From around 1954 onwards, Hann Trier preferred to paint with a brush in each hand. In the process, he moved the brushes back and forth, away from and towards the centre of his body, now more rapidly, now more slowly. “I dance with the brushes”, is how he described his technique. In the early 1960s, he came to favour broader brushstrokes and lighter hues, as seen in this watercolour. The composition resembles that of Trier’s painting Boreas of 1965. In Greek mythology, ""Boreas"" is the name of the north wind that brings the cold and snow of winter. The abstract composition conveys the force and dynamic of that wind, but also a sense of lightness and airiness.
 Hann Trier: Bemerkungen zu Bildern. Text zur Ausstellung der Galerie Nickel, Bad Godesberg 1968, printed in:
Hann Trier. Gemälde, Zeichnungen, Graphiken 1951–1972, Exh.-Cat., Rheinisches Landesmuseum, Bonn
1972, p. 42.
Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.
The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.
Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:
The successive ownership records are separated from each other by a semicolon.
Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.
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