Between The Transcendent and The Earthly: The Art of Heinrich Berann

This is not the first time Heinrich Berann is mentioned on the pages of Renegade Tribune. Mike Walsh did it in passing in one of his writings for this website. About that particular article I personally think that most art which was stolen from the Germans after the war is resurfacing now in the auction market as the owners of these lost items (whether they were stolen by themselves or acquired in the black market) are dying out, so their descendants are basically selling it like there was no tomorrow, this way perpetuating the cycle of art being held out of public view until someone decides to sell, then back again to private collectors’ hands. This could be one of many reasons, but that is my two cents on the subject anyway.

Prof. Heinrich C. Berann is one of the most important personalities of contemporary art. Today’s “art” has totally lost sight with its shameless ugliness… On the other hand, Berann’s work links “knowledge” and “ability” in the creative tradition of purely European art. The work of the Tyrolean is influenced by Nietzsche’s mood as clear proof that universalistic ideologies will fail in their efforts to truncate the depictions of the beautiful (as an expression of the rooted, discriminating the nature peculiar to every people and every culture) by the Mondialists (Globalists?). Such a threat will trigger the opposite effect: the representation of the beautiful calls out for the stronger, the more authentic and the timeless! “- Harald Vetter

Paradise In The Snow: The Art of Heinrich Berann (Part 2)

This article is intended to be just an appendix to the first part dedicated to Heinrich Berann, which will be exclusively centered on what this remarkable artist produced during his lifetime as a graphic designer. Most of his commercial assignments were created for the tourist industry in the Alps area, whether it was to advertise locations in the North of Italy, Switzerland or in his Austrian homeland.