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Artists from A-Z Paul Stöckli

1906–1991
  • 14 Drafts for Architectural Glasswork, Aeschengraben 25 (1955/1956)
    14 Drafts for Architectural Glasswork, Aeschengraben 25
    Artist: Paul Stöckli Dating: 1955/1956 Type: Work on paper Material: Gouache and India ink on paper Measures: 13,8 x 11,9 cm Acces / purchase date: 1956 Inventory number: 0408 Copyright: © Nachlass Paul Stöckli; Fotos: Christian Baur, Basel
  • Tagebuchblatt Nr. 23 (1979/1980)
    Tagebuchblatt Nr. 23
    Artist: Paul Stöckli Dating: 1979/1980 Type: Work on paper Material: Paste colors on newsprint Measures: 95,5 x 66,5 cm Acces / purchase date: 1980 Inventory number: 0412 Copyright: © Nachlass Paul Stöckli; Fotos: Christian Baur, Basel
  • Schwarze Zeichen auf rotem Grund (n. d.)
    Schwarze Zeichen auf rotem Grund
    Artist: Paul Stöckli Dating: n. d. Type: Printmaking Material: Etching on paper Measures: 35,3 x 48,6 cm Acces / purchase date: 1956 Inventory number: 0407 Copyright: © Nachlass Paul Stöckli; Fotos: Christian Baur, Basel
  • Komposition 11 (um 1961)
    Komposition 11
    Artist: Paul Stöckli Dating: um 1961 Type: Painting Material: Mixed media on Pavatex Measures: 65,5 x 165,5 cm Acces / purchase date: 1963 Inventory number: 0411 Copyright: © Nachlass Paul Stöckli; Fotos: Christian Baur, Basel
After dark-toned figurative beginnings, partly oriented towards Georges Rouault's expressionist style and partly reminiscent of Paula Modersohn-Becker, Paul Stöckli turned to non-representational painting close to Informel. One trigger for this may have been commissions for churches. For the mural in the Marienkirche in Olten in 1953, Stöckli reduced the Stations of the Cross scenes to simple, clear and easily legible symbols. He soon found a simple but powerful and sometimes dynamic linear language reminiscent of Eastern calligraphy in concrete stained glass (for example in the church in Obergösgen in 1954–1955). This is where his work, created after the age of 65, which kept him busy every day until his death, comes in: collages made of cut and freely associated pieces of painted cardboard or paper fragments, and diary pages scribbled, drawn and painted on unfolded newspapers. The collages and diary pages are characterised by a regular flow, allowing the shapes and colours and all the subtle, nuanced gradations and shades to grow in a natural, self-evident and effortless process. Occasionally, figurative elements creep into this free and, despite the many shades of grey or black, carefree and cheerful play – as in the large collages that Paul Stöckli exhibited at the Kunstmuseum Luzern in 1986 and in some diary pages.

Niklaus Oberholzer: «Paul Stöckli». In: SIKART Lexikon zur Kunst in der Schweiz, 2018 (erstmals publiziert 1998).