Ludwig Bette

Galerie Philomene Magers

In his exhibition “Eisenglimmer” (“Micaceous iron ore,” but more generally “Iron glimmers”), Ludwig Bette restricted his palette to black, white, and various shades of gray. Along with titanium white and acrylic gel, he used micaceous iron ore, from which the show gets its name. That Bette should draw the title of his show from the color he uses is not insignificant: Bette’s large-format paintings in this gallery’'s clear white rooms are every bit as cool, as matter- of-fact, as the title would indicate. This play on the relation between the figurative and the discursive points to the artist’s affinity with his teacher Gerhard Merz.

“The Painter as Architect” ushers in a new phase in Bette’s still relatively young career. The title is programmatic, not only for his current works, but also for those early paintings that, at times, make quite concrete reference to the architecture that

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