[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-439207-105":3,"detail-sidebar-cat-0-en-105":81,"doc-detail-439207-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","arpenck-above-like-the-earliest-cave-paintings-described-above","A.R.Penck - Above - Like the earliest cave paintings described above","","A.R. Penck is presented as an artist driven by an urgent, intense expression of the human psyche, often associated with neo-expressionism while positioned between that style and the exhibition’s thematic focus. The discussion centers on Penck’s dense painting Die Zukunft des Emigranten (The Future of Immigrants), his pictographic stick-figure language, and his connections to artists such as Giacometti and Klee, and prehistoric cave painting traditions. The exhibition extends this inquiry through other artists and their “generic figure” approaches.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/arpenck-above-like-the-earliest-cave-paintings-described-above/439207/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/arpenck-above-like-the-earliest-cave-paintings-described-above/439207.png","ImageObject",300,407,{"name":42,"@type":43},"WPS_1786070896","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-11-04","2026-09-29",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",9,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"Why is A.R. Penck described as intensely motivated in the exhibition text?","Question",{"text":63,"@type":64},"Penck’s paintings are described as primarily motivated by an intense, urgent expression of the human psyche.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"Which work is highlighted as one of Penck’s denser paintings?",{"text":68,"@type":64},"Die Zukunft des Emigranten (The Future of Immigrants) is highlighted as one of his denser paintings, with small episodic indications of his journey from his native land to London.",{"name":70,"@type":61,"acceptedAnswer":71},"How does the text connect Penck’s figures to earlier art traditions?",{"text":72,"@type":64},"Penck’s use of pictographic stick-figures is linked to artists such as Giacometti and Klee, as well as to prehistoric cave painters.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},439207,1790816189,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,110,115,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":89,"slug":90},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":96,"doc_module":4,"doc_module_name":25,"category_name":97,"show_sort_weight":98,"slug":99},5,"Comic",60,"comic",{"id":101,"doc_module":4,"doc_module_name":25,"category_name":102,"show_sort_weight":103,"slug":104},6,"Technology",50,"technology",{"id":106,"doc_module":4,"doc_module_name":25,"category_name":107,"show_sort_weight":108,"slug":109},7,"Healthcare",40,"healthcare",{"id":111,"doc_module":4,"doc_module_name":25,"category_name":112,"show_sort_weight":113,"slug":114},8,"Research & Report",30,"research-report",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},"Religion & 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grantsfrom the National Endowment for the Artsand SCM Corporation.  \nSTPECITIRUIM  \nJonathan BorofskyRoger BoyceJohn BuckTony CraggAntony GormleyKeith HaringJames HillGregg MorrisRies NiemiTom Otterness  \nA.R.PenckJoel Shapiro  \n# A.R.Penck\n\nAbove:  \nLike the earliest cave paintings describedabove,the paintings by the expatriot Ger-man painter A.R.Penck are primarily moti-vated by an intense,urgent expression of thehuman psyche.In fact,Penck has often beenincluded in exhibitions and articles pertain-ing to \"neo-expressionism.\"In many ways,he holds the pivotal position between thatstyle and the subject of this discussion.DieZukunft des Emigranten[1983](\"The Futureof Immigrants\")is one of his denser paintingsto date,overlaid with small episodic indica-tions of his journey from his native land tolive and work in London.Penck's use of picto-graphic stick-figures in his work of the pastfifteen years connects him with artists suchas Giacometti and Klee as well as the pre-historic cave painters.  \nDie Zukunft des Emigranten 11983Oil on canvas102×138\"  \nCollection of Emily and Jerry SpiegelCoutesy of Mary Boone/MichaelWerner Gallery  \nShout 1985  \nFiber,metal-mesh,wood,acrylic paint67×15×19\"  \nCourtesy of the Artist and Gimpel-Weitzenhoffer Gallery  \nOther works in the Exhibition:  \nLightnin Hopkins and Uhuru 1984Painted wood and lead sheathing overwood with copper nails2%×2%×49”,3×24×27\"Courtesy of the Artist and Gimpel-Weitzenhoffer Gallery  \nJames Hill  \nJames Hill,like Penck,is another artist forwhom the use of the generic figure evokesprimitive references.Hill's sculpture and flatwork have,for many years,been extensionsof ritualistic performances he privately stagesin his studio,involving various personae thatthe artist assumes.Hill feels a marked identitywith African sources,as well as his idea of alatter day American incarnation of the tribalshaman,the black,southern blues musiciansuch as Lightnin'Hopkins,whose name ap-pears in a title of one of the sculpturespresented here.The small wooden figurepainted black,its limbs hinged together,hangson the wall in a curiously vulnerable way,conveying an ominous feeling underlined byits conjunction with the rifle sculpture.Hil'sShout demonstrates other primitive tech-niques such as wrapping a stick in hemp inorder to give it \"body,\"the Janus-headedmask suggestive of the dynamic betweenintellectual ambivalence and spiritual fusion.  \nPhoto:Eric Pollitzer  \nFather and Son 1985Woodcut;ink on paper82%×37%/\"  \nCourtesy of Carlo Lamagna GalleryOther works in the Exhibition:Pacifica 1985  \nAcrylic on wood and canvas83×71×28\"  \nCourtesy of Carlo Lamagna GalleryRed Jesus 1985Woodcut;ink on paper74×37%/\"Courtesy of Carlo Lamagna Gallery  \nJohn Buck  \nA third artist whose work could be consid-ered primitive-generic is John Buck.LikeHill,Buck is fiercely committed to a moreintuitive working method,in order to syn-thesize the purposeful purity of folk art witha highly trained and refined pictorial eye.Buck's life-size wooden figures have oftenbeen the backdrop for scenes of naturalbeauty,undoubtedly informed by the perva-sive presence of nature in the Big Sky coun-try of Montana,where he has lived andworked for many years.Recently,he has setthe figure in front of an unstretched piece ofcanvas which is fixed to the wall.In Pacifica,there is no pictorial activity on the canvas,and the intense blue of the corrugated sculp-tural figure is starkly contrasted to the whitehead surmounted by a molecular construc-tion.The strange,accordion-like figure isrigidly immobile.Buck's graphic figures seenin the large scale woodcut prints Father andSon and Red Jesus,are flat analogues to thisfree-standing figure.Rather than existing inreal space,they are gouged and scored in-cisively into a wood block and also have astrong physical quality like the three-dimensional pieces.Though determinedlyfixed,al","cbCaiqr5m4Q1AYiI","https://ap.wps.com/l/cbCaiqr5m4Q1AYiI","pdf",2740973,14,"English","# A.R.Penck\n## Die Zukunft des Emigranten\n## Shout\n## Other works in the Exhibition","[{\"question\":\"Why is A.R. Penck described as intensely motivated in the exhibition text?\",\"answer\":\"Penck’s paintings are described as primarily motivated by an intense, urgent expression of the human psyche.\"},{\"question\":\"Which work is highlighted as one of Penck’s denser paintings?\",\"answer\":\"Die Zukunft des Emigranten (The Future of Immigrants) is highlighted as one of his denser paintings, with small episodic indications of his journey from his native land to London.\"},{\"question\":\"How does the text connect Penck’s figures to earlier art traditions?\",\"answer\":\"Penck’s use of pictographic stick-figures is linked to artists such as Giacometti and Klee, as well as to prehistoric cave painters.\"}]","A.R.Penck - Above - Like the earliest cave paintings described above | PDF",1790687796,22]