{"id":2661,"date":"2017-05-03T14:38:59","date_gmt":"2017-05-03T12:38:59","guid":{"rendered":"https:\/\/dietrich-mohr.com\/site\/bibliographie\/"},"modified":"2021-03-24T14:43:47","modified_gmt":"2021-03-24T13:43:47","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/dietrich-mohr.com\/en\/bibliography\/","title":{"rendered":"Bibliography"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h1>Bibliography<\/h1>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=&#8221;1&#8243; bg_cover=&#8221;true&#8221; enable_parallax=&#8221;false&#8221;][vc_column][vc_row_inner][vc_column_inner][vc_text_separator title=&#8221;Monographies&#8221; i_icon_fontawesome=&#8221;fa fa-quote-left&#8221; i_color=&#8221;green&#8221; title_align=&#8221;separator_align_left&#8221; align=&#8221;align_right&#8221; color=&#8221;green&#8221; add_icon=&#8221;true&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<p class=\"p1\">3 major books, 5 catalogues and 1 pocket book:<\/p>\n<h3>1975<\/h3>\n<p class=\"p3\"><span class=\"s1\">\u00abDietrich-Mohr\u00bb by Denys Chevalier, Ed. Arted, (pocket book)<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1989<\/h3>\n<p class=\"p3\"><span class=\"s1\">\u00abDietrich-Mohr\u00bb by Jean-Loup B\u00e9zos, Ed. La Diff\u00e9rence (catalogue)<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2001<\/h3>\n<p class=\"p3\"><span class=\"s1\">\u00ab Trace et volume \u00bb by Patrick-Gilles Persin, l\u2019Espace Culturel de l\u2019Auditoire, Bonneval, France, Conseil G\u00e9n\u00e9ral Eure-et-<\/span>Loir (catalogue)<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2001<\/h3>\n<p class=\"p3\"><span class=\"s1\">\u00abLa Transparence du m\u00e9tal\u00bb by Pierre Cabanne, Ed. Adam Biro (lbook)<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2011<\/h3>\n<p class=\"p3\"><span class=\"s1\">\u00abLumi\u00e8re Capt\u00e9e\u00bb by Bernard Fauchille (Mus\u00e9e d\u2019Evreux), Ed. Point de vues (<\/span>book with inventory)<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2012<\/h3>\n<p class=\"p3\"><span class=\"s1\">\u00abOeuvres sur papier\u00bb by Patrick-Gilles Persin, Ed. Somogy (book)<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2015<\/h3>\n<p class=\"p3\"><span class=\"s1\">Dietrich-Mohr, \u00ab l\u2019Univers du M\u00e9tal \u00bb by Lydia Harambourg, l\u2019Eur\u00e9lium, Conseil <\/span><span class=\"s1\">D\u00e9partemental de l\u2019Eure-et-Loir (catalogue)<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;]\n<div class=\"slider-simple shortcode-photo-slider owl-carousel dt-owl-carousel-init photoSlider\" data-height=\"900\" data-autoslide=\"10000\" data-paused=\"false\" style=\"width: 100%\" data-img-mode=\"fit\">\n\t<div class=\"slide-item\">\n\t\t<img loading=\"lazy\" decoding=\"async\" class=\"preload-me aspect\" src=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/Denys-Chevalier-DM_MG_6097.jpg\" srcset=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/Denys-Chevalier-DM_MG_6097.jpg 560w\" style=\"--ratio: 560 \/ 749\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" width=\"560\" height=\"749\"  alt=\"\"  \/>\n\t\t<div class=\"slider-post-caption\">\n\t\t\t<div class=\"slider-post-inner\">\n\t\t\t\t<h4>Dietrich-Mohr par Denis Chevalier<\/h4>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n\t<div class=\"slide-item\">\n\t\t<img loading=\"lazy\" decoding=\"async\" class=\"preload-me aspect\" src=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/07\/catalogue-la-diffrence.jpg\" srcset=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/07\/catalogue-la-diffrence.jpg 560w\" style=\"--ratio: 560 \/ 639\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" width=\"560\" height=\"639\"  alt=\"\"  \/>\n\t\t<div class=\"slider-post-caption\">\n\t\t\t<div class=\"slider-post-inner\">\n\t\t\t\t<h4>&#8220;Dietrich-Mohr&#8221; par Jean-Loup B\u00e9zos<\/h4>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n\t<div class=\"slide-item\">\n\t\t<img loading=\"lazy\" decoding=\"async\" class=\"preload-me aspect\" src=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/11\/catalogue-trace-volume-PGP-2001-img219.jpg\" srcset=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/11\/catalogue-trace-volume-PGP-2001-img219.jpg 560w\" style=\"--ratio: 560 \/ 670\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" width=\"560\" height=\"670\"  alt=\"\"  \/>\n\t\t<div class=\"slider-post-caption\">\n\t\t\t<div class=\"slider-post-inner\">\n\t\t\t\t<h4>Catalogue Trace et Volume Patrick-Gilles Persin 2001<\/h4>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n\t<div class=\"slide-item\">\n\t\t<img loading=\"lazy\" decoding=\"async\" class=\"preload-me aspect\" src=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/la-transparence-du-metal_MG_6101.jpg\" srcset=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/la-transparence-du-metal_MG_6101.jpg 560w\" style=\"--ratio: 560 \/ 705\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" width=\"560\" height=\"705\"  alt=\"\"  \/>\n\t\t<div class=\"slider-post-caption\">\n\t\t\t<div class=\"slider-post-inner\">\n\t\t\t\t<h4>La transparence du m\u00e9tal<\/h4>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n\t<div class=\"slide-item\">\n\t\t<img loading=\"lazy\" decoding=\"async\" class=\"preload-me aspect\" src=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/lumiere_captee-DM_MG_6106.jpg\" srcset=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/lumiere_captee-DM_MG_6106.jpg 560w\" style=\"--ratio: 560 \/ 639\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" width=\"560\" height=\"639\"  alt=\"\"  \/>\n\t\t<div class=\"slider-post-caption\">\n\t\t\t<div class=\"slider-post-inner\">\n\t\t\t\t<h4>Lumi\u00e8re capt\u00e9e, Bernard Fauchille<\/h4>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n\t<div class=\"slide-item\">\n\t\t<img loading=\"lazy\" decoding=\"async\" class=\"preload-me aspect\" src=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/ouvres-sur-papier_MG_6104.jpg\" srcset=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/ouvres-sur-papier_MG_6104.jpg 560w\" style=\"--ratio: 560 \/ 646\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" width=\"560\" height=\"646\"  alt=\"\"  \/>\n\t\t<div class=\"slider-post-caption\">\n\t\t\t<div class=\"slider-post-inner\">\n\t\t\t\t<h4>\u0152uvres sur papier, Patrick-Gilles Persin<\/h4>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n\t<div class=\"slide-item\">\n\t\t<img loading=\"lazy\" decoding=\"async\" class=\"preload-me aspect\" src=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/L_univers-du-metal_MG_6099.jpg\" srcset=\"https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/05\/L_univers-du-metal_MG_6099.jpg 560w\" style=\"--ratio: 560 \/ 707\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" width=\"560\" height=\"707\"  alt=\"\"  \/>\n\t\t<div class=\"slider-post-caption\">\n\t\t\t<div class=\"slider-post-inner\">\n\t\t\t\t<h4>L&#8217;univers du m\u00e9tal<\/h4>\n\t\t\t<\/div>\n\t\t<\/div><\/div><\/div>[\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1497877410567{background-image: url(https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/06\/04_Atelier-parallax.jpg?id=) !important;}&#8221;][vc_column][vc_text_separator title=&#8221;Main catalogues for personal exhibitions&#8221; i_icon_fontawesome=&#8221;fa fa-quote-left&#8221; i_color=&#8221;green&#8221; title_align=&#8221;separator_align_left&#8221; align=&#8221;align_right&#8221; color=&#8221;green&#8221; add_icon=&#8221;true&#8221;][vc_column_text]<\/p>\n<h3>1963<\/h3>\n<p class=\"p1\">Denys Chevalier, DIETRICH-MOHR, Galerie de l\u2019Universit\u00e9, Paris<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1977-1978<\/h3>\n<p class=\"p1\">Maurice Allemand, Fran\u00e7oise Maison, Annick Pely, DIETRICH-MOHR, Itinerant exhibition<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1979<\/h3>\n<p class=\"p1\">G\u00e9rard Xuriguera, DIETRICH-MOHR, Mus\u00e9es de Metz, France<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1979<\/h3>\n<p class=\"p1\">G\u00e9rard Xuriguera, DIETRICH-MOHR,<span class=\"Apple-converted-space\">\u00a0 <\/span>Galerie Bruck, Luxembourg<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1981<\/h3>\n<p class=\"p1\">Pierre Cabanne, DIETRICH-MOHR, Galerie Bellint, Paris<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1982<\/h3>\n<p class=\"p1\">Fran\u00e7ois Wehrlin, DIETRICH-MOHR, Maison de la Culture, Orl\u00e9ans, France<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1991<\/h3>\n<p class=\"p1\">Meinrad M. Grewenig, DIETRICH-MOHR, Treffpunkt Kunst\u00a0, Museum Haus Ludwig, Saarlouis, Germany<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1997<\/h3>\n<p class=\"p1\">Jean-Pierre Bretegnier, DIETRICH-MOHR, Maison des Arts et Loisirs, Sochaux, France<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2001<\/h3>\n<p class=\"p1\">Patrick-Gilles Persin, DIETRICH-MOHR \u00ab\u00a0Trace et volume\u00a0\u00bb, l\u2019Espace Culturel de l\u2019Auditoire, Bonneval,\u00a0France<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2002<\/h3>\n<p class=\"p1\">Jacques Boyon, DIETRICH-MOHR \u00ab\u00a0Lumi\u00e8re de m\u00e9tal\u00a0\u00bb Maison des Princes, P\u00e9rouges,\u00a0France<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2004<\/h3>\n<p class=\"p1\">G\u00e9rard Xuriguera, DIETRICH-MOHR \u00ab\u00a0 Un voyage au c\u0153ur de la forme\u00a0\u00bb,<span class=\"Apple-converted-space\">\u00a0 <\/span>Ch\u00e2teau de Carrouges,\u00a0France<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2012<\/h3>\n<p class=\"p1\">Patrick-Gilles Persin, DIETRICH-MOHR, Galerie F. Hessler, Luxembourg<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2015<\/h3>\n<p class=\"p1\">Lydia Harambourg, DIETRICH-MOHR, l\u2019Eur\u00e9lium, Conseil D\u00e9partemental, Chartres,\u00a0France<\/p>\n<div class=\"hr-thin\"><\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=&#8221;1&#8243; bg_cover=&#8221;true&#8221; enable_parallax=&#8221;false&#8221; css=&#8221;.vc_custom_1497888013980{background-image: url(https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/06\/04_Atelier-parallax.jpg?id=) !important;}&#8221;][vc_column][vc_empty_space height=&#8221;62px&#8221;][vc_text_separator title=&#8221;Films and video&#8221; i_icon_fontawesome=&#8221;fa fa-quote-left&#8221; i_color=&#8221;green&#8221; title_align=&#8221;separator_align_left&#8221; align=&#8221;align_right&#8221; color=&#8221;green&#8221; add_icon=&#8221;true&#8221;][vc_column_text]Jean-Luc Bruandet, 1er Symposium de la For\u00eat de S\u00e9nart, film realized pour l\u2019Office National des For\u00eats, 1971.<\/p>\n<p>Jacques Verrier, DIETRICH-MOHR, film, Difart 1983-84.<\/p>\n<p>DIETRICH-MOHR \u2013 SCULPTEUR, video realized par le DPA, Minist\u00e8re des Finances 1995.<\/p>\n<p>Christine Jami Longu\u00e9p\u00e9e, Le pont de Gratteloup de Dietrich-Mohr, Jour d\u2019Eclipse, 2001.<\/p>\n<p>DIETRICH-MOHR, video, Encyclop\u00e9die audiovisuelle de l\u2019art contemporain, IMAGO, 2002.[\/vc_column_text][vc_empty_space height=&#8221;62px&#8221;][vc_text_separator title=&#8221;ARTICLES IN REVIEWS AND THE PRESS ON DIETRICH-MOHR by :&#8221; i_icon_fontawesome=&#8221;fa fa-quote-left&#8221; i_color=&#8221;green&#8221; title_align=&#8221;separator_align_left&#8221; align=&#8221;align_right&#8221; color=&#8221;green&#8221; add_icon=&#8221;true&#8221;][vc_column_text]<\/p>\n<p class=\"p1\"><span class=\"s1\">Serge AIRULDI, Elisabeth BENACCIO, Claudine BONI, Pierre BRISSET, \u00a0Pierre CABANNE, Denys CHEVALIER, Muriel CLUSEAU-CIRY, Dominique DALEMONT, Jean-Marie DUNOYER, Fran\u00e7ois EON, Jean-Luc EPIVENT, Lydia HARAMBOURG, Pierre HENRY, Gil HEZO, Didier JOLY, Pierre JOSSE, Christophe JOUAN, Lucien KAYSER, Ph. KIENTZY, Jacques LEPAGE, Jean-Jacques LEV\u00c8QUE, Bernard MARTIN, Anna Luise MATHIEU, Marie-Th\u00e9r\u00e8se MATHIEU, Fran\u00e7oise MONNIN, Raoul-Jean MOULIN, Joseph-Emile MULLER, Elly NEUMANN-BAUMERT, Annick PELY, Patrick-Gilles PERSIN, Fran\u00e7ois PLUCHART, Luis PORQUET, Emmanuelle ROY, Wolfgang SAURE, G\u00e9rald SCHURR, Genevi\u00e8ve-Morgane TANGUY, Sabine TARI-LEGUAY, Jean-Marie TASSET, Ren\u00e9 VIGO, Janine WARNOD, Gerhard WEBER, etc.<\/span><\/p>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;62px&#8221;][\/vc_column][\/vc_row][vc_row type=&#8221;1&#8243; bg_cover=&#8221;true&#8221; enable_parallax=&#8221;false&#8221; parallax_speed=&#8221;0.8&#8243; bg_image=&#8221;https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/06\/04_Atelier-parallax.jpg&#8221; css=&#8221;.vc_custom_1497024007269{background-image: url(https:\/\/dietrich-mohr.com\/site\/wp-content\/uploads\/2017\/06\/04_Atelier-parallax.jpg?id=) !important;}&#8221;][vc_column][vc_text_separator title=&#8221;General works&#8221; i_icon_fontawesome=&#8221;fa fa-quote-left&#8221; i_color=&#8221;green&#8221; title_align=&#8221;separator_align_left&#8221; align=&#8221;align_right&#8221; color=&#8221;green&#8221; add_icon=&#8221;true&#8221;][vc_column_text]<\/p>\n<h3>1970<\/h3>\n<p class=\"p1\">Nouveau Dictionnaire de la Sculpture Moderne, Editions Hazan, Paris<\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1974<\/h3>\n<p class=\"p1\"><span class=\"s1\">Michel Ragon et Michel Seuphor, L\u2019Art Abstrait,<span class=\"Apple-converted-space\">\u00a0<\/span>Editions Maeght, Paris\u00a0<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1976<\/h3>\n<p class=\"p1\"><span class=\"s1\">Le Dictionnaire de E. B\u00e9n\u00e9zit, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1982<\/h3>\n<p class=\"p1\"><span class=\"s1\">Ionel Jianou, La Sculpture Moderne en France depuis 1950, Editions d\u2019Art, Arted, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1984<\/h3>\n<p class=\"p1\"><span class=\"s1\">G\u00e9rard Xuriguera, Les Ann\u00e9es 50, Editions d\u2019Art Arted, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1990<\/h3>\n<p class=\"p1\"><span class=\"s1\">Genevi\u00e8ve-Morgan Tanguy, Ailleurs en Loir-et-Cher, D.H.R., Blois, France<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1993<\/h3>\n<p class=\"p1\"><span class=\"s1\">Robert Moran, Le Dessin, Editions Fleurus, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1994<\/h3>\n<p class=\"p1\"><span class=\"s1\">Herv\u00e9 B\u00e9chy, ART \/<span class=\"Apple-converted-space\">\u00a0 <\/span>LYCEES 1951-1993, Conseil R\u00e9gional, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>1997<\/h3>\n<p class=\"p1\"><span class=\"s1\">Patrick Morisson, Artistes in situ, Danilo Montanari Editore Ravenne<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Variations sur inox, Association Cantonale d\u2019Animation de Gueugnon,\u00a0<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2000<\/h3>\n<p class=\"p1\"><span class=\"s1\">Pierre Cabanne, Le Dictionnaire des Arts, Editions de l\u2019Amateur, Paris\u00a0<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2003<\/h3>\n<p class=\"p1\"><span class=\"s1\">\u00abTreffpunkt Kunst &#8211; 25 Jahre\u00bb, Editions Bernhard et Ursula Giebel, Saarlouis, Germany<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2006<\/h3>\n<p class=\"p1\"><span class=\"s1\">Dominique Dalemont, Les Sculpteurs du M\u00e9tal, Editions Somogy Editions d\u2019Art, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2007<\/h3>\n<p class=\"p1\"><span class=\"s1\">Lydia Harambourg, 41 Sculpteurs, Somogy Editions d\u2019Art, Paris\u00a0<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2008<\/h3>\n<p class=\"p1\"><span class=\"s1\">Marie-Paule N\u00e8gre,<span class=\"Apple-converted-space\">\u00a0&#8220;<\/span>Des artistes en leur monde&#8221;, La Gazette de l\u2019H\u00f4tel Drouot, Paris<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Satoru Sato Art Museum, Tome City, Japan<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">G\u00e9rard Xuriguera, Regard sur la sculpture contemporaine, Editions FVW, Paris<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Aspect de l\u2019art en France (1950-1970), La Collection Maurice Allemand, Mus\u00e9e D\u00e9partemental de l\u2019Oise, Somogy Editions d\u2019Art, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<h3>2009<\/h3>\n<p class=\"p1\"><span class=\"s1\">Lydia Harambourg, 73 Sculpteurs,<span class=\"Apple-converted-space\">\u00a0<\/span>Somogy Editions d\u2019 Art, Paris<\/span><\/p>\n<div class=\"hr-thin\"><\/div>\n<p>[\/vc_column_text][vc_single_image image=&#8221;2111&#8243; 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.cssgridlegacy.no-cssgrid .dt-testimonials-shortcode.testimonials-masonry-shortcode-id-0405eddb1bf43c8021cb853387a01294.resize-by-browser-width .dt-css-grid .wf-cell,\n  .no-cssgridlegacy.no-cssgrid .dt-testimonials-shortcode.testimonials-masonry-shortcode-id-0405eddb1bf43c8021cb853387a01294.resize-by-browser-width .dt-css-grid .wf-cell {\n    width: 100%;\n  }\n}<\/style><div class=\"dt-testimonials-masonry-shortcode dt-testimonials-shortcode testimonials-masonry-shortcode-id-0405eddb1bf43c8021cb853387a01294 loading-effect-none content-align-left mode-masonry content-bg-on layout-3 scale-img jquery-filter resize-by-browser-width  \" data-padding=\"15px\" data-cur-page=\"1\" data-post-limit=\"-1\" data-pagination-mode=\"none\" data-desktop-columns-num=\"3\" data-v-tablet-columns-num=\"2\" data-h-tablet-columns-num=\"3\" data-phone-columns-num=\"1\" data-width=\"0px\" data-columns=\"0\"><div class=\"iso-container\" ><div class=\"visible wf-cell iso-item\" data-post-id=\"2842\" data-date=\"2017-06-30T11:42:54+02:00\" data-name=\"Denys Chevalier\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Denys Chevalier<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">His metal sculptures &#8211; <em>transparencies, lamelliforms, alveoli, and unstable equilibriums<\/em> &#8211; demonstrate a desire to construct, in a spirit of order and measurement, harmonious ensembles, remarkable for their invented language, for their technical innovation and by the creative use of light as a constituent element of the composition. The sculpture of DIETRICH-MOHR thus provokes an emotion and acquires a human dimension.<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Denys Chevalier, DIETRICH-MOHR, Actualit\u00e9 de la Sculpture, ARTED, Editions d\u2019Art, Paris<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2948\" data-date=\"2017-06-29T11:59:11+02:00\" data-name=\"Lydia Harambourg\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Lydia Harambourg<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">DIETRICH-MOHR has created a personal language all his own, making his sculpture immediately identifiable. From very early on, his unique style has made him stand out in the world of post-war sculpture, with the creation in particular of numerous monumental sculptures. Responding in his own way to the problems posed by new metal assembly techniques, he gives a new take on modernity through his use of plastics and expressions of brass, stainless steel, cor-ten. These he uses in a creative process rooted in orthogonality which curbs every outpouring and interpretive discourse. His creative gesture is based on a premediated approach, often preceded by drawings in ink or pencil, some enhanced by watercolours\u2026<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">His technical expertise in cutting and welding serves as an expression in the continuity of concise and harmonious sculpture, of an intransigent purity, preferring understatement to discourse for a balanced vision\u2026<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The evident presence of his sculpture with its meaningful strength reveals to us the mystical paths of creation. Dietrich-Mohr is a poet as well as a metal sculptor. His uneasy questioning of reality finds answers in his steadfast showdown with metal sculpture. A language that he renders timeless.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Lydia Harambourg,<br \/>\n<\/span><\/strong><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Correspondent of the Institut de France, Acad\u00e9mie des Beaux-Arts.<\/span><\/strong><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Catalogue edited for the \u201cL\u2019UNIVERS DU M\u00c9TAL\u201d (World of Metal) exhibition at the Eur\u00e9lium in Chartres by the Departmental Council of Eure-et-Loir, 2015<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2841\" data-date=\"2017-06-29T09:53:35+02:00\" data-name=\"Bernhard Giebel\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Bernhard Giebel<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">A very special force emanates from your sculptures. They touch us, captivate us, sometimes in a quasi oppressive way. Structures very organized, abstract, and at the same time bearer of poetic figurative allusions opening onto an infinite imaginary.<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Bernhard Giebel: Personal tribute to his friend Dietrich-Mohr, Preface in catalogue by Peter Lodermeyer: Dietrich-Mohr, 80th birthday.<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2875\" data-date=\"2017-06-27T10:54:03+02:00\" data-name=\"Meinrad Maria Grewenig\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Meinrad Maria Grewenig<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">The constrast between the materials chosen for the external and internal parts of his sculptures is Dietrich-Mohr&#8217;s recurring theme.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Apart from the sculptures where these two elements contrast greatly, there are works made up of strata which are architecturally piled up and others which dissolve into alveoles. Here the light not only plays on the differently structured surfaces, but also penetrates through many openings into the interior, thus giving the sculptures their very particular transparency. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Dietrich-Mohr leads the viewer into a universe that makes him feel physically, like an intense haptic sensation, various states in life such as to aspire, to feel well surrounded, to be enlightened, to feel protected, and to accumulate strata of experience which are in fact the fundamental states that forge a human being.<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Meinrad Maria Grewenig,<br \/>\nMuseum Haus Ludwig,\u00a0<\/span><span class=\"s1\">Catalogue &#8220;Rendez-vous with Art&#8221; Exhibition 1991 in Saarlouis<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2843\" data-date=\"2017-06-27T10:52:56+02:00\" data-name=\"Peter Lodermeyer\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Peter Lodermeyer<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">What Dietrich Mohr&#8217;s forms are particularly original for are their constant relationship to the organic, it is the surprising, audacious creation of &#8220;biomorphic&#8221; forms from an &#8220;inorganic&#8221; material.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">It is difficult to imagine a theme less adapted to sculpture than rain. A subject that, with the possibility of atmospheric representations, lends itself to a pictorial treatment. (&#8230;) And yet,<span class=\"Apple-converted-space\">\u00a0 <\/span>rain is a recurring motif in the work of Dietrich-Mohr. &#8220;Captured Rain&#8221; (1985), &#8220;The Rain of the Four Winds&#8221; (1985), &#8220;Under the Rain&#8221; (1986), &#8220;<\/span>Rain Carrousel<span class=\"s1\">&#8221; (1991) to name but a few titles. (&#8230;) The sculptures representing rain consist regularly of oblong lamelae of cor-ten steel, arranged in compact strata. It is easy to recognize the hashed streaks that the rain draws in the sky. But the works of Dietrich-Mohr are not imprisoned by their titles.These titles only give an indication, an impulse to the imagination of the viewer without holding him on a leash or confining him.<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Peter Lodermeyer<br \/>\n<\/span><\/strong><strong><span class=\"s1\">Catalogue, Dietrich-Mohr, 80th birthday<br \/>\n<\/span><\/strong><strong><span class=\"s1\">Saarlouis<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2949\" data-date=\"2017-06-20T18:40:57+02:00\" data-name=\"Patrick-Gilles Persin\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Patrick-Gilles Persin<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">This retrospective exhibition \u201cTrace et Volume\u201d (Trace and Volume) of sculptures and drawings by DIETRICH-MOHR is not only devoted to his exemplary works but also celebrates exactly fifty years of his work and life in Paris. The artist arrived there in 1951 and immediately enrolled at the Acad\u00e9mie de la Grande Chaumi\u00e8re in Montparnasse and worked in <\/span><span class=\"s2\">Zadkine\u2019s studio<\/span><span class=\"s1\">.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The exhibition provides an excellent overview of his works, successfully combining paper and metal, brought together under the alluring title \u201cTRACE et VOLUME\u201d. Even in one of the first bronze sculptures by DIETRICH-MOHR, entitled \u201cR\u00e9alit\u00e9 d\u00e9pass\u00e9e\u201d (Beyond reality) (1957),\u00a0the cubist influence was evident. Zadkine\u2019s presence is still very much felt!\u00a0<\/span><span class=\"s1\">The road was to be long <\/span><span class=\"s2\">and fruitful. But can you not feel, here and now, in this piece what the young sculptor was to become? Already<\/span><span class=\"s1\"> the faintest hint of his stamp, his mark was beginning to assert itself. Admittedly, the artist was travelling a very spontaneous path. He knew he was devoted to geometry, to finding a balance in the forms constructed, which he still seeks in his current pieces.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u2026After a short figurative period, which already heralded the informal, we find ourselves in 1960. His pieces from this time include Limpide (Limpid) (1960) which was a perfect harbinger of the true conceptual appearance of all his future works. The sculpture is <\/span><span class=\"s2\">composed of metal sheets<span class=\"s1\">\u2026<\/span><\/span><\/p>\n<p class=\"p1\"><span class=\"s2\">Unquestionably, his work was beginning to assert itself, refine itself and reveal its powerfulness.<\/span><span class=\"s1\"> A few years later, he began to establish a very personal style that would win him universal acceptance and a real reputation for excellence. With \u201cNuit transfigur\u00e9e&#8221; (Night transfigured) (1963) he took a new approach to the fullness and hollowness without ever allowing light to pass through the work. But already the vertical plates and horizontal strips of zinc (for this piece) used inventive volumes to create a novel world.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The positive and negative had been established. But did DIETRICH-MOHR know then that he had just found the path that would lead him onto the world stage?\u2026 He was to continue his search until his works became more open to the light, finally becoming transparent. The backgrounds of the interior partitions disappeared, allowing the sky and nature to sweep through the work giving it a very different dimension, an indisputable spatiality.\u00a0<\/span><span class=\"s1\">He attained monumentality; his daring assemblages were superb<\/span><span class=\"s1\">. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">DIETRICH-MOHR\u2019s sculptures are indeed daring. You could even talk about an appetite for risk in terms of the balance, taken to the extreme\u2026<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Rigour, intensity, open-mindedness and availability are key qualities for this artist who is in constant search of his own roots and of his ongoing experiences with doubt<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Patrick-Gilles Persin<\/span><\/strong><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">\u201cTRACE et VOLUME\u201d catalogue, Exhibition Espace Culturel de l\u2019Auditoire, Ville de Bonneval, Eure-et Loir 2001<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2863\" data-date=\"2017-06-12T18:42:46+02:00\" data-name=\"C\u00e9dric Pannevel\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">C\u00e9dric Pannevel<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">\u00ab\u00a0Drawing is not an exact representaion of the work.<span class=\"Apple-converted-space\">\u00a0 <\/span>It is not definitive.<span class=\"Apple-converted-space\">\u00a0 <\/span>The artrist retains an element of freedom and chance in the creation, although there is no improvisation.<span class=\"Apple-converted-space\">\u00a0 <\/span>Dietrich-Mohr forces the material towards his idea, but the material does not always give way.<span class=\"Apple-converted-space\">\u00a0 <\/span>One does not model metal as one does earth and sometimes it does not easily submit to the lines of the preparatory drawing.<span class=\"Apple-converted-space\">\u00a0 <\/span>So the artist takes up his paper and pencil to get around the sometimes unturnable nature of the metal.\u00a0\u00bb<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">C\u00e9dric Pannevel<br \/>\n<\/span><span class=\"s1\">Director of the Museum of Bernay, and Patrimonial Department , France<br \/>\n<\/span><span class=\"s1\">Preface for the book edited on the occasion of the exposition \u00ab\u00a0Lumi\u00e8re capt\u00e9e\u00a0\u00bb presented by the Museum of Art History and Archaeology of Evreux, France, 2011<br \/>\n<\/span><span class=\"s1\">Edition Point de vues, 2011<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2862\" data-date=\"2017-06-12T18:42:18+02:00\" data-name=\"Bernard Fauchille\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Bernard Fauchille<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">\u00ab\u00a0This sculptural work is not only composed of light and materials but also of volumes \u2026 however none of these volumes is absolutely regular and perfect, there is always a slight asymmetry, a subtile instability, a discreet curve which brings the work to life.<span class=\"Apple-converted-space\">\u00a0 <\/span>We have also seen the interest of the open form, hollowed and cut out, which lets the light through and allows the eye to see what hides behind the work.<span class=\"Apple-converted-space\">\u00a0 <\/span>The principle of the full\/empty fusion seems to be one of the decisive characteristics of Dietrich-Mohr.\u00a0\u00bb<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Bernard Fauchille<br \/>\n<\/span><span class=\"s1\">Honorary director of the Mus\u00e9es of Montb\u00e9liard<br \/>\n<\/span><span class=\"s1\">Book edited on the occasion of the exposition \u00ab\u00a0Lumi\u00e8re Capt\u00e9e\u00a0\u00bb<br \/>\n<\/span><span class=\"s1\">presented by the Museum of Art, History and Archaelogy of Evreux,<span class=\"Apple-converted-space\">\u00a0 <\/span>France 2011<br \/>\n<\/span><span class=\"s1\">Edition point de vues, 2011<\/span><\/strong><\/p>\n<p>&nbsp;<\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2864\" data-date=\"2017-06-12T18:41:29+02:00\" data-name=\"Pierre Cabanne\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Pierre Cabanne<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">\u00ab\u00a0Thus, so diverse is this work and so inviting it is to contemplation no less differential, it proposes as much dialogue as it arouses, in its singularity, sentiments of adhesion, of communication or interrogation.<span class=\"Apple-converted-space\">\u00a0 <\/span>It is at the same time softness and violence, rigor and lyricism, equilibrium and rupture, serenity and crispation. Dietrich-Mohr\u2019s sculpture is always in mutation.\u00a0\u00bb <\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Pierre Cabanne<br \/>\n<\/span><span class=\"s1\">DIETRICH-MOHR, La transparence du m\u00e9tal<br \/>\n<\/span><span class=\"s1\">Editions Adam Biro, 2001<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2943\" data-date=\"2017-06-11T17:01:21+02:00\" data-name=\"Bernard Reynis\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Bernard Reynis<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">Before being an an artist, Dietrich-Mohr is a \u00ab\u00a0Honn\u00eate Homme\u00a0\u00bb, defined in the Enclyclopedia Larousse as\u00a0: a gentleman \u00ab \u2026<span class=\"Apple-converted-space\">\u00a0 <\/span>very cultivated, free of pedantry, agreeable and distinguished in his physical appearance as well as in his manners. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Dietrich-Mohr\u00a0: \u00ab\u00a0A hand of iron, in a velvet glove\u2026\u00a0\u00bb*<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Gentle rigor and steadiness, conscious of the value of his work, but always modest.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">To be exhaustif, we could add his penetrating look, his vivacious spirit, his kindness. And his humour, often roguish, can be seen in numerous titles of his works, which at the same time reveal his erudition\u00a0:<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u00ab\u00a0The bee keeper\u2019s eye\u00a0\u00bb (1970)<span class=\"Apple-converted-space\">\u00a0 <\/span>in the midst of alveoles, \u00ab\u00a0Aspis in Anger\u00bb (1978), \u00ab\u00a0The Head of Manticora\u00a0\u00bb (1980), \u00ab\u00a0Marduk the Great \u00bb (1995), \u00ab\u00a0Janus the Watchman\u00a0\u00bb (2001) etc. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">This gives us thought as to why and how\u2026.<\/span><\/p>\n<pre class=\"p3\" style=\"text-align: right;\"><span class=\"s1\">*citation attribu\u00e9e \u00e0 Bernadotte\r\n<\/span><\/pre>\n<p>&nbsp;<\/p>\n<p><strong>Bernard Reynis<\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"2844\" data-date=\"2017-06-10T18:38:37+02:00\" data-name=\"G\u00e9rard Xuriguera\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">G\u00e9rard Xuriguera<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">Dietrich-Mohr is one of those tireless researchers whose aim is to assign a different function to metal. Notably, it is with his preferred metals: brass, stainless steel and cor-ten steel that he shows us with great mastery how these metals are ductile. But its specific originality resides less in the choice of the material used than in the repertory of forms that he created. These are treated with a spirit of assemblage, are architecturally in order without, however, submitting to the dogma of geometry, and are balanced between the open and closed forms.<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s1\">G\u00e9rard Xuriguera Catalogue: Dietrich-Mohr, Sculptures,<br \/>\nExhibition at the Museums of Metz 1979\/80<\/span><\/strong><\/p>\n<\/div><\/div><\/div><div class=\"visible wf-cell iso-item\" data-post-id=\"3000\" data-date=\"2017-06-10T15:51:03+02:00\" data-name=\"Dominique Dalemont\"><div class=\"testimonial-item post visible\"><div class=\"testimonial-author\"><div class=\"testimonial-avatar\"><span class=\"testim-no-avatar\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"80\" height=\"80\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\"\n\t viewBox=\"0 0 60 60\" style=\"enable-background:new 0 0 60 60;\" xml:space=\"preserve\">\n<path d=\"M30,1.5c-16.542,0-30,12.112-30,27c0,5.204,1.646,10.245,4.768,14.604c-0.591,6.537-2.175,11.39-4.475,13.689\n\tc-0.304,0.304-0.38,0.769-0.188,1.153C0.275,58.289,0.625,58.5,1,58.5c0.046,0,0.092-0.003,0.139-0.01\n\tc0.405-0.057,9.813-1.411,16.618-5.339C21.621,54.71,25.737,55.5,30,55.5c16.542,0,30-12.112,30-27S46.542,1.5,30,1.5z M16,32.5\n\tc-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S18.206,32.5,16,32.5z M30,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4\n\tS32.206,32.5,30,32.5z M44,32.5c-2.206,0-4-1.794-4-4s1.794-4,4-4s4,1.794,4,4S46.206,32.5,44,32.5z\"\/>\n<\/svg><\/span><\/div><div class=\"testimonial-vcard\"><div class=\"testimonial-name\"><span class=\"text-primary\">Dominique Dalemont<\/span><br \/><\/div><div class=\"testimonial-position\"><\/div><\/div><\/div><div class=\"testimonial-content\"><p class=\"p1\"><span class=\"s1\">The sun is turning and, from hour to hour, the light modifes the perception of the sculpture outdoors. The stainless steel takes on changing hues of the environment. When alternating, in tight rows, with shining slates and shadows coming from the bottom of the cavities, the reflections are all the more subtle. We think of shivering foliage animated by the wind.<\/span><\/p>\n<p><strong>Dominique Dalemont<\/strong><br \/>\n<strong>Les sculpteurs du m\u00e9tal<\/strong><br \/>\n<strong>Somogy, Editions d\u2019Art, 2006<\/strong><\/p>\n<\/div><\/div><\/div><\/div><!-- iso-container|iso-grid --><\/div>[vc_empty_space height=&#8221;62px&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text] Bibliography [\/vc_column_text][\/vc_column][\/vc_row][vc_row type=&#8221;1&#8243; bg_cover=&#8221;true&#8221; enable_parallax=&#8221;false&#8221;][vc_column][vc_row_inner][vc_column_inner][vc_text_separator title=&#8221;Monographies&#8221; i_icon_fontawesome=&#8221;fa fa-quote-left&#8221; i_color=&#8221;green&#8221; title_align=&#8221;separator_align_left&#8221; align=&#8221;align_right&#8221; color=&#8221;green&#8221; add_icon=&#8221;true&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text] 3 major books, 5 catalogues and 1 pocket book: 1975 \u00abDietrich-Mohr\u00bb by Denys Chevalier, Ed. Arted, (pocket book) 1989 \u00abDietrich-Mohr\u00bb by Jean-Loup B\u00e9zos, Ed. La Diff\u00e9rence (catalogue) 2001 \u00ab Trace et volume \u00bb by Patrick-Gilles Persin, l\u2019Espace Culturel de l\u2019Auditoire,&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2661","page","type-page","status-publish","hentry","description-off"],"_links":{"self":[{"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/pages\/2661","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/comments?post=2661"}],"version-history":[{"count":19,"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/pages\/2661\/revisions"}],"predecessor-version":[{"id":3501,"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/pages\/2661\/revisions\/3501"}],"wp:attachment":[{"href":"https:\/\/dietrich-mohr.com\/en\/wp-json\/wp\/v2\/media?parent=2661"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}