Biography of Peter R. Hupfauf
In 1946 born in Berlin, Germany, raised in Berlin and Frankfurt, married and father of two sons. In the 1960’s studied visual communication in Frankfurt and subsequently worked as a graphic designer and art director. Created promotional material for several well known, large international corporations. In 1983 after selling the advertising agency, followed own initial interest and began painting full time.
Moved to Sydney in 1986 received an Masters degree in Fine Arts at the College of Fine Arts, and worked as an artist in a Sydney, Redfern warehouse studio, shared with fellow artists. Regular exhibitions in private and public galleries. The indigenous environment of Redfern encouraged to travel to Central Australia, and work in Yuendumu together with Aboriginal artists. The Inspiration by the traditional work of the indigenous artists, encouraged to look for an equivalent in European culture.
Studies for a Masters degree in Fine Arts at the University of NSW offered an insight in perspectives and limits of this undertaking. Some directions seemed to be promising and were followed by an enrolment in a PhD program at the Centre for Medieval Studies at the University of Sydney. Margaret Clunies-Ross was supervising and her great knowledge in Old Norse literature opened up a treasure box, full of information, answering the many questions that occurred.
In order to finance this life of art and science, teaching graphic design at a technical college in Sydney was a solution. Old Norse iconography generally, the change of the iconography on Gotland stones in approximately 650 AD particularly, as well as the importance that many objects, created in Pre-Christian Northern Europe should be regarded as art, appears a major topic of discussion.
A publication that present fascinating objects of art, createded in the time between the late Bronze Age and the beginning of the Romanesque. This book is meant to compare these objects with early modernist and contemporary art in order to help clarify the question if an ‘artefact’ is craft or art.
Another book was published not long ago with the title 'Faces of Gods' this was supported by text from Uta Herzog, Sirpa Aalto and Rudolf Simek.
Supervisors: Margaret Clunies-Ross
In 1946 born in Berlin, Germany, raised in Berlin and Frankfurt, married and father of two sons. In the 1960’s studied visual communication in Frankfurt and subsequently worked as a graphic designer and art director. Created promotional material for several well known, large international corporations. In 1983 after selling the advertising agency, followed own initial interest and began painting full time.
Moved to Sydney in 1986 received an Masters degree in Fine Arts at the College of Fine Arts, and worked as an artist in a Sydney, Redfern warehouse studio, shared with fellow artists. Regular exhibitions in private and public galleries. The indigenous environment of Redfern encouraged to travel to Central Australia, and work in Yuendumu together with Aboriginal artists. The Inspiration by the traditional work of the indigenous artists, encouraged to look for an equivalent in European culture.
Studies for a Masters degree in Fine Arts at the University of NSW offered an insight in perspectives and limits of this undertaking. Some directions seemed to be promising and were followed by an enrolment in a PhD program at the Centre for Medieval Studies at the University of Sydney. Margaret Clunies-Ross was supervising and her great knowledge in Old Norse literature opened up a treasure box, full of information, answering the many questions that occurred.
In order to finance this life of art and science, teaching graphic design at a technical college in Sydney was a solution. Old Norse iconography generally, the change of the iconography on Gotland stones in approximately 650 AD particularly, as well as the importance that many objects, created in Pre-Christian Northern Europe should be regarded as art, appears a major topic of discussion.
A publication that present fascinating objects of art, createded in the time between the late Bronze Age and the beginning of the Romanesque. This book is meant to compare these objects with early modernist and contemporary art in order to help clarify the question if an ‘artefact’ is craft or art.
Another book was published not long ago with the title 'Faces of Gods' this was supported by text from Uta Herzog, Sirpa Aalto and Rudolf Simek.
Supervisors: Margaret Clunies-Ross
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Papers by Peter Hupfauf
as creations of animals, applied as decorations on objects or as figurines are motives, sometimes the theme, but
not the style. An owl, for example might be used to symbolise wisdom. This is entirely independent from any style.
Drafts by Peter Hupfauf
Old Norse literature provides a great insight into a culture that has considerably influenced parts of European society. With an initial professional background as a visual artist, my interest is focused particularly towards the iconography of pre-Romanesque, early medieval, Scandinavia.
Books by Peter Hupfauf
Most of the existing literature related to cultures of the Eurasian steppe is specialised on one particular culture or one archaeological excavation. The book is written as a hypothetical journey through time and space, structured in an east to west direction. It provides a wide-reaching overview by placing the discussed artefacts into a cultural, geographic, and chronologic frame, particularly the thousand years between 500 BC and 500 AD. Artistic expression and style are a central theme to explore possible relationships between civilisations of the Eurasian steppe and their influence on medieval Central and Northern European creation of artefacts.
As many ancient Mediterranean sculptures and mosaics are widely excepted as pieces of art, objects made in northern regions of Europe, commonly find their appreciation by historians, and can be viewed in historic museums. Several of these items, however, fulfil the criteria to be regarded as pieces of art. With some knowledge about the cultural development of northern Europe, as well as an expertise in modern and contemporary art, Hupfauf analysed artefacts, created between the Bronze Age and the Romanesque, and selected those with strong artistic qualities, to be compared with objects, created by modern artists, at the beginning of the 20th century, as well as contemporary artists.
Painting by Peter Hupfauf
as creations of animals, applied as decorations on objects or as figurines are motives, sometimes the theme, but
not the style. An owl, for example might be used to symbolise wisdom. This is entirely independent from any style.
Old Norse literature provides a great insight into a culture that has considerably influenced parts of European society. With an initial professional background as a visual artist, my interest is focused particularly towards the iconography of pre-Romanesque, early medieval, Scandinavia.
Most of the existing literature related to cultures of the Eurasian steppe is specialised on one particular culture or one archaeological excavation. The book is written as a hypothetical journey through time and space, structured in an east to west direction. It provides a wide-reaching overview by placing the discussed artefacts into a cultural, geographic, and chronologic frame, particularly the thousand years between 500 BC and 500 AD. Artistic expression and style are a central theme to explore possible relationships between civilisations of the Eurasian steppe and their influence on medieval Central and Northern European creation of artefacts.
As many ancient Mediterranean sculptures and mosaics are widely excepted as pieces of art, objects made in northern regions of Europe, commonly find their appreciation by historians, and can be viewed in historic museums. Several of these items, however, fulfil the criteria to be regarded as pieces of art. With some knowledge about the cultural development of northern Europe, as well as an expertise in modern and contemporary art, Hupfauf analysed artefacts, created between the Bronze Age and the Romanesque, and selected those with strong artistic qualities, to be compared with objects, created by modern artists, at the beginning of the 20th century, as well as contemporary artists.