"Hans von Marées ist einer der bekanntesten Unbekannten der deutschen Kunst in der zweiten Hälfte des 19.Jahrhunderts. Vor dem Hintergrund der beginnenden Umbruchsphase zur Moderne ließ sich das scheinbar rätselhafte Werk des Außenseiters bisher schwer einordnen. ""Fresken malen ohne Wände"" - dieses Paradoxon nähert sich einem der bislang wenig beachteten zentralen Aspekte im Werk des Deutschrömers. Insbesondere die vier in den 1880er Jahren entstandenen Triptychen, die in der vorliegenden Publikation erstmals monografisch behandelt werden, verdeutlichen Marées' Idee ei."
"Hans von Marées ist einer der bekanntesten Unbekannten der deutschen Kunst in der zweiten Hälfte des 19.Jahrhunderts. Vor dem Hintergrund der beginnenden Umbruchsphase zur Moderne ließ sich das scheinbar rätselhafte Werk des Außenseiters bisher schwer einordnen. "Fresken malen ohne Wände" - dieses Paradoxon nähert sich einem der bislang wenig beachteten zentralen Aspekte im Werk des Deutschrömers. Insbesondere die vier in den 1880er Jahren entstandenen Triptychen, die in der vorliegenden Publikation erstmals monografisch behandelt werden, verdeutlichen Marées' Idee einer für einen Raumzusammenhang geschaffenen, öffentlichen Kunst. Eingehende Analysen von Rahmung und Bildern offenbaren, dass die Triptychen untereinander keineswegs isoliert betrachtet werden dürfen. Formal wie inhaltlich bilden sie einen Zyklus, der ohne Parallele in der Kunst des 19. Jahrhunderts ist. Ausgehend von diesen Hauptwerken Hans von Marées' versucht der Autor, die Privat-Ikonographie des Künstlers zu entschlüsseln. Die Wiederkehr bestimmter Motive, der formale wie thematische Zusammenhang zwischen einzelnen Werken und Marées' zahlreiche briefliche Äußerungen widerlegen die weitverbreitete These, diese seien ohne Thema und Bedeutung. Gerade die Triptychen spiegeln in ihrer symbolischen Bildsprache Marées' Welt- und Künstlerbild. Sie stellen solchermaßen ein bemerkenswertes biografisches Zeugnis dar, das den Zugang zu Marées' Bildwelt ermöglicht."
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Marées, Hans von, 1837-1887 -- Criticism and interpretation.
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