" l i n k e d "

Lettl Collection

Oil paintings by Wolfgang Lettl     -    Rugs by Jürgen Dahlmanns

Oil painting:
Monday Morning (1984), 136x108cm

Rajasthan3|NaturalAnthracite, 300x250cm

There is a total of 26 combinations of which a painting is arranged with the rug in the background.

In a sense simple, the rug is just the background like a frame for the paintings. This is exemplified in the painting “Monday Morning”.

Oil painting:
Finale - allegro ma non troppo (2007), 90x140cm

Feathers Lane|PinkAbbey, 300x250cm

For most of the paintings we managed to find a combination where the carpet can enhance the subtle meaning of the painting.This way the painting and the rug mesh together.

The tilting millstone in this painting which is induced by the jumping off of the “reliable” is evidently represented in the background of the rug.

The horizontal lines of the peacock's feathers indicate the equilibrium that existed a short time before.

The jump-off ofthe “reliable” is on the same time the end of the person sitting in front of him. But this donkey-like figure is unaware of his upcoming demise, so he continuous to play peacefully.

The painting: “Finale - allegro ma non troppo”, was one of the last art works of Wolfgang Lettl.

Oil painting:
Bankruptcy (2002), 97x83cm

Skin Wasteland 28, 300x250cm

The spirit of this „connection“ is on one hand the harmoniousness in terms of color and shape, on the other hand the bringing together of two apparently unrelated worlds.

You will notice a correlation between the “open can” on the left of the rug with the black heaven-like body of the painting in terms of shape and color.

The face of an infant on the top right corner contrast with the non-visible head of the person in the painting.

In the painting “Bankruptcy” a well-dressed man makes himself scarce, obviously having made his profits. What remains is scrap and waste seemingly in another world, in the background formed by the rug.

Oil painting:
The Trial (1981), 118x133cm

Crystal3|Original, 300x250cm

Oil painting:
The Operation (1999), 138x170cm

Splash Supreme|DarkAuberigne, 300x250cm

Rug Star's carpets are handmade in two manufactories that are located in Nepal and India and offer outstanding quality due to their tightly knotted fabrics. In Nepal, a good 800 people work to produce the finest Tibetan carpets employing centuries-old techniques in hand-knotting those textile marvels.

Contrary to other methods of rugmaking, three warps are threaded through the weft at the same time when making the Tibetan. The resulting knot allows for blending fabrics and colours on the loom.

A technical detail that perfectly accommodates Dahlmann's preference of working with gradients in his designs.

Oil painting:
High Council (2004), 116x146 cm

Dresden 300x250cm

Aside from the harmonious colors of the painting and the rug, the painting shows Jesus carrying the cross along the shadows, which continues to the right in the pattern of the rug.

Thus, painting and rug become connected.

The various cross configurations remind us of the crown of thrones as well as thetwo-thousand-year old history of the church.

She doesn't want to go (2006), 162x126cm

Kimono|LeafsGoldDawn, 300x250cm

Jürgen Dahlmanns:

Hand-knotted Tibetan and Persian rugs are packed with remarkable craftsmanship; the key to the product is technical competence and an open heart with a curios spirit. Our designs are textile landscapes, which are brimming with life and colours. The main focus remains the representation of motion in this centuries-old craftsmanship of knotting carpets by hand. Static patterns are raised and colour scapes are made to bloom. This way times long past are being revived by our love for material and surface treatment - giving a new lease of life to what seemed long forgotten.

The knowledge I have achieved after 13 years working with hand knotted rugs:

To break the rules, you must first master them.

Oil painting:
Free fall (2004), 105x140cm

Good Fellows|Original, 300x200cm

Oil painting:
The Allée at Borrington (1985), 128x105cm

Woods4 | Orignial, 300x250cm

It is breathtaking how well the lights and shades of the impressionistic style of art and pointillism blend together.

Oil painting:
The Delegation (1980), 114x137cm

Time2|LightBlue, 300x250cm

Oil painting:
Tiffanyville (1973), 60x90cm

Bakhu|ECONeonStrawberry, 300x250cm

Oil painting:
Augustus II. the Strong (1976), 32x55cm

Ikat Dragon|ElectricBlue

A poem written by Wolfgang Lettl


Auf meiner Brust saß ein Insekt
und krabbelte im Haar,

ich nehme an, daß dies Insekt
ein Brusthaarkrabbler war.

Er setzte sich dann voller Lust
inmitten meiner Dame Brust;

doch als kein einzges Haar er fund
verschwand er schnell im Untergrund.

Oil painting:
Die Begegnung (1985), 89x154cm

Margarith|DeepPurple, 300x250cm

Oil painting:
3.Stufe der Methamorphose eines Fahrradständers (2002), 102x102cm

Rajasthan10|ElectricBlue, 300x250cm

Oil painting:
The Solution of the Problems (1976), 72x109cm

Albert1|ZeroPile, 300x250cm

Wolfgang Lettl:

The Cage

Everyone needs his own cage.
We need it so that we know
where we belong:
In the cage.
The cage protects us,
it gives us safety,
we can straighten ourselves
with the help of its bars.
The cage has a double wall,
one should really say
that it has double bars
because there is an inner
and an outer cage.

We partially build
the inner cage ourselves,
partlially it is built
by the environment;
the outer cage is partially built
by the environment
and partially by ourselves.

If the cage does not have a solid base
but is only placed over you,
you can knock it over
and then you are free.
But that is very dangerous.

Oil painting:
The Tower of the Red Bulls (1981), 113x168cm

Ice3|ECONeonSupreme, 300x250cm

Oil painting:
The Assasination of Louis XIV. (1977), 95x158cm

Cracks33|AubergineOnSalbei, 300x250cm

The Persian designs of Rug Star's collection, on the other hand, are newly interpreted in Northern India's Jaipur, where another 800 people implement a further ancient tradition.

There, knots are created by a single warp giving Dahlmann's the means to design finely detailed patterns and complex images.

Oil painting:
Coup d'état (1981), 118x90cm

Sacred5|Original, 300x250cm

Oil paintings:
Die Herrn der Nacht, Magdalena, Der Überfall (2005), jeweils 79x90cm

Sacred3|Original, Melancholica|Original, jeweils 300x250cm

Oil painting:
The Tube (1988), 118x163cm

No Honey|RedMix, 300x250cm

The surreal painting illustrates people going into a tube to find protection and security from the elements.

You need a closer view to recognize that the people leaving the tube are transformed into beetles by the force of this tube.

Der Teppich im Hintergrund nimmt die Farbigkeit des Bildes auf und unterstreicht die Metamorphose ins animalische.

It is the job of the viewer to think about the symbolic meaning of a tube or tunnel.

Oil painting:
Under Suspicion (1994), 129,5x102cm

1956|Original, 300x250cm

Oil painting:
The Victim (1979), 70x80cm

Parrots|Original, 300x250

If you consider the fact that both works of art (the painting and the rug) originated independent of each other, it is rather amazing how well they mesh together.

Oil painting:
Lily,(1970), 87x87cm

Ashan|ECO NeonDeepPurple, 300x250cm

Oil painting:
The Transfiguration (1977), 89x107cm

Mono2 Supreme|SoftBrown, 300x250cm

Oil painting:
The Judgement (1990), 127x134cm

Splash5|Hemp, 300x250cm

The judgement – and then this rug in the colors of a burst paint bomb – it seems to be dropped on the ground at random, hardly predictable yellow and red ink spots from a subtle pen – but now you must try to live with it.

The black spot/dot on the ground seems to be the signature.

Credits: Story


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