Holzschnitt , 27,6 x 19,0 cm
Holzschnitt , 24,8 x 14,1 cm
Holzschnitt , 39,0 x 57,2 cm
Farbmonotypie , 14,2 x 10,5 cm
Farbmonotypie , 14,1 x 10,7 cm
Farbmonotypie , 19,2 x 25,3 cm
Farbmonotypie , 24,9 x 19,0 cm
Farbmonotypie , 29,5 x 22,5 cm
Egon Pukall
curriculum vitae
| 1934 | born in Riesenkirch / Westpreußen |
| 1945 | family flees to Berlin |
| 1948-1951 | apprenticeship as a photolithographer at the company C.G. Röder Leipzig |
| 1951-1954 | studies at the Academy of Visual Arts in Leipzig under Hans Mayer-Foreyt |
| 1954-1957 | studies at the Dresden Academy of Fine Arts under Paul Michaelis |
| 1955 | marriage to Irmgard Lorbach |
| 1956 | birth of son Jens |
| 1957 | diploma with the painting “Maler und Modell” |
| member of the Association of Visual Artists, since then self-employed, acquaintance with Wilhelm Lachnit | |
| 1960 | divorce from Irmgard |
| 1961 | marriage to Maria Gadsch |
| 1964 | moving into Rudolf Otto's studio in the Künstlerhaus Loschwitz |
| 1966-1973 | collaboration with Helmut Hartung to earn a salary, acquaintance with Otto Westphal |
| 1969 | birth of son Falk |
| 1970 | start of weekly discussions with artists about painting, literature and politics with Harmut Bonk, Manfred Richter Böttcher, Ullrich Eisenfeld, Günther Torges, Georg Blume and Konrad Maass at Café Toscana near the Blaues Wunder. |
| 1973 | head of the outpost of the HfBK Bautzen, teacher of painting and graphics at the Dresden evening school |
| head of a painting and drawing circle, which he handed over to Konrad Maass in 1985 | |
| 1976 | preoccupation with still life, nude, self-portrait and portrait, several landscapes at the quarry behind Bautzen, then interiors again |
| 1977 | friendship with Sigrid Walther, director of Galerie Nord, helps her to plan and realize exhibitions |
| 1978-1984 | paint reconstruction work during the rebuilding of the Dresden Semperoper |
| 1989 | dies on September 23 at the Künstlerhaus Loschwitz after many years of illness |
Pukall's interiors, like those of Romanticism, can also be read as allegories for the limitations of earthly existence. The interior becomes a resonance chamber for a sense of the world made up of melancholy and expectation, stagnation and wanderlust, reality and illusion. Melancholy becomes the driving force behind artistic activity.
Egon Pukall - Malerei, Zeichnung, Monotypie, Dresden: Leonhardi-Museum 2009
In his paintwork, he aimed for a lean and matte application of paint, carefully removing areas that he wanted to give a different color tone. He avoided greasiness and any over-pasting of color surfaces. He painted on colored paper with gouache paints and was therefore able to cover and test areas to be reworked in advance using the toned paper.
Egon Pukall - Malerei, Zeichnung, Monotypie, Dresden: Leonhardi-Museum 2009
Longing was a central theme in Egon Pukall's paintings. He dreamed of the Mediterranean, of its light and its colors. Pukall's landscapes are metamorphoses of the near into the distant. His numerous interior and window paintings are characterized by pure areas of colour, quiet harmony and balance.
Kabinett-Ausstellung Egon Pukall, Zum 90. Geburtstag, Galerie Himmel 2024
