From the end of the 19th century until today, Bach's influence in
modern painting and in music has been continuous. Numerous artists
- like Kadinsky, Kupka, Delaunay, Van Doesburg, and Klee - most
of them protagonists of non-objective painting - found a model and
inspiration in Bach's scores, seeking first of all compositional
and structural devices to transpose onto canvas. Weder's paintings
remain within this trend. His way to the Farbsymphonien was a lifelong
task, covering over 40 years of theoretical research and chemical
experiments with colors and light.
This research project intend to explore the way in which Weder approaches
Bach's music through painting, his conception of a "well-tempered
clavier" of color shades, through which he translates the scores
onto canvas. Far from any metaphorical or figurative interpretation,
the central idea is to find out how and why Weder uses Bach's polyphonic
devices to create an entirely original pictorial color language.
Its effects are fascinating, giving an impression of magical light
, glowing in three-dimensional space and stretching far beyond the
physical dimensions of the paintings.
The aim of this study is to go beyond the visible aspects of Weder's
painting in order to understand the invisible side of the pictures.
The viewer may not be aware of it, but beyond the artistic investigations,
there is also a search for universal laws and for order behind the
painter's choices and decisions. Just as it is in Bach's "Well-tempered
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