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The list of magazines for which Peter von Felbert (*1966) has already worked is impressive. After studying visual communication in Bielefeld, this photographer established himself on the market. Together with Anne Eickenberg, he operated a photo archive, which allowed a glimpse of their work online: atmospheric images of the night life of Munich and Zurich, as well as refreshing portraits or a series focused on people at the Diana Memorial. Most notable is how color always appears to have the last word in all the diverse themes photographed. It predominantly gives the images a mood that almost says: this is the deciding twist. Mostly painterly and with a sealed complexion of antiquated flair, Peter von Felbert’s photographs presented at LUMAS are images of amusement. We see photographs of pleasure boats and simultaneously the accord of red, white and blue, a woman in a meadow, green, white and blue or the colorful dabs of a carousel in some landscape brochure. These photographs remind us of the early stages of color photography, minuscules colored with orange, green and violet and potato starch particles utilized as light filters, whose effect accommodated the prevailing taste of pointillism in the 1900s. But Peter von Felbert’s works play with the stylistic device of the Fin de Siècle: through the cutting of objects, which impressionism borrowed from photography, or the purist perception of peaceful, gliding boats, which reminds us of the pinnacle of pitctorialism.
You can feel the photographer’s happiness in his experiments. You can see the conflict between the history of photography and the audacity of eclecticism. With sensitivity, Felbert quotes a great epoch of the medium of photography.
Dr. Boris von Brauchitsch
While maintaining his unmistakably painterly style and distinctive use of color, Peter von Felbert evolves his artistic approach in his new series by replacing minimalism with a sophisticated and pointed technique. In this series, he assembles hundreds of drone-captured images to create a comprehensive image that melds the broad sweep of panorama with the intricate detail of collage.
Von Felbert enhances these images through meticulous digital editing, purposefully removing small objects such as cars and trash cans to focus the visual language on the essentials. This method is inspired by the human memory’s selective retention: "When we recall the Cathedral of Florence, we don't remember the cleaning van that was parked in front. My aim is to strip the motifs down to their symbolic essence, creating unforgettable impressions that reflect not the world as it is, but how we experience it."
The series also introduces a novel perspective by capturing photographs at eye level with buildings, approximately midway between roof and ground. This unorthodox angle challenges traditional perspectives by presenting the architecture in its full, unshortened splendor, rather than tapering off from the bottom up.
Von Felbert's travels through Italy have influenced him to explore the significant role of vistas in the Italian landscape. In contrast to the typically valley-situated German towns and villages, Italian buildings often occupy positions that command sweeping views of the surrounding land. This series investigates the implications of such vantage points on life and architecture, enriching the visual narrative with cultural and historical context.
Ultimately, the series serves as a vivid tableau of memory, unfolding before the viewer. What initially appears to be detailed drawings soon reveals itself as a complex photographic collage, offering an exceptionally picturesque perspective of the world—a testament to von Felbert’s innovative approach to contemporary photography.
VITA
1966
born in Bonn
1988-94
Visual Communications Studies Bielefeld College
Design Degree with photography focus
1994-96
Camera assistant with Bavarian Broadcasting
seit 1996
freelance photographer in photojournalism and advertising
seit 2001
Represented by Agentur Stock 4b for commercial photography
About Peter Von Felbert