Waterman Gallery of Fine Arts, London 1998
While I was looking through Bernhard Vogel´s watercolours for this new exhibition, I was struck by the number of exact locations that I recognised. One might think that Vogel´s watercolours are based on his extraordinary technique and that the actual subject matter is of less importance, but this is not the case. I immediately recognised the exact spot on Primrose Hill, the little terrace opposite the Salute in Venice where so many artists stop to paint, the view over Jerusalem from the Mount of Olives, the vantage point in Heraklion Harbour looking across towards the castle. I recognised them because I had stopped and painted there myself, and I respected Vogel´s honesty and truth to his subject.
What makes these watercolours so exciting is the balance between realism and decoration. The realism lies in his confident handling of architecture, not only close up but also in the distance as the marvellous skylines of London and Jerusalem reveal. How well he has observed the advertising hoarding in Piccadilly Circus, and how effectively he has handled the boats in Hamburg and Crete. His realism extends to details such as cranes behind Big Ben or the structure of the Dome of the Rock.
Realism is about more than just architecture and detail: it is about atmosphere and light. Vogel creates luminous skies with glowing colours such as in the watercolours of London and Jerusalem. The sky behind Jerusalem seen from the Mount of Olives is iridescent with a warm ochre glow. It is a sky which Turner would have appreciated. Likewise the rich reds of Venetian buildings glow against the blue water and sky. Vogel records light and atmosphere with great sensitivity.
The decorative aspects of Vogel´s work stem from his marvellous technique, which combines great daring with masterly control. The technique of watercolour is often associated with a rather tentative approach, but in Vogel´s hands it is an energetic and very modern medium. He combines broad areas of wash with a marvellous sense of line. In some places he spatters his paper, in others he floats gouache or chalk over his watercolour to create different textures and depth. He allows his watercolour to pool in some areas, while in others he reverses out or uses salt to eat into the bodycolour and create texture. Vogel combines control and happy accidents, creating an exhilarating sense of freedom. Watercolour is a notoriously difficult medium to handle well, and these works by a master of the technique deserve close study.
This new exhibition shows a young artist, already confident and successful, attempting new ideas and painting new subjects. Unlike so many artists, Vogel does not repeat himself endlessly in order to achieve regular sales. He looks, experiments and explores, and the sense of the new is very much in evidence in this exhibition.
Julian Halsby, "The Artist" Magazine