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Pubblio Dal Soglio wrote about him in 1987
london@duellmemorial.com
Bernard Berenson writes that the values of the image must prevalent in a painting, Berenson himself called them “tactile values”, a word that made history. He was so obsessed by those “tactile values” that had to give the spectator the sense of the weight of bodies and painted things that he expected the same effects also from the atmosphere.
Only Cezanne could have been able to attain such bold result. But in the end we realize that much wider is the range of the values, of the motivations, in a word of the language of art. The lightness or better the levity of form is not certainly inferior to their ponderability. That is important above all for the landscape where the sky, the clouds the air itself must be in some way returned to us, if we had already savoured or given them away as a present, if we had been alienated from them by the obsession of daily life.
I think that one of the prevailing artistic qualities that several works by Heinz J. Düll have in common is this freshness not meridian, panic, absolute, but a witty and tonic freshness, rich in light dull colours given by a bold stroke of the brush, clean and discontinuous.
Those passages where old villages melt in the landscape probably for a process of sublimation or of condensation are certainly very attractive and you look and look again at them with a touch of emotion. The process that leads the painter to create his still life is quite different. There is something silky in the light stroke of the brush that may resemble the thin thread of a spider web or of a silky worm that catches and holds the image. It is then that the proper combination of colours gets the images to stand out from the background and show them with taste and brightness.
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