Norbert Tadeusz – “Anthurien II”

The quiet aspect of Norbert Tadeusz’s work

Norbert Tadeusz’s “Anthurien II” reveals a quiet, almost meditative side to his oeuvre. The depiction of the exotic plant species with striking flowers is a carefully balanced composition with subtle colour gradients and an intriguing juxtaposition of dark leaves and bright flowers.

Between energy and inwardness

While Tadeusz is known for his monumental, energetic works – such as the Cavalli paintings with their dynamic depictions of horses or the slaughterhouse scenes full of physicality and movement – Anthurium II appears almost introverted. The flowers seem to be in a quiet dialogue with their surroundings, without the eruptive power of many of the artist’s other works. This reduction to a calm, seemingly meditative motif emphasises Tadeusz’s versatility and his sense of atmosphere.

Norbert Tadeusz and his artistic imprint

Norbert Tadeusz (1940-2011) was one of the most influential German painters after the Second World War. During his studies at the Düsseldorfer Kunstakademie in the 1960s, he became a master student of Joseph Beuys, among others. However, unlike Beuys or other representatives of conceptual art, Tadeusz consciously opted for a figurative, pictorial mode of expression. His works deal intensively with space, light, and physicality, often in unusual perspectives and strong colour contrasts.

Protagonists on stage

The anthuriums appear like protagonists on a stage: they dominate the pictorial space, seem close enough to touch and present themselves in an intense colour palette that ranges from rich red to more subtle nuances. The artist emphasises the materiality of the plant – the smooth surface of the leaves, the glossy, almost carnal quality of the blossom – and thus creates a sensual tension. Light reflections on the glossy surfaces of the leaves are accentuated by precisely placed brushstrokes, allowing the forms to emerge vividly.

The flowers protrude from the background; they seem to reach down into the space from above, drawing the viewer into the picture. The plant elements thus become a link between naturalistic depiction and abstract formal language.