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I
“the other bank before eyes” („Das andere Ufer vor Augen“)
Margarete Hannsmann, was the life companion of Grieshaber had
to that the poems “the other bank” one utopian - ideal, imaginary place
before eyes. Their lyric poetry is always engaged, without therefore ever to the
agitations lyric to flat. Whether it concerns German landscape or city pictures
or is a matter of critical representations, always your poems signal liberty and
humanity.
HAP Grieshaber placed his outstanding art with 16 letter designs and 16
original woodcuts into the service to the lyric poetry of Margarethe Hannsmann.
(Edition Claassen 1972, Hamburg and Duesseldorf)
In the bound expenditure (explanations see here, only out of print 1 x available,
edition Claassen 1972, Hamburg and Düsseldorf) with the 16 original woodcuts of
Grieshaber, Margarete Hannsmann in the resolution writes to the title:
Landscape
Myth-witnessing
feeding
corrosive
myth-digesting
wiederkäuende
myth-fancied
still undestroyed
Landscape
II “roughly, finely & divine” (grob, fein &
göttlich)
37 original woodcuts - HAP Grieshaber from 1970 to the
poems and to the prose of Margarethe Hannsmann, Editeur: Claassen, Hamburg and
Düsseldorf.
Margarete Hannsmann writes, at a time, when many people, which well or badly had
been, transferred only from car to car, played I clown theatre for its children.
She collected advertisements and acted with stuffed foxes, nightingales,
larynges and art off hearts.
As to the net the bee flies
at the thread a crawler-type vehicle climbed
I seat with my shade quietly.
Two expenditures with the lyric poetry and prose of Margarethe Hannsmann
together with woodcut gri037 are still present.
Margarate Hannsmann - prose - cut-out out „roughly, finely & divine “
It does not depend on it like for a long time one there was. Whether one is born
there. Something else must be added. That related, like one as a child the grass
affected, crust, the stone, an animal, the earth. As one yet did not
differentiate between its duration and the own.
Now, differentiating, again deliver themselves. “I” say to this landscape
opposite. It accepts me. It refers me. It does not force me.
No season overwhelms.
But the sum of the characteristics.
I must against it-set my.
Suddenly there one does not have the instant in the hand, it is: in a crow cry,
in a skabiose (plant kind). The instant in a blue over the crests stands. In the
blue behind a tree skeleton appears. The instant in a black, in a green,
differently than otherwise. The instant in a stone. In the fog rises or falls.
Hans Terwege.