MARION JACOBS (German, 1943 – 2002)
Post-Modern Gouache & Collage, 1997
Signed and dated (verso)
68 cms x 42 cms (image)
83 cms x 63 cms (framed)
Provenance:
[with] Galerie Dreiseitel 1997 (gallery label verso)
Private Collection United Kingdom
[with] Contemporary Art Management

Born in Aachen in 1943, Marion Jacobs first studied art history in Münster from 1962 to 1965. From 1965 to 1967 she completed a book trade apprenticeship. In 1968 she moved to Stuttgart to switch to the art trade, more precisely to the renowned Valentien Gallery, which had existed since 1930. She married and divorced in 1973. For the next 25 years she will remain the right hand of Dr. Freerk C. Valentien and is a close friend of his wife Rosemarie, who also studied art history. As an artist Jacobs was compelled to create collage from 1977.

The artist has been exhibiting continuously since 1979 (Esslingen, Cologne, Stuttgart, Munich, Barcelona, ​​Salzburg and Frankfurt/M.). In 1990 she married the Cologne gallerist Helmut Dreiseitel. Fourteen years together they built up their gallery house in Aachener Straße and successful artists such as Picasso, Max Ernst, Miro, Gonzales, Victor Brauner, Henri Laurens, Germaine Richier, Chillida, Hans Steinbrenner and many more were represented and, above all, Marion brought the Spanish sculptor Andreu Alfaro to Germany.

Marion's driving force can be clearly identified. First there was her employer. Valentien, the senior director of the gallery, who introduced her to the painting and drawing of the École de Paris and gave her pronounced Francophilia new nourishment. At the same time, Marion Jacobs became familiar with another area of ​​interest of the Valentiens through the Stuttgart gallery work, namely sculpture. Dealing with the works of Maillol, Laurens, Zadkine, Alfred Lörcher, Horst Antes or Jürgen Brodwolf, to name but a few, on a daily basis, trained her sensorium for the material, for the form and the space. But there was something else that should not be underestimated in the large sphere of influence of the Valentiensche Galerie: the shared conviction that art is something that, if successful, contains spiritual messages, that touch the very foundations of our existence. Marion Jacobs-Dreiseitel would have fully subscribed to the following statement by the Cologne and Munich gallery owner Heiner Friedrich: “The work of art is a creative manifestation that can in no way be valued by money. The madness of capital creates darkness and makes art invisible.”
The teachers Marion adored had become her spiritual friends. The inner dialogues she cultivated here led her collages to a new rigor and maturity. She seems to have benefited most and most consistently from her examination of the Cubist Collages by the French artist Henri Laurens (1885 – 1954). She was to dedicate six “homages” to this great sculptor, draftsman and graphic artist, whose large solo exhibition she had seen in Paris in 1972. In their love for Laurens, Marion and Helmut Dreiseitel knew they were in agreement. They repeatedly exhibited drawings, etchings and artists' books to the French in Aachener Strasse.

Laurens knew how to masterfully play the keyboard of synthetic cubism. His collages (1915 - 1920) work with generously coloured surfaces and build them into imaginary space - similar to his contemporaneous constructions to structure the real space. The sharpness of his cubist cuts, the rhythm and the clarity of his surface arrangements testify to the "Greek" dimension of this great modern classic. As his maxim he formulated, among other things - whereby he also spoke for his graphics: "Sculpture is essentially a taking possession of space, the construction of a thing with cavities and volumes, mass and emptiness, their change, their contrasts, their constant and mutual tension and finally their equilibrium (equilibre). The relative success of a work, the happy solution of a particular problem, depends on the intensity of such a composition of forms. Despite its movement, it should be static, then the room will radiate from it."
 
Marion Jacobs made this Laurensian aesthetic of “radiant balance” her guiding principle. 
 
The scissor artist Henri Matisse also inspired Marion Jacobs with his cheerful accuracy and vitality. In view of her shadow figure from 1998, which adorns an invitation card to an exhibition in the Dreiseitel Gallery, one is immediately reminded of Matisse's painter's book Jazz (1943 – 1947). The artist owned this book in print. Various original graphics also passed through her hands at Valentien and of course she also knew Matisse's artists' chapel in Vence.

Looking at Jacob's entire collage oeuvre, it seems that over the past years her obvious proximity to sculpture has increasingly broken ground and conquered her own expression on the surface.

On August 25, 2002, Marion had to give up her brave fight against cancer.
 
1962-65 studied art history in Münster
1965-67 book trade apprenticeship since 1968 worked as an art dealer.
1977 first collages 1979 first exhibition in Esslingen/Neckar
1987 solo exhibition Galerie Dreiseitel, Cologne
1988 solo exhibition Galerie Valentien, Stuttgart
1988 Galerie Michael Pabst, Munich (participation in the exhibition)
1993 solo exhibition Galerie Dreiseitel, Cologne
1995 solo exhibition Galeria Joan Gaspar , Barcelona
1996 solo exhibition Galerie Dreiseitel, Cologne
1996 Solo exhibition Galerie Welz, Salzburg
1998 Solo exhibition Galerie Reichard, Frankfurt
1998/99 Solo exhibition Galerie Dreiseitel, Cologne
2001 Solo exhibition Galerie Dreiseitel, Cologne
2002 Solo exhibition Galerie Welz, Salzburg
2002 Solo exhibition Galeria Joan Gaspar , Barcelona
 
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