Realistically Speaking with Dietrich Moravec

Realistically Speaking with Dietrich Moravec

February 14, 2020

Dietrich Moravec was born in 1950 in Bavaria, Germany. In the early 1970's he began studying and teaching himself painting and drawing. Dietrich is very interested in the old masters techniques and he experimented a lot, using techniques like egg tempera and oil painting in combination, as well as working with printmaking, especially with etchings, but also alternative printmaking with intaglio-type. Today Dietrich rather use acrylics and oil.

 

His main subjects are still lives, landscapes and some animal paintings.His artistic interest really belongs to realism and photo-realism. Until 2015 he used to earn his living as a teacher in arts and IT, now that he has retired with even more time to spend on painting.

What initially drew you towards becoming an artist?

During my school days art lessons used to be my favourite hours of the week. In my free time I often have been drawing and painting. I still owe a lot of these early „artworks“, although I would not show them to anybody. All my life long I have been drawing and painting, not always with the same intensity, because there was life and family. But the last three decades were very intensely filled with doing artwork.

 

How would you describe your own personal style?

I was always driven to realism and later on my passion for detail led me to photo-realism.

What pushed you in that direction and how can you see your work evolving in the future?

The older I get the more ideas come to my mind. There are so many things I would love to try, but I ́m afraid there will not be time enough to do this all. One thing I would like to enforce is landscape painting, because I didn't a lot of landscapes in former years.

What inspires you in your work, is there a driving factor that draws you to the easel?

It is hard to describe what drives me to work, it is not always fun, sometimes painting is even painful, but there is a strong power inside that demands artistic expression.

 

Are there particular individuals who have encouraged / inspired you along the way, friends, family, teachers, maybe even other artists?

Most of my inspiration came from other artists. As a young man I was a great admirer of the old masters of the Renaissance, later on there were the masters of the Vienna School of Phantastic Realism, especially Rudolf Hausner and Ernst Fuchs (whom I had the chance to meet several times in person). But I soon realised that the phantastic part of realism didn't really fit to me. I found out that realism was as fascinating as everything I could imagine in my phantasy.

When it comes to creating your work, do you have a preferred medium, certain types of brushes or tools you love to use?

I did a lot of experimenting with egg tempera and oils, but nowadays I prefer acrylics and oils. I prefer rather small brushes.

When it comes to the subject matter of your work, what draws you to those themes?

As I paint photo-realistic my inspiration comes mainly from photographs which draw my attention.

 

Could you describe the process behind your art? How do you get from concept to execution?

I am not a good photographer myself, to say the truth, I do not like the process of taking photos. But as I need them for my paintings I look for good professional photographs which I buy from stock photo sites. Mostly I take a part of these photos and add elements of my imagination or combine elements from different pictures in Photoshop until I get the design that fits my perception. Then the painting process begins.

Could you describe your normal day as an artist? Have you set routines and rituals or is a more a case of when the moment is right you work?

Normally I try to paint every day, but I have no fixed hours or routines.

When you work, do you focus on one piece at a time until completion or are you working on multiple pieces at the same time?

When I paint with acrylics I focus on one piece, when I use oils I paint on two or three pieces alternating.

How has your art evolved to be where it is today?

Very, very slowly.

 

Which of your artworks are you most proud off?

All artworks that don ́t contain too many mistakes.

Is there a fellow artist alive today that you admire? If so, why?

There are a lot of fellow artists I admire. Some are in my age, some still young, but very talented. I can ́t tell names, there are too many of them.

If you could travel back in time, is there a particular artistic period / era that you would like to have been involved in?

Renaissance

 

What challenges do you feel the 21st century artist has to overcome?

The overwhelming mass of artists and „artists“, of art and „art“.

What advice would you give to a young aspiring artist currently studying art?

Don't look at the main stream, make your own thing.

Despite having developed your own distinctive style, is there another style of art that you are immediately drawn towards and admire? Why?

It ́s not the style, but more the skills and mastery.

We have all heard of the unfinished masterpiece, even Da Vinci laboured away at the Mona Lisa for years and years, have you works that are in a continual process of evolution? When working on an artwork do you find it hard to let go? Knowing when enough is enough?

I got a handful of unfinished paintings and I know I will never finish them. Some artworks seem never want to come alive.

 

Many people see artists as storytellers or advocates for a cause, do you believe that it is an artist’s responsibility to shine a light on a particular subject / theme, or do you create purely for the sake of expression your creative nature?

Sometimes I do want to tell a story, sometimes I just paint a subject that caught my interest.

What are you working on at the moment?

Same procedure as always: still-lifes, fruits, landscapes.

Have you ever been part of an artistic group / movement? How did your work benefit from that experience?

I am member of a group called "Kunstverein OFF ART“, but not all members are artists. As I am a member of the board, it's more labour than benefits.

 




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