Terra Cognita HEIKE NEGENBORN
96 Innenseiten HNegenborn_Cantz 1 02/03/2020 15:24
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−−−−
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96 Innenseiten HNegenborn_Cantz 2 02/03/2020 15:24
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2018388_Cantz-3 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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Terra Cognita HEIKE NEGENBORN
ZEICHNUNGDRAWING
DRUCKGRAFIKPRINTMAKING
MALEREIPAINTING
96 Innenseiten HNegenborn_Cantz 3 02/03/2020 15:24
ËD!FÌ
ËD!FÌ
ËD!FÌ
2018388_Cantz-3 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
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3 −−
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−4
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−−−−
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−−−−
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−−−−
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−−24
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Prin
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For
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96 Innenseiten HNegenborn_Cantz 4 02/03/2020 15:25
Ë:!8ÌË:!8ÌË:!8Ì
2018388_Cantz-2 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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G0
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2018388_Cantz - $[ProductN
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▼ ▼
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Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
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Lin+Process
ZEICHNUNGDRAWING
“Skizzen zu fertigenbedeutet Samen zu säen
um Bilder sprießen zu lassen.
VINCENT VAN GOGH
Sketching is like planting seeds in order
to grow pictures. „
96 Innenseiten HNegenborn_Cantz 5 02/03/2020 15:25
Ë:!8ÌË:!8ÌË:!8Ì
2018388_Cantz-2 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
YC
MY
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2018388_Cantz - $[ProductN
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© H
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SuprasetterFujifilm
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1/15
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Lin+Process
Saint-Bauzille-de-la-Sylve 2, 2007 (Detail)
6
96 Innenseiten HNegenborn_Cantz 6 02/03/2020 15:25
ËD!FÌ
ËD!FÌ
ËD!FÌ
2018388_Cantz-3 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
−−−−
−−−
11 −
−−−−
−−−−
−−−−
−−12
−−−−
−−−−
−−−−
− B
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−−−
−−−−
−−−−
−−14
−−−−
−−−−
−−−−
− C
= ..
. −−−
−−−−
−−−−
−−16
−−−−
−−−−
−−−−
− M
= ..
. −−−
−−−−
−−−−
−−18
−−−−
−−−−
−−−−
− Y
= ...
−−−
−−−−
−−−−
−−20
−−−−
−−−−
−−−−
−−−
21 −
−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
−−−−
−−−−
−−−−
−−28
−−−−
−−−−
−−−−
−−−
29 −
−−−−
−−−−
−−−−
−−30
−−−−
−−−−
−−−−
−−−
31 −
−−−−
−−−−
−−−−
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Prin
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S−4i
For
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102
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© 2
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7
96 Innenseiten HNegenborn_Cantz 7 02/03/2020 15:25
ËD!FÌËD!FÌËD!FÌ
2018388_Cantz-3 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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▼ ▼
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Plate Control Strip
© H
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V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
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Tim
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Lin+Process
Saint-Bauzille-de-la-Sylve 1, 2007Tressan, 2007
8
96 Innenseiten HNegenborn_Cantz 8 02/03/2020 15:25
Ë:!8Ì
Ë:!8Ì
Ë:!8Ì
2018388_Cantz-2 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
−−−−
−−−
11 −
−−−−
−−−−
−−−−
−−12
−−−−
−−−−
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−−−−
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−−−−
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−−16
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−−−−
−−−−
−−18
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−−−−
−−−−
−−20
−−−−
−−−−
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21 −
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−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
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−−−−
−−−−
−−28
−−−−
−−−−
−−−−
−−−
29 −
−−−−
−−−−
−−−−
−−30
−−−−
−−−−
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Prin
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For
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96 Innenseiten HNegenborn_Cantz 9 02/03/2020 15:25
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2018388_Cantz-3 INH
−−−−
−−−−
−−−−
−−−
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−−−−
−−−−
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−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
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−−−−
−−−−
−−−
5 −−
−−−−
−−−−
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−−−−
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−−−−
−−−−
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11 −
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−−−−
−−−−
−−12
−−−−
−−−−
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−−22
−−−−
−−−−
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23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
−−−−
−−−−
−−−−
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−−−−
−−−−
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−−−−
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Prin
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S−4i
For
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102
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0g (p
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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
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11
96 Innenseiten HNegenborn_Cantz 11 02/03/2020 15:25
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2018388_Cantz-2 INH
−−−−
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96 Innenseiten HNegenborn_Cantz 12 02/03/2020 15:25
ËD!FÌËD!FÌËD!FÌ
2018388_Cantz-3 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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2018388_Cantz - FB 002 - Widerdruck - $[ProductName] - 05.06.2020
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© H
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V13.0g (pdf)
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1/15
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She is often out and about with her camera and painting utensils, es-
pecially in the Cevennes, the southern French plateau with its wild, austere
landscape and rivers winding their way through deep gorges, or in her native
Palatinate region with its soft vastness of the cultivated Rhine plain – both re-
gions covered by an overarching sky in which the spherical structures of enor-
mous cloud formations unfold their dramatic scenario. For Heike Negenborn,
this immediate contact with nature is vital for her images attained from real-
ity, with which she is currently taking center stage in landscape painting. Low
horizon lines, flat landscapes with a one-point or two-point linear perspective,
meticulously captured details of trees, shrubbery, or rock formations, olive tree
groves or vineyards, the apparently infinite sky with diverse cloud formations
familiar from the Dutch paintings of the seventeenth century: these are typical
of Heike Negenborn’s landscape paintings. The quality of her art evokes an
almost photographic depiction of the real world, which seems lost in reverie
despite the moving cumulus clouds and a particularly dramatic use of light.
She transfers the onlooker into the pleasant incommensurability of scenic ex-
panse which, despite its having been formed into a cultivated landscape by
humankind, does not indulge in a fanciful illusion of untouched nature but, as a
result of its openness and apparent wilderness, suggests a feeling of freedom,
solitude, and infinity. Here one can breathe, here one can be, in a shapely pro-
portionality of sublimity and self-assertion.
Heike Negenborn’s sketches and paintings are governed by a linear
perspective grid, which may not only be perceived beneath layers of paint, but
which intentionally overlaps and breaks through the scenic illusion. The grid
Sie ist viel in der Natur unterwegs, mit Fotoapparat und Malutensilien,
vor allem in den Cevennen, dem südfranzösischen Hochplateau mit seiner wil-
den, herben Landschaft und in tiefe Schluchten gegrabenen Flussläufen oder
in der heimatlichen Pfalz mit den sanften Weiten der bewirtschafteten Rhein-
ebene – beide Regionen mit einem alles überspannenden Himmel, in dem die
sphärischen Gebilde gewaltiger Wolkenformationen ihr dramatisches Szenario
entfalten. Für Heike Negenborn ist diese unmittelbare Berührung mit der Natur
unverzichtbar für ihre der realen Welt enteigneten Bildfindungen, mit denen
sie derzeit die Bühne der Landschaftsmalerei maßgeblich besetzt. Niedrige
Horizontlinien, flache Landschaften mit Zentralperspektive oder doppeltem
Fluchtpunkt, minutiös erfasste Details von Bäumen, Sträuchern oder Felsforma-
tionen, Olivenbaumhainen oder Rebstockfeldern, unendlich erscheinende Him-
melsgewölbe mit vielfältigsten Wolkenformationen, wie man sie aus der nieder-
ländischen Malerei des 17. Jahrhunderts kennt, sind charakteristisch für Heike
Negenborns Landschaftsgemälde. Die Qualität dieser Malerei evoziert ein
nahezu fotografisches Abbild einer realen Welt, die trotz der bewegten Wol-
kenkumuli und einer dezidiert geführten Lichtdramaturgie seltsam entrückt
und still wirkt. Sie versetzt den Betrachter in die wohltuende Unermesslichkeit
landschaftlicher Weite, die zwar vom Menschen zur Kulturlandschaft überformt
ist – ergo nicht einer fantastischen Illusion unberührter Natur nachhängt – aber
dennoch dank ihrer Offenheit und scheinbaren Wildheit das Gefühl von Freiheit,
Einsamkeit und Unendlichkeit suggeriert. Hier lässt es sich atmen, hier darf man
sein, in einer wohlproportionierten Verhältnismäßigkeit zwischen Erhabenheit
und Selbstbehauptung.
13
DIE VERMESSUNG DER WELTGundula S. Caspary
MEASURING THE WORLDGundula S. Caspary
96 Innenseiten HNegenborn_Cantz 13 02/03/2020 15:25
ËD!FÌËD!FÌËD!FÌ
2018388_Cantz-3 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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Weiße Wolke N°1, 2017 Weiße Wolke N°2, 2017 Weiße Wolke N°4, 2019
96 Innenseiten HNegenborn_Cantz 14 02/03/2020 15:25
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hence serves as a constructional basis for the landscape in order to support the
highest possible illusion of depth and space, as can also be seen in her latest
series, Netscapes. Here, towering clouds grow into the landscape, flowing
across the horizon as if wanting to escape the two-dimensional picture plane.
The graphical result of capturing and measuring a cultivated landscape on-site,
based on a specifically developed color-coded grid, confidently traces these
excerpts of nature in order to genuinely depict and fixate them on the pictorial
ground. This makes them similar to a documentary survey, either modulated
in an intense range of color or else reduced to a sketchy black-and-white de-
piction. In some paintings, the execution is so keenly modulated that they at
times resemble digitally created photographs or colorized photographs from
the nineteenth century, albeit considering that these were far hazier. Within
other works, it is not lines but pixelated grids similar to a digitalized enlarge-
ment that define the landscape, thereby referring to the undeniable present of
the twenty-first century and its appropriation of visual perception through the
medium of digital photography.
The dialectic in observing world, nature, and cultivated landscape, as
well as the ambivalence in capturing the artistic natural excerpt on something
verging between on-site sketch, photography, mathematical construction, ar-
tistic interpretation, and subjective perception – which is an integral part of
every observation of nature because it is constituted solely through the indi-
vidual sensitivity of the observer – this dialectic between scientific analysis
and the imagination reminds one of Daniel Kehlmann’s novel Measuring the
World. In this work, Kehlmann describes the mathematical and geographical
Heike Negenborns Skizzen und Gemälden liegen – als Konstruktions-
basis für die Landschaften im Dienste einer größtmöglichen Tiefen- und Raum-
wirkung – zentralperspektivische Gitternetze zugrunde, die nicht nur unter und
zwischen den Farbschichten durchscheinen, sondern sie bewusst überlagern
und die landschaftliche Illusion durchbrechen, ebenso wie in der jüngsten Bild-
serie der Netscapes die Wolkentürme die Landschaft und den Horizont über-
borden, als wollten sie aus der zweidimensionalen Bildfläche ausbrechen. Das
zeichnerische Ergebnis der Erfassung und Vermessung einer Kulturlandschaft
vor Ort auf einem farblich abgesetzten, speziell entwickelten Tiefenraster durch-
misst selbstbewusst den Ausschnitt der Natur, um diesen ‚wahrhaftig‘ abzubilden
und auf dem Bildgrund zu fixieren – fast einer dokumentarischen Bestandsauf-
nahme gleich, in Modulationen einer kräftigen Farbpalette oder auch reduziert
zu skizzenhaften Schwarz-Weiß-Abbildern. Die Ausführung der Malerei ist in
einigen Arbeiten derart scharf modelliert, dass sie bisweilen wie digital bear-
beitete Fotografien wirken oder wie überzeichnete und kolorierte Fotografien
aus dem vorletzten Jahrhundert – eingedenk der Tatsache, dass diese seiner-
zeit ungleich diffuser waren. In anderen Werken durchziehen nicht Linien, son-
dern scheinbar verpixelte Raster wie bei einer digitalisierten Vergrößerung den
Landschaftsraum und verweisen auf den unleugbaren Gegenwartsbezug zum
21. Jahrhundert und die Vereinnahmung der visuellen Wahrnehmung durch das
Medium der digitalen Fotografie.
Diese Dialektik in der Betrachtung der Welt, der Natur und der Kultur-
landschaft, sowie die Ambivalenz in der Erfassung des künstlerischen Natur-
ausschnitts zwischen Vor-Ort-Skizze, Fotografie, mathematischer Konstruktion,
15
96 Innenseiten HNegenborn_Cantz 15 02/03/2020 15:25
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Netscape 7, 2019
96 Innenseiten HNegenborn_Cantz 16 02/03/2020 15:25
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findings of the contrapuntal protagonists Carl Friedrich Gauß and Alexander
von Humboldt in between theory and empiricism, consistently grounding the
establishment of the reader’s empathy for his figures and scenes through dia-
lectic breaks. Kehlmann creates a stylistic polarity – which is also reflected in
the characters’ double biography – by, on the one hand, introducing the laconic
contemporary habitus of short sentences and a sober structure reminiscent of
the style of scientific essays. On the other hand, he uses idiomatic language
that reminds us of the language of the nineteenth century, including swift
changes between seriousness and pleasantry, tragedy and humor.
Heike Negenborn’s work is also defined by a profound ambivalence
between a mathematical and geographical exploration of natural scenes, her
own perception, as well as experiences in contemplating nature. By referring
back to Dutch topoi of landscape art (without which contemporary landscape
painting would not be conceivable), she stays committed to the reality of the
present-day world. She disenchants the topic of landscape, which has been im-
bued with pathos since Romanticism, by implementing grid structures, offering
reassurance by drawing reference to an objective instrument of the geographi-
cal as well as the artistic method of measuring landscape and space. The grid
furthermore provides an intellectual frame of sobriety as it calls to mind histori-
cal paragons of perspectival construction known since the Renaissance. On the
other hand, her at times dramatic cloud formations and her use of emotionally
charged light and color elements allow her and her aesthetical works of art to
mediate a feeling of sublimity or at least an awareness of its possible existence.
Considering the vastness of her landscapes and the ephemeral density of her
malerischer Interpretation und subjektiver Wahrnehmung, die jedem Blick auf
Landschaft immanent ist, da diese sich nur durch die individuelle Befindlich-
keit des Betrachters konstituiert – diese Dialektik zwischen wissenschaftlicher
Analyse und Imagination erinnert an Daniel Kehlmanns Roman Die Vermessung
der Welt. Darin beschreibt dieser die mathematischen und geografischen Ent-
deckungen der beiden kontrapunktischen Protagonisten Carl Friedrich Gauß
und Alexander von Humboldt zwischen Theorie und Empirie und vermag es
stets, die empathische Vereinnahmung des Lesers für seine Figuren oder Szenen
durch dialektische Brüche zu erden. Mit einem einerseits lakonischen Habitus
zeitgemäß kurzer Sätze und einer an die Nüchternheit wissenschaftlicher Ab-
handlungen gemahnenden Struktur sowie Redewendungen, die andererseits an
die Sprache des 19. Jahrhunderts erinnern, mit einem schnellen Wechsel zwischen
Ernst und Scherz, Tragik und Humor, entwickelt Kehlmann eine stilistische Pola-
rität, die sich auch in den Charakteren seiner Doppelbiografie spiegelt.
Auch Heike Negenborns Werk ist von einer tiefen Ambivalenz zwischen
mathematisch-geografischer Untersuchung von Naturausschnitten und selbst-
bezogener Wahrnehmung sowie Erfahrung von Naturbetrachtung geprägt: In-
dem sie auf niederländische Topoi von Landschaftsbildern rekurriert (ohne die
sich zeitgenössische Landschaftsmalerei ohnehin nicht denken lässt), bleibt sie
der Gegenwart der realen Welt verpflichtet. Sie entzaubert das seit der Romantik
mit Pathos besetzte Thema der Landschaft, indem sie mittels der Gitterstruktu-
ren eine Rückversicherung an ein objektives Instrument der geografischen sowie
künstlerischen Vermessung von Landschaft und Raum und damit einen intellek-
tuellen Rahmen der Ernüchterung implementiert, stellt das Raster doch zugleich
17
96 Innenseiten HNegenborn_Cantz 17 02/03/2020 15:25
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Wolkenvielfalt, 2008 Cumulonimbus mediocris 3, 2012 Nightscape 3, 2012Nightscope, 2008
96 Innenseiten HNegenborn_Cantz 18 02/03/2020 15:25
ËX!XÌËX!XÌËX!XÌ
2018388_Cantz-5 INH
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soaring clouds, a subtle effect arises that vacillates between the forces of na-
ture and a breathless silence. Here one can dare address the notion of beauty
without risking to fall for superficiality or sentimentalism.
Whereas in Kehlmann’s work the waves’ continuous breaking at the
shore inspires the pragmatic and yet highly philosophical question of how to set
the demarcation line between water and land, Heike Negenborn’s work raises
yet another question: where does the documentary nature of her depictions of
landscape and measurements of nature end, and where does the empathetic
perception and artistic imagination of landscape begin? Here as well as there,
it remains an intangible, flowing transition, one that cannot be measured or
fixated. How soothing it is for the recipient to discover that despite all the ob-
jective methods in the world and in art, the same elemental considerations are
blended into an insoluble dialectic, providing nature and landscape not only
with a realistic perspective, but also with an indispensable artistic perspective
that focuses on the fascination of nature’s grandeur, beauty, and immeasura-
bility. With this in mind, the landscapes created by Heike Negenborn can be
understood as either a complex system of poetical analysis or an analytical
poetry about experiences of landscape. ■
eine Rückbesinnung auf historische Vorbilder der perspektivischen Konstruktion
seit der Renaissance dar. Andererseits gestattet sie sich und ihren durch die teils
dramatischen Wolkengebilde, durch Licht- und Farbeinsatz stimmungsvoll aufge-
ladenen, ästhetischen Werken jedoch zugleich die Vermittlung eines erhabenen
Gefühls oder zumindest das Bewusstsein um dessen mögliche Existenz. In An-
betracht der Weite ihrer Landschaften und der ephemeren Dichte ihrer Wolken-
berge entsteht eine subtile Wirkung zwischen der Macht der Naturgewalten
und einer atemlosen Stille. Hier darf man den Begriff der Schönheit wagen,
ohne Gefahr zu laufen, in Oberflächlichkeit oder Gefühlsduselei zu verfallen.
Kommt bei Kehlmann angesichts der sich fortwährend am Strand
brechenden Wellen ganz pragmatisch und doch zu höchst philosophischem
Tiefgang verdichtet die Frage nach der Demarkationslinie zwischen Wasser und
Land auf, so stellt sich für das Werk von Heike Negenborn ebenso die Frage,
wo der dokumentarische Charakter ihrer Landschaftsporträts und Naturver-
messungen endet und die empathische Betrachtung und künstlerische Imagi-
nation der Landschaft beginnt. Hier wie dort bleibt es ein ungreifbar fließender
Übergang, der sich nicht ermessen und fixieren lässt. Wie wohltuend für den
Rezipienten, dass sich trotz aller sachlichen Methoden in der Welt und in der
Kunst die gleichen elementaren Erwägungen zu einer unlösbaren Dialektik
verschmelzen lassen, die der Natur und Landschaft neben der realen eine
unverzichtbare künstlerische Sicht auf das Faszinosum ihrer Größe, Schönheit
und Unermesslichkeit bietet. In diesem Sinne lassen sich die Landschaftsbilder
von Heike Negenborn als ein komplexes System der poetischen Analyse oder
analytischen Poesie von Landschaftserfahrung begreifen. ■
19
96 Innenseiten HNegenborn_Cantz 19 02/03/2020 15:25
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96 Innenseiten HNegenborn_Cantz 20 02/03/2020 15:25
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© H
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V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
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98%99%
Lin+Process
DRUCKGRAFIK PRINTMAKING
96 Innenseiten HNegenborn_Cantz 21 02/03/2020 15:25
ËN!JÌËN!JÌËN!JÌ
2018388_Cantz-4 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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▼ ▼
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Plate Control Strip
© H
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V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
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Tim
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0.5P
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Lin+Process
Un regard ouvert, 2014 (Detail)
22
96 Innenseiten HNegenborn_Cantz 22 02/03/2020 15:25
ËX!XÌ
ËX!XÌ
ËX!XÌ
2018388_Cantz-5 INH
−−−−
−−−−
−−−−
−−−
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−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
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−−−−
−−−−
−−−−
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−−−−
−−−−
−−−−
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5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
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−−−−
−−−−
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−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
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−−−−
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−−12
−−−−
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−−16
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−−−−
−−−−
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−−−−
−−−−
−−−−
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−−−
−−−−
−−−−
−−20
−−−−
−−−−
−−−−
−−−
21 −
−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
−−−−
−−−−
−−−−
−−28
−−−−
−−−−
−−−−
−−−
29 −
−−−−
−−−−
−−−−
−−30
−−−−
−−−−
−−−−
−−−
31 −
−−−−
−−−−
−−−−
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Prin
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23
96 Innenseiten HNegenborn_Cantz 23 02/03/2020 15:25
ËX!XÌËX!XÌËX!XÌ
2018388_Cantz-5 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
YC
MY
BC
MY
slurCB
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2018388_Cantz - FB 003 - Widerdruck - $[ProductName] - 05.06.2020
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ame] - 05.06.2020 13:38:22 - W
iderdruck - FB 003 - B
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antz - $[ProductNam
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▼ ▼
▼
▼
▼
Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
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20%25%
30%40%
50%60%
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80%90%
95%97%
98%99%
Lin+Process
Chaîne des Alpes, 2016
24
Drei weiße Bäume, 2016
96 Innenseiten HNegenborn_Cantz 24 02/03/2020 15:25
ËN!JÌ
ËN!JÌ
ËN!JÌ
2018388_Cantz-4 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
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−−−−
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−−12
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23 −
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−−−−
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−−24
−−−−
−−−−
−−−−
−−−
25 −
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−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
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−−−−
−−−−
−−28
−−−−
−−−−
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29 −
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−−−−
−−−−
−−30
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96 Innenseiten HNegenborn_Cantz 25 02/03/2020 15:25
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2018388_Cantz-5 INH
−−−−
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−−−−
−−−
1 −−
−−−−
−−−−
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96 Innenseiten HNegenborn_Cantz 26 02/03/2020 15:25
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2018388_Cantz-4 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
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2013 Heidelberger D
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2018388_Cantz - FB 003 - Schöndruck - $[ProductName] - 05.06.2020
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Weiße Wolke N°1, 2017
96 Innenseiten HNegenborn_Cantz 27 02/03/2020 15:25
ËN!JÌ
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2018388_Cantz-4 INH
−−−−
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−−−−
−−−
1 −−
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−−−−
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3 −−
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5 −−
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9 −−
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11 −
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−−−−
−−−−
−−20
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−−−−
−−−−
−−−
21 −
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−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
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−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
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27 −
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For
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Proc
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28
Weiße Wolke N°4, 2019Weiße Wolke N°2, 2017
96 Innenseiten HNegenborn_Cantz 28 02/03/2020 15:25
ËX!XÌËX!XÌËX!XÌ
2018388_Cantz-5 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
YC
MY
BC
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slurYB
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2018388_Cantz - FB 003 - Widerdruck - $[ProductName] - 05.06.2020
2018388_Cantz - FB 003 - Widerdruck - $[ProductName] - 05.06.2020
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:22 - W
iderdruck - FB 003 - B
lack2018388_C
antz - $[ProductNam
e] - 05.06.2020 13:38:22 - Widerdruck - FB
003 - Cyan
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:22 - W
iderdruck - FB 003 - M
agenta2018388_C
antz - $[ProductNam
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003 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100
▼ ▼
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Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
0.5 P
Tim
es
1 PT
imes
2 PT
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imesT
imes4P
Tim
es2P
Tim
es1P
Tim
es
0.5P
0/100%1%
2%3%
5%10%
20%25%
30%40%
50%60%
70%75%
80%90%
95%97%
98%99%
Lin+Process
Weiße Wolke N°5, 2019
29
96 Innenseiten HNegenborn_Cantz 29 02/03/2020 15:25
ËX!XÌËX!XÌËX!XÌ
2018388_Cantz-5 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
YC
MY
BC
MY
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slurYB
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2018388_Cantz - FB 003 - Widerdruck - $[ProductName] - 05.06.2020
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2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:22 - W
iderdruck - FB 003 - B
lack2018388_C
antz - $[ProductNam
e] - 05.06.2020 13:38:22 - Widerdruck - FB
003 - Cyan
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ame] - 05.06.2020 13:38:22 - W
iderdruck - FB 003 - M
agenta2018388_C
antz - $[ProductNam
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003 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100
▼ ▼
▼
▼
▼
Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
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96 Innenseiten HNegenborn_Cantz 32 02/03/2020 15:25
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2018388_Cantz-5 INH
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Proc
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33
The small village in Southern France, Saint-Jean-de-Fos, pictur-
esquely situated at the foothills of the Cevennes in the Languedoc region, is
a meaningful place for Heike Negenborn’s work. In 1989, she visited there for
the very first time, on the occasion of an excursion headed by her university
teacher Peter Lörincz who became her overall mentor. For the young artist,
this stay marked the discovery of landscape, the beginning of an engagement
with the perceived environment, which in the meantime has been ongoing for
over thirty years. Lörincz a renowned representative of new realism, was an
exceptional teacher with a vital impact on the artistic assets of his students.
He proved equally influential for Heike Negenborn, whose artistic develop-
ment he fostered through offering advice and exemplary artistic work. In 1995,
she spent an entire year in Saint-Jean-de-Fos. Once more, this experience led
to a significant change, this time palpable in her style. Whereas she formerly
used to draw her landscape depictions freehand, she then began to organize
the surface and space of her work by means of an intense focus on stringent
perspectival construction – this eventually became the structural foundation
for her further work.
To see in perspective, to think in perspective is clearly an option
towards the future, an idea against the infinite. The boldly used linear per-
spective in Negenborn’s realized creations focuses on an infinite, far-away
vanishing point, joined by metaphysical implications. Through the relation
between point of station and vanishing point, the perspectival picture conveys
“a feeling of powerful subjectivity, the observer experiences himself as an indi-
vidual.”1 This rational construction in her works, which adopts the perspectival
Das kleine südfranzösische Dorf Saint-Jean-de-Fos, im Languedoc ma-
lerisch vor den Ausläufern der Cevennen gelegen, ist ein wichtiger Ereignisort
für die Malerei Heike Negenborns. 1989 ist sie zum ersten Mal dort, mit einer
studentischen Exkursion, geleitet von Peter Lörincz, der ihr Lehrer für alles in
allem wird. Dieser Aufenthalt bringt für die junge Künstlerin die Entdeckung der
Landschaft, den Beginn einer nun über 30 Jahre währenden Beschäftigung mit
dem gesehenen Lebensraum. Lörincz, ein renommierter Vertreter des Neuen
Realismus, ist ein hervorragender Pädagoge, der die künstlerischen Anlagen
seiner Schüler und Schülerinnen wegweisend leitet. So auch bei Heike Negen-
born, deren malerische Entwicklung er beratend und beispielhaft unterstützt.
1995 ist sie für ein ganzes Jahr in Saint-Jean-de-Fos und wieder bringt der Auf-
enthalt einen wesentlichen, nun stilistischen Umbruch: Ihre zuvor freihändige
Landschaftsmalerei erfährt in intensiver Auseinandersetzung durch eine konse-
quente perspektivische Führung eine Flächen- und Raumorganisation, die zur
strukturellen Grundlage ihres weiteren Schaffens wird.
Perspektivisch sehen, perspektivisch denken ist natürlich eine Opti-
on auf die Zukunft, eine Idee gegen Unendlich. Die im entwickelten Werk von
Heike Negenborn offensiv eingesetzte Zentralperspektive der Bilder fokussiert
sich auf einen unendlich fernen Fluchtpunkt, verbunden mit metaphysischen
Implikationen. Durch das Verhältnis von Augenpunkt und Fluchtpunkt ver-
mittelt das perspektivische Bild so „das Gefühl handlungsmächtiger Subjekti-
vität, der Betrachter erlebt sich als Individuum.“1 Diese rationale Konstruktion
der Arbeiten, die sich die perspektivischen Errungenschaften der Renaissance
aneignet und ins Heute überführt, ist zugleich die statische Komponente
NUAGESHeinz Höfchen
NUAGESHeinz Höfchen
96 Innenseiten HNegenborn_Cantz 33 02/03/2020 15:25
Ëb!fÌ
Ëb!fÌ
Ëb!fÌ
2018388_Cantz-6 INH
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Wolkenmacht, 2008
96 Innenseiten HNegenborn_Cantz 34 02/03/2020 15:25
Ël!jÌËl!jÌËl!jÌ
2018388_Cantz-7 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
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−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
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35
achievements of the Renaissance and transfers them to the present, consti-
tutes the static component of Negenborn’s landscapes, which the artist dia-
lectically contrasts with the motif of movement.
Anyone who has listened to the composition Nuages by Django Rein-
hardt can imagine what clouds meant to him: a representation of the original
homeland of the homeless Sinti and Roma, because they keep wandering like
the clouds. However, these clouds are not only a sentimental melancholic alle-
gory for travelers, rather, they represent the everlasting journey per se. For
Reinhardt, their musical description was a vehicle for his concerns, his life,
and his art, driven by the certainty of their metamorphosis, for even the most
intimidating cloud formations promise hope, even though they eventually dis-
solve.
Sometimes Heike Negenborn cheerfully refers to herself as Nua-
geuse: unlike music, which is ephemeral, she uses artistic means to transform
clouds into solid beauty, although, of course, clouds do embody an idea of
motion. Since 2004, the artist has been incorporating clouds in her creations
by making them the key motif of the subject matter. Her work is motivated and
inspired by Dutch landscape painting of the seventeenth century, in particular
by Jacob van Ruisdael, who introduced the category of flat landscape with a
low horizon and a high cloudy sky as a true depiction of landscape into Euro-
pean painting. Thus, Heike Negenborn becomes part of a specific tradition of
realistic representation in landscape painting, whose artistic style with clear,
authentic, and scenic realizations deeply reminds one of the landscape paint-
ing of German Romanticism.
der Landschaften Negenborns, der die Künstlerin dialektisch ein Bewegungs-
motiv entgegenstellt.
Wer je die Komposition Nuages von Django Reinhardt gehört hat,
kann sich vorstellen, was die Wolken für ihn waren: ein Bild für die eigentliche
Heimat der heimatlosen Sinti und Roma, denn sie ziehen weiter, wie die Wol-
ken. Aber die Wolken sind nicht nur ein sentimental-melancholisches Gleich-
nis für Reisende, ja für das permanente Reisen an sich. Für Reinhardt war ihre
musikalische Beschreibung wohl Vehikel seiner Sorgen, seines Lebens, seiner
Kunst – getrieben von der sicheren Gewissheit ihrer Metamorphose, denn auch
die bedrohlichsten Wolkenformationen geben Hoffnung, auch sie werden sich
irgendwann auflösen.
Heike Negenborn nennt sich manchmal heiter Nuageuse – sie verwan-
delt die Wolken mit den Mitteln der Malerei, anders als die Flüchtigkeit der
Musik es vermag, in eine stabile Schönheit, wenngleich die Wolken natürlich
die Idee der Bewegung spiegeln. Seit 2004 integriert die Künstlerin Wolken in
ihre Werke und macht sie als Schlüsselmotiv zum eigentlichen Inhalt der Bilder.
Ihre Arbeit ist dabei angeregt und inspiriert von der holländischen Landschafts-
malerei des 17. Jahrhunderts, insbesondere vom Werk Jacob van Ruisdaels,
der den Typus der Flachlandschaft mit niedrigem Horizont und hohem Wol-
kenhimmel als naturnahe Abbildung von Landschaft in die europäische Malerei
eingebracht hat. Damit steht Heike Negenborn in einer spezifischen Tradition
der Wirklichkeitserfassung in der Landschaftsmalerei, deren Stilstufe mit klaren,
realistischen landschaftlichen Ausformulierungen stark an die Landschaftsmale-
rei der deutschen Romantik erinnert.
96 Innenseiten HNegenborn_Cantz 35 02/03/2020 15:25
Ël!jÌ
Ël!jÌ
Ël!jÌ
2018388_Cantz-7 INH
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Arboras, 2009
96 Innenseiten HNegenborn_Cantz 36 02/03/2020 15:25
Ëb!fÌËb!fÌËb!fÌ
2018388_Cantz-6 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
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−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
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−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
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Lin+Process
37
To her, cloud formations are foremost aesthetic moments without fur-
ther content-related implications. Nevertheless, clouds are iconographically
defined by tradition; this means their pictorial meaning has long been deter-
mined and handed down. In Western Christian culture, clouds are symbols of
concealment, as they are in Islam, too, where they specifically represent the
inscrutability of Allah. In the second book of Moses, God leads the Israelites
in the form of a pillar of clouds, as they are leaving Egypt, and the resurrected
Christ is veiled by a shroud of clouds. In illustrations of the Last Judgment,
the throne of God is formed out of clouds; moreover, in early medieval art, the
creator is depicted by a hand parting the clouds. Up to this day, this image
represents divine omnipotence. On a more secular level, we contemplate the
fair-weather clouds with a cheerful, free spirit and a positive state of overall
happiness lets us float on “cloud nine.”
For Negenborn, clouds are a heroic idealization of landscape, re-
garded as a symbol of internal scenic drama. With a strong emphasis on tower-
ing clouds, she accomplishes a vivid intensity of the dialectic pair of sky and
earth, showing it with a straightforward access. This is complemented by the
contrast between movement and stasis, projection and moment. She has been
photographing her clouds since 2004. Photography, next to her preliminary
drawings, to her is sketch, design, and archive, a realistic set-piece that she
brings and integrates into her paintings. In her creations, reality and illusion
blend together, become inseparable.
In the East of Africa, the Kilimanjaro, a mountainous massif of almost
6000 meters in height, soars above the clouds. Beneath his most western sum-
Wolken sind ihr zunächst vor allem ästhetische Momente, ohne weite-
re inhaltliche Implikationen. Allerdings sind Wolken ikonografisch, das heißt in
ihrer Bildbedeutung, schon lange determiniert, durch Tradition und Vererbung
festgelegt. Im abendländisch-christlichen Kulturkreis, aber übrigens auch im Is-
lam, gelten Wolken als Symbole der Verhüllung, beziehungsweise stehen für die
Unerforschlichkeit Allahs. Gott zieht im 2. Buch Mose als Wolkensäule vor den
Israeliten her, die aus Ägypten auswandern und auch der auferstandene Chris-
tus wird von Wolken umhüllt. Auf Bildern des Jüngsten Gerichts wird der Thron
Gottes aus Wolken gebildet und in der frühmittelalterlichen Kunst ist der Schöp-
fer durch eine Hand symbolisiert, die durch die Wolken dringt: Noch heute
bedeutet dieses Bild göttliche Allmacht. Profan gesehen denkt daneben sicher
jeder gern an die Schönwetterwolken mit heiterer, freier Stimmungslage und die
positive Laune der Freude am Leben, die auf „Wolke sieben“ schweben lässt.
Wolken sind für Negenborn auch eine heroische Überhöhung von
Landschaft, sie gelten als Sinnbild innerer landschaftlicher Dramatik. Mit der
starken Betonung der Wolkentürme erreicht sie eine eindringliche Intensität
des dialektischen Motivpaars Himmel und Erde, zeigt es in direktem Zugriff.
Damit einher geht die Gegenüberstellung von Bewegung und Statik, von Pro-
jektion und Moment. Seit 2004 fotografiert sie ihre Wolken. Fotografie ist ihr –
neben den vorbereitenden Zeichnungen – Skizze, Entwurf und Archiv, ein rea-
listisches Versatzstück, das sie der Malerei zuführt und in sie integriert. Realität
und Illusion vermischen sich in ihrer Malerei dabei untrennbar.
Über den Wolken thront im Osten Afrikas der Kilimandscharo, ein Berg-
massiv von fast 6.000 Metern Höhe. Sein westlicher Gipfel heißt bei den Massai
96 Innenseiten HNegenborn_Cantz 37 02/03/2020 15:25
Ëb!fÌËb!fÌËb!fÌ
2018388_Cantz-6 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
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2018388_Cantz - $[ProductN
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▼ ▼
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© H
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SuprasetterFujifilm
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38
Two white trees, 2008
96 Innenseiten HNegenborn_Cantz 38 02/03/2020 15:25
Ël!jÌ
Ël!jÌ
Ël!jÌ
2018388_Cantz-7 INH
−−−−
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−−−
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1 Jochen Schulte-Sasse, „Perspektive“, in: Karlheinz Barck, Martin Fontius, Dieter Schlenstedt, Burkhart Steinwachs, Friedrich Wolfzettel, Ästhetische Grundbegriffe, 7 Bde., Bd. 4, Stuttgart, Weimar 2010, S. 770.
2 Ernest Hemingway, „The Snows of Kilimanjaro”, in: Esquire, New York, August 1936, Intro.
1 Jochen Schulte-Sasse, “Perspektive”, in: Karlheinz Barck, Martin Fontius, Dieter Schlenstedt, Burkhart Steinwachs, Friedrich Wolfzettel, Ästhetische Grundbegriffe, Volume 4 (Stuttgart, Weimar 2010), p. 770.
� Ernest Hemingway, “The Snows of Kilimanjaro”, in: Esquire, New York, Aug. 1936, Intro.
mit, known by the Massai as the House of God, lies the frozen skeleton of a
leopard. During an attempt to ascend, the animal had failed, forever remain-
ing in the ice, along with its secret, as Ernest Hemingway once wrote: “No
one has explained what the leopard was seeking at that altitude.”2 The frozen
leopard as an image of eternal, frozen beauty in an ultra-white landscape met-
aphorically portrays the pursuit for the sublime. It is an allegory of artistic
endeavors to reach an explicit and pure statement. Heike Negenborn is also
on a quest for pure expression: her “ frozen” landscapes are entirely free of
trivialities, they breathe an astounding clarity of the spiritual in art, and are
connected to pantheistic reasoning, originating in Spinoza’s maxim “Deus sive
Natura.” In this sense, her creations are naturalistic, aiming at the inner quality
of natural objects, the essence beneath the surface. Along these lines, Heike
Negenborn creates an entirely distinctive form of magic realism, a magical
presence of landscape. To some extent, the true topographical subject matter
is freed from one location through staging and stylization, and respectively
transformed into an ideal landscape. ■
das Haus Gottes, dicht unter ihm liegt das Gerippe eines gefrorenen Leoparden:
Beim Versuch hinaufzukommen war er gescheitert, blieb jedoch auf ewig im
Eis, allein mit seinem Geheimnis, wie Ernest Hemingway schrieb: „No one has
explained what the leopard was seeking at that altitude.“2 Der frozen leopard als
Bild unvergänglicher, schockgefrosteter Schönheit in ultraweißer Landschaft ist
eine Metapher für die Suche nach dem Erhabenen. Es ist ein Gleichnis für die
künstlerischen Bemühungen, zu klarer und reiner Aussage zu kommen. Auch
Heike Negenborn ist auf der Suche nach dem reinen Ausdruck, ihre „gefrore-
nen“ Landschaften sind völlig frei von Nebensächlichem, atmen eine stupende
Klarheit des Geistigen in der Kunst und sind wohl pantheistischem Denken,
ausgehend von Spinozas Maxime „Deus sive Natura“, verbunden. In diesem
Sinne sind ihre Arbeiten naturalistisch, sie zielt auf die innere Natur der natür-
lichen Dinge, auf den Gehalt hinter den Oberflächen. Negenborn entwickelt
dabei eine ganz eigene Form des magischen Realismus, eine magische Präsenz
von Landschaft. Die reale topografische Vorgabe wird durch Inszenierung und
Stilisierung gewissermaßen von der Ortsgebundenheit befreit und wandelt sich
jeweils zur idealtypischen Landschaft. ■
96 Innenseiten HNegenborn_Cantz 39 02/03/2020 15:25
Ël!jÌËl!jÌËl!jÌ
2018388_Cantz-7 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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▼ ▼
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Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
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1/15
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96 Innenseiten HNegenborn_Cantz 40 02/03/2020 15:25
Ëb!fÌ
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Ëb!fÌ
2018388_Cantz-6 INH
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−−−−
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−−−−
−−−−
−−−
21 −
−−−−
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−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
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25 −
−−−−
−−−−
−−−−
−−26
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−−−−
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42
96 Innenseiten HNegenborn_Cantz 42 02/03/2020 15:25
Ëb!fÌËb!fÌËb!fÌ
2018388_Cantz-6 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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Lin+Process
43
Aragón 7, 2011
96 Innenseiten HNegenborn_Cantz 43 02/03/2020 15:25
Ëb!fÌ
Ëb!fÌ
Ëb!fÌ
2018388_Cantz-6 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
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7 −−
−−−−
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−8
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11 −
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−−12
−−−−
−−−−
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−−−−
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−−−−
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−−16
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−−−−
−−18
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−−−−
−−20
−−−−
−−−−
−−−−
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21 −
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−−−−
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−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
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−−−
27 −
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−−−−
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Prin
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S−4i
For
mat
102
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0g (p
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© 2
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Proc
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Aragón 8, 2011
44
96 Innenseiten HNegenborn_Cantz 44 02/03/2020 15:25
Ël!jÌËl!jÌËl!jÌ
2018388_Cantz-7 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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G0
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▼ ▼
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Plate Control Strip
© H
eidelberger Druckm
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V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
0.5 P
Tim
es
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2 PT
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imesT
imes4P
Tim
es2P
Tim
es1P
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0.5P
0/100%1%
2%3%
5%10%
20%25%
30%40%
50%60%
70%75%
80%90%
95%97%
98%99%
Lin+Process
96 Innenseiten HNegenborn_Cantz 45 02/03/2020 15:25
Ël!jÌËl!jÌËl!jÌ
2018388_Cantz-7 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
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−−−−
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−−−−
−−−−
−−−−
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−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
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−−−−
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96 Innenseiten HNegenborn_Cantz 47 02/03/2020 15:25
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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
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16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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Prinect CS−4i Form
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96 Innenseiten HNegenborn_Cantz 48 02/03/2020 15:25
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−−−−
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1 −−
−−−−
−−−−
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−2
−−−−
−−−−
−−−−
−−−
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−−−−
−−−−
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−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
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7 −−
−−−−
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−−−−
−8
−−−−
−−−−
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9 −−
−−−−
−−−−
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−−−−
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−−−−
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23 −
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−−−−
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−−−−
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25 −
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−−−−
−−−−
−−26
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−−−−
−−−−
−−−
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−−−−
−−24
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−−−−
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−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
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−−28
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−−−−
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29 −
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Prin
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S−4i
For
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Proc
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96 Innenseiten HNegenborn_Cantz 50 02/03/2020 15:25
ËÆ!|ÌËÆ!|ÌËÆ!|Ì
2018388_Cantz-9 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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C 20
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2018388_Cantz - FB 005 - Widerdruck - $[ProductName] - 05.06.2020
2018388_Cantz - FB 005 - Widerdruck - $[ProductName] - 05.06.2020
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iderdruck - FB 005 - B
lack2018388_C
antz - $[ProductNam
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2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:46 - W
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agenta2018388_C
antz - $[ProductNam
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005 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100
▼ ▼
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© H
eidelberger Druckm
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V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
0.5 P
Tim
es
1 PT
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2 PT
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4 PT
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Tim
es2P
Tim
es1P
Tim
es
0.5P
0/100%1%
2%3%
5%10%
20%25%
30%40%
50%60%
70%75%
80%90%
95%97%
98%99%
Lin+Process
51
Skyscape 11, 2013
96 Innenseiten HNegenborn_Cantz 51 02/03/2020 15:25
ËÆ!|Ì
ËÆ!|Ì
ËÆ!|Ì
2018388_Cantz-9 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
−−−−
−−−
11 −
−−−−
−−−−
−−−−
−−12
−−−−
−−−−
−−−−
− B
= ...
−−−
−−−−
−−−−
−−14
−−−−
−−−−
−−−−
− C
= ..
. −−−
−−−−
−−−−
−−16
−−−−
−−−−
−−−−
− M
= ..
. −−−
−−−−
−−−−
−−18
−−−−
−−−−
−−−−
− Y
= ...
−−−
−−−−
−−−−
−−20
−−−−
−−−−
−−−−
−−−
21 −
−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
−−−−
−−−−
−−−−
−−28
−−−−
−−−−
−−−−
−−−
29 −
−−−−
−−−−
−−−−
−−30
−−−−
−−−−
−−−−
−−−
31 −
−−−−
−−−−
−−−−
−−32
Prin
ect C
S−4i
For
mat
102
/105
D
ipco
13.
0g (p
df)
© 2
013
Hei
delb
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asch
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AG
0B
CM
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MC
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C 2
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40
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CM
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20Y
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80B
CM
YB
CM
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20B
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MY
CY
CM
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MY
BC
MY
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BB
CM
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20
C 4
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YB
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2018388_Cantz - FB 005 - Widerdruck - $[ProductName] - 05.06.2020
2018388_Cantz - FB 005 - Widerdruck - $[ProductName] - 05.06.2020
2018
388_
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tz -
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oduc
tNam
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05.0
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3:38
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erdr
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2018
388_
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erdr
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388_
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15
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5 3
0 3
5 4
0 4
5 5
0 5
5 6
0 6
5 7
0 7
5 8
0 8
5 9
0 9
5 9
6 9
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9 1
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▼
▼
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es1PTim
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0.5P
0/10
0%1%
2%3%
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%20
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%60
%70
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%80
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%97
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Lin+
Proc
ess
96 Innenseiten HNegenborn_Cantz 52 02/03/2020 15:25
Ëv!xÌËv!xÌËv!xÌ
2018388_Cantz-8 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
YC
MY
BC
MY
slurCB
CM
YC
20C
40C
80B
CM
YslurM
BC
MY
M 20
M 40
M 80
BC
MY
BC
MY
Y 20Y 40
Y 80B
CM
YB
CM
YB 20
B 40B 80
BC
MY
slurYB
CM
YC
YC
MY
CM
YB
CM
YslurB
BC
MY
C 20
C 40
C 80
BC
MY
slurCB
CM
YM
20Y 80
BC
MY
slurYB
CM
YB 20
B 40B 80
BC
MY
slurBB
CM
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MY
CM
YB
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20C
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YB
CM
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20M
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80B
CM
YslurC
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Y 20Y 40
Y 80B
CM
YslurM
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B 20B 40
B 80B
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YslurY
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CM
YslurB
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CM
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2018388_Cantz - FB 005 - Schöndruck - $[ProductName] - 05.06.2020
2018388_Cantz - FB 005 - Schöndruck - $[ProductName] - 05.06.2020
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Black
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Cyan
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Magenta
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100
▼ ▼
▼
▼
▼
Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
0.5 P
Tim
es
1 PT
imes
2 PT
imes
4 PT
imesT
imes4P
Tim
es2P
Tim
es1P
Tim
es
0.5P
0/100%1%
2%3%
5%10%
20%25%
30%40%
50%60%
70%75%
80%90%
95%97%
98%99%
Lin+Process
96 Innenseiten HNegenborn_Cantz 53 02/03/2020 15:25
Ëv!xÌËv!xÌËv!xÌ
2018388_Cantz-8 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
YC
MY
BC
MY
slurCB
CM
YC
20C
40C
80B
CM
YslurM
BC
MY
M 20
M 40
M 80
BC
MY
BC
MY
Y 20Y 40
Y 80B
CM
YB
CM
YB 20
B 40B 80
BC
MY
slurYB
CM
YC
YC
MY
CM
YB
CM
YslurB
BC
MY
C 20
C 40
C 80
BC
MY
slurCB
CM
YM
20Y 80
BC
MY
slurYB
CM
YB 20
B 40B 80
BC
MY
slurBB
CM
YM
YC
MY
CM
YB
CM
YB
CM
YC
20C
40C
80B
CM
YB
CM
YM
20M
40M
80B
CM
YslurC
BC
MY
Y 20Y 40
Y 80B
CM
YslurM
BC
MY
B 20B 40
B 80B
CM
YslurY
BC
MY
CM
YslurB
BC
MY
CM
Y
2018388_Cantz - FB 005 - Schöndruck - $[ProductName] - 05.06.2020
2018388_Cantz - FB 005 - Schöndruck - $[ProductName] - 05.06.2020
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Black
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Cyan
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Magenta
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:34 - Schöndruck - FB
005 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100
▼ ▼
▼
▼
▼
Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
0.5 P
Tim
es
1 PT
imes
2 PT
imes
4 PT
imesT
imes4P
Tim
es2P
Tim
es1P
Tim
es
0.5P
0/100%1%
2%3%
5%10%
20%25%
30%40%
50%60%
70%75%
80%90%
95%97%
98%99%
Lin+Process
54
Skyscape 11, 2013 (Detail)
96 Innenseiten HNegenborn_Cantz 54 02/03/2020 15:25
ËÆ!|Ì
ËÆ!|Ì
ËÆ!|Ì
2018388_Cantz-9 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
−−−−
−−−
11 −
−−−−
−−−−
−−−−
−−12
−−−−
−−−−
−−−−
− B
= ...
−−−
−−−−
−−−−
−−14
−−−−
−−−−
−−−−
− C
= ..
. −−−
−−−−
−−−−
−−16
−−−−
−−−−
−−−−
− M
= ..
. −−−
−−−−
−−−−
−−18
−−−−
−−−−
−−−−
− Y
= ...
−−−
−−−−
−−−−
−−20
−−−−
−−−−
−−−−
−−−
21 −
−−−−
−−−−
−−−−
−−22
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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
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−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
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−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
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−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
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2018388_Cantz - $[ProductN
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005 - Magenta
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© H
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V13.0g (pdf)
SuprasetterFujifilm
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1/15
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Lin+Process
Netscape 2, 2015/2018
59
96 Innenseiten HNegenborn_Cantz 59 02/03/2020 15:25
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2018388_Cantz-8 INH
−−−−
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−−−
1 −−
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−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
−−−−
−−−
11 −
−−−−
−−−−
−−−−
−−12
−−−−
−−−−
−−−−
− B
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−−−
−−−−
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−−−−
−−−−
−−−−
− C
= ..
. −−−
−−−−
−−−−
−−16
−−−−
−−−−
−−−−
− M
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. −−−
−−−−
−−−−
−−18
−−−−
−−−−
−−−−
− Y
= ...
−−−
−−−−
−−−−
−−20
−−−−
−−−−
−−−−
−−−
21 −
−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
−−−−
−−−−
−−−−
−−28
−−−−
−−−−
−−−−
−−−
29 −
−−−−
−−−−
−−−−
−−30
−−−−
−−−−
−−−−
−−−
31 −
−−−−
−−−−
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Prin
ect C
S−4i
For
mat
102
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© 2
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96 Innenseiten HNegenborn_Cantz 60 02/03/2020 15:25
ËÆ!|ÌËÆ!|ÌËÆ!|Ì
2018388_Cantz-9 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
YC
MY
BC
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slurCB
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M 20
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M 80
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BC
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Y 20Y 40
Y 80B
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YB
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B 40B 80
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MY
slurYB
CM
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C 20
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B 20B 40
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2018388_Cantz - FB 005 - Widerdruck - $[ProductName] - 05.06.2020
2018388_Cantz - FB 005 - Widerdruck - $[ProductName] - 05.06.2020
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:46 - W
iderdruck - FB 005 - B
lack2018388_C
antz - $[ProductNam
e] - 05.06.2020 13:38:46 - Widerdruck - FB
005 - Cyan
2018388_Cantz - $[ProductN
ame] - 05.06.2020 13:38:46 - W
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antz - $[ProductNam
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005 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100
▼ ▼
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Plate Control Strip
© H
eidelberger Druckm
aschinen AG 2013
V13.0g (pdf)
SuprasetterFujifilm
Brillia LH−PJE
1/15
0.5 P
Tim
es
1 PT
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2 PT
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Tim
es2P
Tim
es1P
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0.5P
0/100%1%
2%3%
5%10%
20%25%
30%40%
50%60%
70%75%
80%90%
95%97%
98%99%
Lin+Process
96 Innenseiten HNegenborn_Cantz 61 02/03/2020 15:25
ËÆ!|ÌËÆ!|ÌËÆ!|Ì
2018388_Cantz-9 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
ruckmaschinen A
G0
BC
MY
CM
CM
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MY
BC
MY
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2018388_Cantz - FB 005 - Widerdruck - $[ProductName] - 05.06.2020
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ame] - 05.06.2020 13:38:46 - W
iderdruck - FB 005 - B
lack2018388_C
antz - $[ProductNam
e] - 05.06.2020 13:38:46 - Widerdruck - FB
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V13.0g (pdf)
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Lin+Process
62
Netscape 2, 2015/2018 (Detail) Grenoble, 2016
96 Innenseiten HNegenborn_Cantz 62 02/03/2020 15:25
Ëv!xÌ
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Ëv!xÌ
2018388_Cantz-8 INH
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−−−−
−−−−
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−−−−
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−−−−
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−−−−
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−−24
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−−−−
−−−−
−−−
25 −
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−−−−
−−−−
−−26
−−−−
−−−−
−−−−
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27 −
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−−−−
−−−−
−−28
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−−−−
−−−−
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29 −
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−−−−
−−−−
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−−−−
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Prin
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S−4i
For
mat
102
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D
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13.
0g (p
df)
© 2
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−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
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−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
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−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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Prinect CS−4i Form
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96 Innenseiten HNegenborn_Cantz 76 02/03/2020 15:26
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−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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G0
BC
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2018388_Cantz - FB 006 - Widerdruck - $[ProductName] - 05.06.2020
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© H
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V13.0g (pdf)
SuprasetterFujifilm
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1/15
0.5 P
Tim
es
1 PT
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2 PT
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4 PT
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Tim
es2P
Tim
es1P
Tim
es
0.5P
0/100%1%
2%3%
5%10%
20%25%
30%40%
50%60%
70%75%
80%90%
95%97%
98%99%
Lin+Process
96 Innenseiten HNegenborn_Cantz 77 02/03/2020 15:26
Ë0"3ÌË0"3ÌË0"3Ì
2018388_Cantz-11 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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2018388_Cantz - FB 006 - Widerdruck - $[ProductName] - 05.06.2020
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© H
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V13.0g (pdf)
SuprasetterFujifilm
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1/15
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96 Innenseiten HNegenborn_Cantz 78 02/03/2020 15:26
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−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
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−−−−
−−−−
−−−−
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9 −−
−−−−
−−−−
−−−−
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−−−−
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−−−−
−−−−
−−12
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−−−−
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−−−−
−−20
−−−−
−−−−
−−−−
−−−
21 −
−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
−−−−
−−−−
−−−−
−−28
−−−−
−−−−
−−−−
−−−
29 −
−−−−
−−−−
−−−−
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−−−−
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−−−
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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
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−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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V13.0g (pdf)
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96 Innenseiten HNegenborn_Cantz 80 02/03/2020 15:26
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For
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−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
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−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
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−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
−−−−
−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
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−−−−
−−−−
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−−−
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−−−−
−−12
−−−−
−−−−
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−−−−
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−−18
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−−−−
−−−−
−−20
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−−−−
−−−−
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21 −
−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
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−−−−
−−−−
−−−−
−−26
−−−−
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−−−−
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Steinbruch, 2019 (Detail)
96 Innenseiten HNegenborn_Cantz 82 02/03/2020 15:26
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2018388_Cantz-13 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
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16−−−−−−−−−−−−− M
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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
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© H
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83
Steinbruch, 2019
96 Innenseiten HNegenborn_Cantz 83 02/03/2020 15:26
ËD,BÌ
ËD,BÌ
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2018388_Cantz-13 INH
−−−−
−−−−
−−−−
−−−
1 −−
−−−−
−−−−
−−−−
−2
−−−−
−−−−
−−−−
−−−
3 −−
−−−−
−−−−
−−−−
−4
−−−−
−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
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−8
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−−−−
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9 −−
−−−−
−−−−
−−−−
−10
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11 −
−−−−
−−−−
−−−−
−−12
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−−−−
−−−−
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−−−−
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−−16
−−−−
−−−−
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−−−−
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−−−−
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−−−−
−−−−
−−−−
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−−−−
−−−−
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23 −
−−−−
−−−−
−−−−
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−−−−
−−−−
−−−−
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25 −
−−−−
−−−−
−−−−
−−26
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Prin
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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
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−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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Prinect CS−4i Form
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2013 Heidelberger D
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© H
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Seiten pages 4/5, 7Saint-Bauzille-de-la-Sylve 2, 2007Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cm
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Seite page 8Saint-Bauzille-de-la-Sylve 1, 2007Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cmMuseum Pfalzgalerie Kaiserslautern
Seite page 9Saint-Bauzille-de-la-Sylve 3, 2007Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cm
Seite page 11Blick auf Arboras vom Rocher des Vierges, 2009 Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cm PrivatsammlungPrivate�collection
Seiten pages 14, 27Weiße Wolke N°1, 2017 Unikatsgrafik, Mischtechnik kaschiert auf BüttenpapierSingle�print��mixed�media�mounted�on�handmade�paper50 x 60 cm
Seiten pages 14, 28Weiße Wolke N°2, 2017 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Seiten pages 14, 28Weiße Wolke N°4, 2019 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Seite page 16Netscape 7, 2019 Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas130 x 155 cm
Seite page 18Nightscope, 2008 Acryl auf Holz Acrylic�on�wood44 x 104 cm
Seite page 18Wolkenvielfalt, 2008 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seite page 18Cumulonimbus mediocris 3, 2012 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seite page 18Nightscape 3, 2012 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seiten pages 20/21, 23Un regard ouvert, 2014 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Seite page 24Drei weiße Bäume, 2016 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Seite page 24Chaîne des Alpes, 2016 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Verzeichnis der Abgebildeten WerkeL��I�W
85
96 Innenseiten HNegenborn_Cantz 85 02/03/2020 15:26
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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
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Seite page 25Steinbruch, 2017 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Seite page 29Weiße Wolke N°5, 2019 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Seite page 31Weiße Wolke N°7, 2019 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm
Seite page 34Wolkenmacht, 2008 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seite page 36Arboras, 2009 Acryl auf Holz Acrylic�on�wood44 x 52 cm Seite page 38Two white trees, 2008 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seiten pages 40/41, 43Aragón 7, 2011 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seite page 45Aragón 8, 2011 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seite page 46Streiflicht 6, 2011 Acryl auf Holz Acrylic�on�wood44 x 52 cm
Seite page 47Causse de Millau, 2013Acryl auf HolzAcrylic�on�wood64 x 76 cm
Seite page 49Skyscape 10, 2013Acryl auf LeinwandAcrylic�on�canvas105 x 125 cmPrivatsammlung Private�collection
Seiten pages 51, 52/53Skyscape 11, 2013Acryl auf LeinwandAcrylic�on�canvas105 x 125 cm
Seite page 55Skyscape 12, 2013Acryl auf LeinwandAcrylic�on�canvas�105 x 125 cm
Seite page 57Abbruchkante, 2015Acryl auf HolzAcrylic�on�wood64 x 76 cm
Seiten pages 59, 60/61Netscape 2, 2015/2018Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cmMuseum Wilhelm Morgner, Soest
Seite page 63Grenoble, 2016Acryl auf HolzAcrylic�on�wood64 x 76 cm
Seite page 64Rotenfels, 2017Acryl auf HolzAcrylic�on�wood64 x 76 cmPrivatsammlungPrivate�collection
Seite page 65Hortus, 2018Acryl auf HolzAcrylic�on�wood64 x 76 cm
Seite page 66Wißberg 6, 2018Acryl auf HolzAcrylic�on�wood�64 x 76 cm
96 Innenseiten HNegenborn_Cantz 86 02/03/2020 15:26
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−−−−
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−−−−
−−−−
−−−
5 −−
−−−−
−−−−
−−−−
−6
−−−−
−−−−
−−−−
−−−
7 −−
−−−−
−−−−
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−8
−−−−
−−−−
−−−−
−−−
9 −−
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−−−−
−−−−
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−−−
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−−−−
−−−−
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−−24
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−−26
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Seite page 67Beleuchtet, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection
Seite page 69Carrière, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cm
Seite page 70Sonniger Hang, 2017Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection
Seite page 71Herbstlicher Weingarten, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection
Seite page 72Laurentiusberg, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection
Seite page 73Netscape 3, 2016Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cmMuseum Wilhelm Morgner, Soest
Seite page 75Netscape 5, 2019Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cm
Seite page 76Netscape 6, 2019Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cmMuseum Pfalzgalerie Kaiserslautern
Seite page 77Netscape 8, 2019Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cm
Seite page 79Huayna Potosi, Bolivien, 2019Acryl auf Holz Acrylic�on�wood�64 x 76 cm
Seiten pages 80/81, 83Steinbruch, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cm Privatsammlung Private�collection
Seite page 89Netscape 9, 2019Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cm
87
96 Innenseiten HNegenborn_Cantz 87 02/03/2020 15:26
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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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88
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Ë:"7Ì
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−−−−
−−−−
−−−−
−−−
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−−−−
−−−−
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−−−−
−−−−
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−−−−
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−−−−
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−−−−
−−−−
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7 −−
−−−−
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−8
−−−−
−−−−
−−−−
−−−
9 −−
−−−−
−−−−
−−−−
−10
−−−−
−−−−
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−−−
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−−−−
−−−−
−−−−
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−−−−
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−−−−
−−−−
−−−−
−−22
−−−−
−−−−
−−−−
−−−
23 −
−−−−
−−−−
−−−−
−−24
−−−−
−−−−
−−−−
−−−
25 −
−−−−
−−−−
−−−−
−−26
−−−−
−−−−
−−−−
−−−
27 −
−−−−
−−−−
−−−−
−−28
−−−−
−−−−
−−−−
−−−
29 −
−−−−
−−−−
−−−−
−−30
−−−−
−−−−
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31 −
−−−−
−−−−
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BiografieB
1983Studium der Bildenden Kunst, Washington College, Chestertown, Maryland, USA1988Bachelor of Arts, Austin College, Sherman, Texas, USA1994Staatsexamen in Kunsterziehung und Englisch für das Lehramt an Gymnasien, Johannes Gutenberg–Universität Mainz2001 Diplom Freie Bildende Kunst in den Fachgebieten Malerei und Druckgrafik bei Prof. Peter Lörincz, Akademie für Bildende Künste Mainz
Auszeichnungen1987Kunststipendium am Austin College, Sherman, Texas, USA1993Förderstipendium der Johannes Gutenberg–Universität, Mainz1998Stadtdruckerpreis der Stadt Mainz, Preis für Druckgrafik 2000Stipendium am Künstlerbahnhof Ebernburg, Bad Münster am Stein-Ebernburg2004Preis für Malerei, Galerie im Uhrturm, Dierdorf2005Mitglied der Pfälzischen Sezession, Bad Dürkheim2011Mitglied im Künstlersonderbund in Deutschland, Berlin2013Albert-Haueisen-Hauptpreis für Malerei, Jockgrim2014Andreas-Kunstpreis, „Natur/Mensch” Kategorie Malerei, Nationalpark Harz2015Kunstpreis Eisenturm für Malerei, Mainz2016Wilhelm-Morgner-Preis 2016 für Malerei, Museum Wilhelm Morgner, Soest
����Studies of Fine Arts, Washington College, Chestertown, Maryland, USA����Bachelor of Arts, Austin College, Sherman, Texas, USA����State examination in English and Art Education for teaching at high schools, Johannes Gutenberg University Mainz, Germany����Diploma in Painting and Printmaking with Prof. Peter Lörincz, Academy of Fine Arts Mainz, Germany
Awards����Scholarship from Austin College, Sherman, Texas, USA����Scholarship from the Johannes Gutenberg University Mainz, Germany����Stadtdruckerpreis from the City of Mainz, category Printmaking, Germany����Artist-in-residence Künstlerbahnhof Ebernburg, Bad Münster am Stein-Ebernburg, Germany����Art Award, category Painting, Uhrturm Gallery, Dierdorf, Germany����Member of the Palatinate Secession, Bad Dürkheim, Germany���� Member of the Künstlersonderbund in Germany, Berlin, Germany����Albert Haueisen Art Award, category Painting, Jockgrim, Germany����Andreas Art Award, category Painting: "Nature/Man", Harz National Park, Germany����Art Award Eisenturm, category Painting, Mainz, Germany���� Wilhelm Morgner Award 2016, category Painting, Museum Wilhelm Morgner, Soest, Germany
96 Innenseiten HNegenborn_Cantz 90 02/03/2020 15:26
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2018388_Cantz-12 INH
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2017Ehrenpreis, 10e Biennale internationale d'estampe contemporaine de Trois-Rivières, Québec, Kanada2018Arbeitsstipendium der Association Les Vendémiaires, Résidence d’Emma, Saint-Mathieu-de-Tréviers, Frankreich Pfalzpreis für Bildende Kunst in der Sparte Malerei 2018 (Hauptpreis), Museum Pfalzgalerie Kaiserslautern
Werke in öffentlichen SammlungenMinisterium für Bildung, Wissenschaft, Jugend und Kultur des Landes Rheinland-Pfalz, MainzGrafische Sammlungen der Bauten des Bundes in BerlinKunstsammlungen der Veste CoburgPurdue Permanent Collection, West Lafayette, Indiana, USAStiftung Rheinland-Pfalz für Kultur, Künstlerhaus EdenkobenKunstsammlung Krohne, DuisburgMuseum Wilhelm Morgner, SoestBiennale internationale d'estampe contemporaine de Trois-Rivières, Québec, KanadaMuseum Pfalzgalerie Kaiserslautern
PublikationenHeike Negenborn. Blickfang, hrsg. von Heinz Höfchen, Ausst.-Kat. Museum Pfalzgalerie Kaiserslautern 2019Heike Negenborn. Übersichten, Ausst.-Kat. Kunststation Kleinsassen, Hofbieber-Kleinsassen 2016Heike Negenborn. Disegno, Ausst.-Kat. Galerie du Moustique, Saint-Jean-de-Fos 2012
����Honorable Mention, 10th International Biennial of Contemporary Printmaking, Trois-Rivières, Québec, Canada����Artiste-in-residence, Association Les Vendémiaires, Résidence d’Emma, Saint-Mathieu-de-Tréviers, France Pfalzpreis for Fine Arts in the category of Painting 2018, Museum Pfalzgalerie Kaiserslautern, Germany
Works in Public CollectionsMinistry of Education, Science, Youth and Culture of the land Rhineland-Palatinate, Mainz, GermanyGraphic collections of federal buildings in Berlin, GermanyVeste Coburg Art Collections, GermanyPurdue Permanent Collection, West Lafayette, Indiana, USARhineland-Palatinate Foundation for Culture, Künstlerhaus Edenkoben, GermanyKrohne Art Collection, Duisburg, GermanyMuseum Wilhelm Morgner, Soest, GermanyInternational Biennial of Contemporary Printmaking, Trois-Rivières, Québec, CanadaMuseum Pfalzgalerie Kaiserslautern, Germany
PublicationsHeike Negenborn. Blickfang, ed. by Heinz Höfchen, exh. cat. Museum Pfalzgalerie Kaiserslautern 2019Heike Negenborn. Übersichten, exh. cat. Kunststation Kleinsassen, Hofbieber-Kleinsassen 2016Heike Negenborn. Disegno, exh. cat. Galerie du Moustique, Saint-Jean-de-Fos 2012
96 Innenseiten HNegenborn_Cantz 91 02/03/2020 15:26
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Ausgewählte Einzelausstellungen SSE
2020 . Terra Cognita, Stadtmuseum Siegburg. Terra Cognita, Museum Wilhelm Morgner, Soest. Terra Cognita, Galerie Peter Zimmermann, Mannheim
2019 . Landschaften, Galerie Poll, Berlin. Transit, Galerie Hübner + Hübner, Frankfurt am Main. Blickfang, Preisträgerausstellung für Bildende Kunst in der Sparte Malerei 2018,
Museum Pfalzgalerie Kaiserslautern
2018 . Wolkenmacht und Tiergeflüster, UP ART Galerie für zeitgenössische Kunst, Neustadt an der Weinstraße
. Blickfelder, Kunsthaus Frankenthal
2017 . Weitblick, Galerie unterm Maulbeerbaum, Badenheim . Weitblick, Künstlerbahnhof Ebernburg, Bad Kreuznach
2016 . Familienbande, mit / with Michael Rausch, Galerie Ulrich Gering, Frankfurt am Main. Übersichten, Kunststation Kleinsassen, Hofbieber
2015 . Der weite Blick, Atelier-Galerie Jürgen Schmitz, Siegburg. Der weite Blick, Ingelheimer Kunstverein, Ingelheim am Rhein
2014 . Verleihung des Albert-Haueisen-Hauptpreises für Malerei 2013, Jockgrim
2013 . Junger Kunstkreis Hünfeld, mit / with Peter Lörincz, Hünfeld. Nah und Fern, mit / with Michael Rausch, Museum Pachen, Rockenhausen
2012 . Un regard ouvert – Una mirada abierta, Französische Botschaft / French Embassy,
Madrid, Spanien / Spain
2011 . Wolken über Occitanien, Maison de Heidelberg, Montpellier, Frankreich / France
2007 . Galerie Art Mayence, Mainz
2006 . Gesellschaft für Bildende Kunst Trier . Museum Kronberger Malerkolonie, Kronberg im Taunus
2005 . Landschaftsvisionen, Südpfälzische Kunstgilde, Bad Bergzabern
2004 . Landschaft, Schlossparkmuseum Bad Kreuznach
2003 . Landeszentrale für private Rundfunkveranstalter, Ludwigshafen
2000. Licht und Raum, Künstlerbahnhof Ebernburg, Bad Kreuznach
1999 . Art Galerie Armand Gaasch, Dudelange, Luxemburg / Luxembourg. Essenheimer Kunstverein
1998 . SAP Ratingen, Düsseldorf / Dusseldorf. Verleihung des Mainzer Stadtdruckerpreises 1998, Gutenberg-Museum, Mainz
96 Innenseiten HNegenborn_Cantz 92 02/03/2020 15:26
ËD,BÌËD,BÌËD,BÌ
2018388_Cantz-13 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
= ... −−−−−−−−−−−−−18
−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
at 102/105 Dipco 13.0g (pdf) ©
2013 Heidelberger D
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CM
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Lin+Process
Ausgewählte GruppenausstellungenS�G�E
2020. Galerie Hübner + Hübner, art Karlsruhe. René Carcan International Prize for Printmaking, Brüssel / Brussels, Belgien / Belgium
2019 . fremd-vertraut, Kunstbezirk Stuttgart
2018 . Pfalzpreis für Bildende Kunst 2018 – Malerei, Museum Pfalzgalerie Kaiserslautern. Flux4art. Kunst in Rheinland-Pfalz, Landeskunstschau, Kunstverein Germersheim. Ereignis Druckgraphik 10, BBK Bund Bildender Künstler Leipzig
2017 . Nominiertenausstellung Wilhelm-Morgner-Preis 2016, Museum Wilhelm Morgner, Soest . 23. Karlsruher Künstlermesse 2017. 10e Biennale internationale d'estampe contemporaine de Trois-Rivières, Québec, Kanada / Canada
. Global Matrix IV – International Printmaking Exhibition, Robert L. Ringel Gallery and the Stewart Center Gallery at Purdue University, West Lafayette, Indiana, USA
. Die Große Kunstausstellung NRW Düsseldorf 2017, Kunstpalast Düsseldorf, Dusseldorf
2016. Kollision, Museum Boppard, BBK, Rheinland-Pfalz. Nominiertenausstellung Perron-Kunstpreis in der Sparte Grafik 2016, Kunsthaus Frankenthal . Wasser – 6. Realismus-Biennale, Königliche Porzellan-Manufaktur, Berlin . Das Rheinhessen-Symposium, Landesvertretung Rheinland-Pfalz, Berlin
2015. 26. Mainzer Kunstpreis Eisenturm 2015, Mainz. 70 Jahre Pfälzische Sezession, Städtische Galerie Speyer . 10. Kunstpreis Wesseling 2015, Kunstverein Wesseling. Die Große Kunstausstellung NRW Düsseldorf 2015, Kunstpalast Düsseldorf, Dusseldorf
2014. Kunstausstellung Natur – Mensch und Verleihung des Andreas- Kunstpreises, Nationalpark Harz. Krieg und Frieden, Uferhallen, Berlin. Das kleine Format – Realisten der Gegenwart, Stadtmuseum Langenfeld
2013. Kunstsalon 2013 im Ägyptischen Museum, Freie Münchner und Deutsche Künstlerschaft,
München / Munich . Internationale Grafiktriennale Krakau 2012, Contemporary Art Gallery, Oppeln / Opole,
Polen / Poland. Global Matrix III – International Print Exhibition, Central Michigan University Art Gallery, Mount Pleasant, Michigan, USA, The Art Museum at the State University of New York at Potsdam, New York, USA
2011. Biennale Internationale de la Gravure et des Nouvelles Images de Sarcelles, Paris,
Frankreich / France
2010. Licht-Bild, Essenheimer Kunstverein, Rathaus Ingelheim
2007. Pfälzische Sezession zu Gast in der Pfalzgalerie Kaiserslautern
2002 . XIII. Deutsche Internationale Grafik-Triennale, Frechen
2001. Internationale Grafikbiennale für Kaltnadelgrafik – Užice, Serbien / Serbia. John Bloxham Gallery, London, Großbritannien / Great Britain
1999. Artexpo, New York City, New York, USA
1998. The 4th Sapporo International Print Biennale Exhibition, Hokkaido Museum of Modern Art, Sapporo, Japan
1992. Das Bochum-Projekt, Kunsthalle Darmstadt
93
96 Innenseiten HNegenborn_Cantz 93 02/03/2020 15:26
ËD,BÌËD,BÌËD,BÌ
2018388_Cantz-13 INH
−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2
−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4
−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8
−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10
−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12
−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14
−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−
16−−−−−−−−−−−−− M
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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20
−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22
−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24
−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32
Prinect CS−4i Form
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−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6
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−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26
−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28
−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30
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Dieser Katalog erscheint anlässlich der Ausstellungen This catalogue is published on the occasion of the exhibitions
Terra Cognita – Heike NegenbornZeichnung, Druckgrafik & Malerei /Drawing, Printmaking &
Stadtmuseum Siegburg
Museum Wilhelm Morgner, Soest
Galerie Peter Zimmermann, Mannheim
Kloster Bentlage, Rheine
Herausgeber / Editor Gundula S. Caspary, Stadtmuseum Siegburg
Konzeption / Concept Martine Landat, Heike Negenborn
Gestaltung / Graphic design Martine Landat
Texte / Texts Gundula S. Caspary, Heinz Höfchen
Übersetzung / Translation Miriam Roath
Lektorat / Copy-editing Doris Hansmann, Lizzie Gilbert
Produktion / Production management edition cantz
Gesamtherstellung / Printing and binding Dr. Cantz’sche Druckerei Medien GmbH, Esslingen
Vertrieb und Marketing / Distribution and marketing edition cantz [email protected]
ISBN 978-3-947563-76-0Printed in Germany
Erschienen bei / Published by edition cantz www.edition-cantz.de
Umschlagabbildung / Cover illustration Huayna Potosi, Bolivien, 2019Frontispiz / Frontispiece Huayna Potosi, Bolivien, 2019 (Detail)
Bildnachweis / Photo credits Friedhelm Hoffmann: S./pp. 20/21, 23Heike Negenborn: S./pp. 8/9, 11, 14, 18, 24/25, 27–29, 31, 38, 49, 51–53, 67, 69/70, 94/95regentaucher.com: S./p. 94Stock: S./p. 14 Fotografiesbg, S./pp. 16, 18 S. HempelBeate Vogt-Gladigau: S./p. 95Sascha Zuhl: S./pp. 4/5, 7, 16, 18, 34, 36, 40/41, 43, 45–47, 55, 57, 59–61, 63–66, 71–73, 75–77, 79–81, 83, 89
© 2020 für die abgebildeten Werke von / for the reproduced works by Heike Negenborn:
© 2020 edition cantz GmbH & Co. KG, Berlin, die Künstlerin / the artist / die Autor*innen /the authors
Mit freundlicher Unterstützung von kindly supported by:
96 Innenseiten HNegenborn_Cantz 96 02/03/2020 15:26
and und
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2020 - 2022
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