Rainer Fetting

Rainer Fetting 1949 Kräne - Friedrichstadtpassage. 1993. Oil on canvas. Signed, dated, and titled on the reverse of the canvas, as well as inscribed with the work number, dimensions, and the technique. 140 x 250 cm (55.1 x 98.4 in). [AR]. • Berlin city portrait: A large-format work from Rainer Fetting’s spectacular series of Berlin paintings. • A metropolis in transition: Construction cranes were ubiquitous in the years following the fall of the Berlin Wall and became a symbol of economic dynamics and change. • Offered on the international auction market for the first time (source: artprice.com). • Exhibited in, among others, the major solo exhibition “Rainer Fetting. Berlin” at the Berlinische Galerie in 2011. PROVENANCE: Galerie Gmyrek, Düsseldorf (with a label and a stamp on the reverse). Private collection, North Rhine-Westphalia. EXHIBITION: Rainer Fetting. Gemälde und Zeichnungen, Harenberg City Center, Dortmund, Nov. 5–Dec. 18, 1994 (with illustration on p. 226). Galerie Tammen und Busch, Berlin, May 1995. Galerie Tammen (Berlin), Art Cologne, November 11–19, 1995. Rainer Fetting. Berlin, Berlinische Galerie, Berlin, April 15–September 12, 2011, cat. no. 95 (with color illustration on p. 123, verso with a label). LITERATURE: Gabriela Walde, Der junge Wilde ist in die Jahre gekommen, Berliner Morgenpost, April 15, 2011 (with color illustration on p. 22). “Berlinische Galerie würdigt Rainer Fetting,” Tagesspiegel, April 16, 2011, (with color illustration). - - Videos and Radio Reports: Rainer Fetting – Im Atelier, video by form-art.tv, April 2011. Rainer Fetting – Berlin, video by form-art.tv, April 2011. Rainer Fetting, Berlinische Galerie, Berlin, video, YouTube. Rainer Fetting in Berlin, RBB, April 13, 2011, on the Abendschau at 7:30 p.m. Rainer Fetting, Berlin, Kultur aktuell, RBB Kulturradio. "From 1983 to 1994, Rainer Fetting made Berlin and New York his primary places of residence. He roamed both cities, observing them closely and capturing his observations in sketches, photographs, and paintings. Numerous views of both cities bear witness to his profound sense of urban life, whether as mere panoramic backdrops or as portraits of the city. The depiction of the rugged urban landscape continues to captivate him today. [.] With the fall of the Wall, Fetting, too, became a chronicler of the changes in Berlin that continue to affect the city today. He is fascinated by transformation: “What had previously been just a stone’s throw from Moritzplatz—where, after being harassed and searched, one entered another country—could now roam and explore without obstacles. In the early days, it was like a dream. It was as if in a fever that I created these East Berlin sketches during that time," Fetting recalled in 1994. Construction cranes were a characteristic feature of Berlin in the years after the fall of the Wall and were even used in the city’s marketing campaigns. Much like towering skyscrapers as symbols of economic growth, they stood out as the tallest structures against the horizon and shaped the skyline during a time of transition. Potsdam Square, a transportation hub in the 1920s and once located in the mined border territory during the Cold War, became “Europe’s largest construction site”, a place where Daniel Barenboim conducted the “ballet of the cranes” to the tune of Beethoven’s Ninth Symphony in 1996. Simone Wiechers, Pelikane am Potsdamer Platz, in: Exhibition catalog, Berlinische Galerie (ed.) Rainer Fetting. Berlin, Munich 2011, pp. 112–115, here pp. 113–114 Called up: December 5, 2026 - ca. 16.53 h +/- 20 min.

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