Melitta's artistic philosophy
Melitta was usually not articulate as far as her art was concerned. For this
reason the following is an important document.
In 1966 Melitta made an extensive tour of Europe, with exhibitions in
Rome, Paris, Bruxelles, and London.
In Bruxelles, on the Easter Sunday, an art editor of the radio station
happened to stroll, so she says, by the Mont Des Artes, by a well known
gallery called Au Cheval de Verre. There she was attracted by some delicate
water colors in the showcase, which made her enter and there she met Melitta.
The interview which resulted from this encounter was preserved on tape,
and gives us valuable clues to the artistic philosophy of Melitta.
We found a tape of the interview in her belonging after she passed away,
and the following is an incomplete translation from the tape which is in
Upon a question of the interviewer as to whether she regards herself
as an impressionist painter she explains:
"What is important for me is the impression of a view or object, rather than
the object as such."
Often she is impressed by something she sees, at a time at which she has
either no materials for painting, or the situation does not enable her to
pause for work.
She can then equally well put her impression on canvas or paper the
next day in the studio, as if she is viewing the theme itself.
She then explains that she was strongly influenced by two great teachers
at the academy, the one was a graphic artist and the other a futurist.
Hence the essence of her art consists of two equally dominant elements,
the line and the color.
When the interviewer tries to classify her as a lyriscist of color,
she retorts that, although she feels greatly drawn to the impressionists,
she feels that there is nevertheless an abstract element in her art.
She explains that she mostly used her hands instead of a paintbrush because
this enables her to bring her innermost feeling to the canvas.
The paintbrush gives a feeling of too much distance from the painting.
In this manner what she feels in her soul can flow directly onto the canvas.
The question whether, as she obviously is closest to the impressionist
school, she feels close to any one painter, she answers in the negative.
She admires many of the great painters of the impressionist period.
As to the abstract school, she admires painters who can construct works of
art cerebrally, so to say in their head entirely, yet is does not suit her