The Comic-Cubist

  • Comic-Cubism as a concept and as a genre

    Comic-Cubism as a concept and as a genre

    At the beginning of the 1990s, ‘ditArdo’ developed his characteristic artistic language of ‘comic-cubism’. The term ‘comic-cubism’ was then coined by Fred Feuerbacher in 2004 in connection with ditArdo’s paintings in front of a wide audience.

    The stylistic terms ‘comic’ and ‘cubism’ overlap in their formal approaches in ditArdo’s artistic language. The ‘comic’ is characterized by the means of line and surface, whereby the space is also defined by the surface. The striking effect is used together with synthetic ‘cubism’, the simultaneous and superimposed representation of different views or perspectives, to make high-contrast statements about the motif or experiences. The motif becomes a pictorial symbiosis of everyday experiences, dreams, lines, colors and structures. For example, the yellow tomcat stands for the image of laissez-faire, of roaming around in the midday sun.

    In the artistic observation process, questions about the fourth dimension arise primarily in sunny Jakarta. What color are the streaks of light over the water? How much time is eight months? Is time yellow, red or blue?
    These are just a few quotes from our lively email exchange in the ether.

    Text: Dr. Wolter Abele, art historian on the exhibition ‘Out of The Common’ 2005

  • Role models and inspiration

    Role models and inspiration

    Pablo Picasso was already impressed by Rudolf Dirks and other US American comic artists, and so there has always been an art-historical link between the comic strip and ‘Cubism’, which was celebrated as revolutionary.

    Conversely, ‘comic-cubism’ without ‘cubism’ without Braque or Picasso would of course hardly be conceivable. Just as it would hardly have emerged without Disney, Uderzo or Charles M. Schulz. However, ‘comic cubism’ is visibly and clearly going its own way in our time. ditArdo is convinced that ‘comic-cubism’ will establish itself as a term and a genre closely related to pop art.
    Roy Schwartz, historian and critic of pop culture, has described Picasso’s influence on Cubism as follows (original source: link)

    Picasso’s revolutionary Cubism is considered the most influential art movement of the 20th century and earned him the nickname “father of modern art”. Its impact was so immense that it helped to inspire a host of other art movements around the world such as Futurism, Suprematism, Dadaism, Constructivism, Vortism, De Stijl and Art Deco.

    But Picasso was also an avid fan of American comic strips, especially “The Katzenjammer Kids”, and this influence is obvious. If Cubism was the opening shot of modern art, comics gave him something of the “Bang!”

    From an article by Roy Schwartz historian and pop culture critic
    Picasso’s Comics: How Cubism Was Influenced by an American Comic Strip
    Roy Schwartz is a pop culture historian and critic. His work has appeared in, New York Daily News, The Forward and Philosophy Now, among others. His latest book is the Diagram Prize-winning ‘Is Superman Circumcised? The Complete Jewish History of the World’s Greatest Hero.’ Follow him on Twitter, Instagram and Facebook @RealRoySchwartz and at

  • interview

    Tania Königshagen Kulturmarketing comments on the interview that the Hamburg journalist Brigitte Muschiol conducted with me on her website as follows:

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  • Art moves LE

    Bribed with a pair of glasses and persuaded by friend Ralf: ditArdo – the comic-cubist takes part in this promotional fun-and-art event and has a lot of fun doing it.

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  • Cafe Künstlerbrot

    Military canteenSt. Gallen / Lachen ELTERN CAFÉParents enjoy a cup of coffeeand eat a sandwich | 09:00 – 22:00 CHILDREN’S ART STUDIOChildren work with professional artists | 09:00 – 13:00 LIVE PROGRAMLive coffee…

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„Man hat den Kubismus mathematisch, geometrisch, psychoanalytisch zu erklären versucht. Das ist pure Literatur. Der Kubismus hat plastische Ziele. Wir sehen darin nur ein Mittel, das auszudrücken, was wir mit dem Auge und dem Geist wahrnehmen, unter Ausnützung der ganzen Möglichkeiten, die in den wesenhaften Eigenschaften von Zeichnung und Farbe liegen. Das wurde uns eine Quelle unerwarteter Freuden, eine Quelle der Entdeckungen.“

Pablo Picasso

“Sometimes there seems to be no way, but you go and follow your vision. If you then look back, there is a path”

ditArdo der Comic-Kubist, Bildender Künstler
ditArdo der Comic-Kubist, Bildender Künstler

ditArdo studied at the Merzakademie in Stuttgart in the early 1980s and his artistic language tended towards surrealism. In the late 1980s and early 1990s, he worked for the Stankowski and Geipel studio, among others, illustrated the Moorgeist as a book illustrator in 1991 and was a freelance lecturer in representational drawing at the State Academy of Fine Arts in Stuttgart and at the Merzakademie Stuttgart (Hochschule für Gestaltung) until 2004. From 2005 to 2007 he spent time in Indonesia at the invitation of an Indonesian friend and patron. He has had his studio in Stuttgart again since 2007 and developed his characteristic artistic language of ‘comic cubism’ in the early 1990s.

2 art prizes, 7 art prize nominations,
International art exhibitions. Catalogs.