disorientation that is often present in the 'foreigner'. One feels that the lines are about to break, moving here and there, hither and thither, back and forth. And yet they have the authorative fixity of maps. For the fragmented backgrounds of rich cream or brown might resemble aerial maps...."
Federico del Cerro
out of the "Introduction"
Catalogue of the exhibition "New Paintings"
Archgallery, London, March 2003
"...one view, what could it say to another view? Which saying would challenge the footfalls going towards the ones returning? At which hour of the day would we expose the dilemma, at which temperature would we verify the mutenesses, if both, fever and temperance, are necessary? Contemplate in silence, you wanderer..."
Salvador López Becerra
out of the poetic impression:
"Facing the new paintings of Ernst Kraft"
CD Rom Catalogue of the exhibition "Alquitrán"
20 02 2002, Malaga
"...I don´t have the "painting" in my head, that only needs to be painted. No, for me painting is a process, going round and round the canvas, as it lays on the floor, or stands on the easel, like a mystical dance, applying pictorial mass, dirtying my hands, seeding colours, harvesting images... It is drama, action, a process. A finished painting is something else, it could be art, but maybe it is only the reflection of a process, and is the search really the art...."
Out of English version of "Interview with Ernst Kraft"
by Nicolas Garcia Herrera
Kylix, Revista de literatura y Arte, Nr. 10, 2002
Complete English version:
"Interview with Ernst Kraft"
"... the paper, es the essential support and denominator of this show, allows him to contrast and play with a variaty of elements. Under the common designation 'mixed techniques', pigments, acrylics, oils flow together, creating spaces, opting essentially for the two dimentional ones. The particular use of wax, applied as a varnish provides protection and a finish in the final result peculiar to this artist... an abstraction that makes him experiment in infinite fields of creativity, from his 'geological landscapes' until the present show... a work that plays with the apparent order-disorder, the sequence of closed and and dividing fields... a progressive overriding of the closed fields make one wonder if Kraft, in his investigations, has reached the absolute limits of the two dimentional, and is soon to approach corporeal volumes, like sculptures. Otherwise perhaps he will experiment with empty surfaces, cleared of all elements, in a search for the priority of plastic space and its inchoate origins..."
Lourdes Jiménez Fernández,
Out of the essay: "Ernst Kraft, Work on paper"
Catalogue of the exhibition,
University of Malaga, 2001
"... Ernst Kraft, like all abstract artists, leaves aside the form, although paradoxically not the outlines or limits of 'geological' masses, in a flow of coloured magma...There is nothing of nature in his paintings, but some hard inorganic material seems to fill his canvasses, in which unrecognizable structures are slowly being formed and sometimes... traces of human writing...?..."
Nicolás García Herrera
Out of the article: "Ernst Kraft, A pincel o buril"
Kylix, Magazine of literature and art,
Nr. 4, may, 2000
"... of this pilgrimage, closer to the spiritual, results in a work that's carried out with considerable thrift. The naturalness and serenity that it transmits is the fruit of a conjunction of several elements. One of them is the combination of the free tough of the brush, together with the cultivation of the line, which means, the conciliation of the gestural stroke with this broken line, fragile, unstable and with an orographical character, that Kraft uses in the lower part of the canvas. The quietness that the painting breathes is also due to his delicate way in applying colour, without noisiness, compensating the tones, softening an almost neutral palette, broken only by the blue and the red.
This timeless subterranean voyage is in its totallity covered with miniscul cells, the result of the pressing of a net on the still fresh paint, that like a spiderweb, withholds any possible movement of these plates of inorganic material. This effect unifies the pictorial surface, and gives it its final character..."
Bernardina Roselló David
Out of the essay about the painting. "Tierra XXIII"
(Collection Diputacion Malaga)
Published in "Informativo",
Nr. 43, oct. 2000
"... Contemplating the painting of Ernst Kraft it is easy to see this abstractionist process, in which amorphous forms, with rough profiles, as if they were cristalographic structures, gives a feeling of landscape, unreal and feverish. A rocky world, empty and sandy, in which only the material, in state of formation or decay, creates a vibrant orography and yet is at the same time rigid. There is no life, nor any organic form, nor possible biological nature in this world, in which Kraft, like a good Dutchman, uses the earth against the seas and the skies. It's all about a purely inorganic landscape, which behaves as if it is the very denial of this landscape, as if the world didn't exist, or was starting to be created. There is nothing living, neither is there anything that could make us suppose that the material, though unique, is transformable. Ernst Kraft is digging into his interior, as if he was looking through a microscope at the tranvers cut of a sandgrain. Interior landscape, his inner landscape. Intrinsic look, that comes back to itself. Contemplation of the occult. A world that starts, or a world that ends. Nature is denied, but the gesture is accepted, the first or maybe the last breath of existence. Landscape that represents the denial, the arbitry nature and the enigma of what is to be born and of what is to die. Kraft hits the essence of origins, tries to reveal the convulsive energy enclosed in the material, the only laws that rule the behaviour of all parts, the definite enigma of the universe and its origins..."
Antonio Abad
Out of the essay: "The inner meanings of the landscape of Ernst Kraft"
Catalogue of the exhibition, Reding Gallery,
Malaga, 30 jan. 2000
"... Ernst Kraft puts his wide range of earth colouring, like ocres and sienna, in contrast with the white of the prepared canvas. The contrast, maybe his most evident and persisting obsession in all his work, imposes a permanent tension between the smooth texture of the whitened canvas and the rough applied texture of the elaborated part.
These Lines represent his work perfectly. Contrast, light, shades, wild force, sweetened by drawing. It places us (why not?) in possible landscapes like 'El chorro' or 'El Torcal'. But this ruled by the most pure laws of abstract painting..."
Angel Guerrero
Out of the article: "Ernst Kraft en la sala Unicaja"
Published in the newspaper Sol de Antequera
"...landscapes with isolated elements that's what it is exactly all about: isolating every mystery or particular metaphor of the composition to determine its degree of protoganism...
Textured works which demands an extraordinary elaborate and talend dedication..."
Julian Sesmero
Out of "Palette of colours"
Newspaper "Sur", Malaga 7 feb. 1997
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"In consult with Ernst, the thirteen year old vegetarian..."
by Henriette Holthausen,
Nieuwe Rotterdamse Courant, Sat. 25 july 1964
"In consult with Ernst, the thirteen year old vegetarian…"
by Henriette Holthausen,
Nieuwe Rotterdamse Courant, sat. 25 july 1964
"... Hij was slechts zeven jaren oud, Ernst K. te Doorwerth, artsenzoon en een van de vijf kinderen van dit echtpaar, toen zijn moeder bemerkte dat hij elke dag opnieuw met lange tanden van de vlees en visgerechten hapte.
Al gauw kwam het hoge woord eruit: de kleine Ernst wilde eigenlijk geen voedsel meer gebruiken, waarvoor dieren moesten worden geslacht. Zo klein en jong als hij was: op dit punt konden zijn ouders niet met hem argumenteren...
Sindsdien zijn haast zes jaren verstreken en Ernst heeft hoe langer hoe meer positief zijn houding bepaald.... "
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