For several years, now, Leonhard Hurzlmeier's paintings have
concentrated on depicting people, with women's portraits being the
focus of his interest. However, the artist's goal is not to create
a detailed and precise representation of a certain person but
rather to examine the image of women in our society. The resonant
erotica is thus also a portrayal of a frequently stereotypical
gender role and fantasy.
Leonhard Hurzlmeier is showing four new pieces from this body of
work at STARTUPART II. Here too the artist plays humorously with
contemporary topoi and classic iconography. Even just a few details
trigger associations and provide hints for interpretation. The
multidimensional nature of his paintings is evident in Martina, for
example, who, in an allusion to St. Martin, tests the sharpness of
her blade while in a revealing pose.
Hurzlmeier's paintings fascinate with their powerful, reduced
colour palette, divided into strictly composed fields from which a
formal, abstract figure is assembled. The smooth, even paint
application and restriction based on geometric parameters give rise
to the characteristic, extreme two-dimensional nature of his works.
The protagonists are developed layer by layer over the course of a
long work process. Their form has not yet been determined at the
beginning but rather comes into being on the basis of complex
mathematical rules, which prescribe specific radii and angles and
whose boundaries the artist exploits to the maximum. Despite the
reduced colour palette and beyond a realistic representation,
powerful portraits are created which take on a certain seemingly
contradictory vividness and lively dynamic through flat, clear
shades and stratification and limitation of the colour fields. It
is whith this strictly limited repertoire of
shapes that Leonhard Hurzlmeier has developed his own unmistakeable
Leonhard Hurzlmeier (born in 1983 in Starnberg) lives and works in
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