SCHADE, TITUS
1984 Leipzig

Title: "Der Stausee"/"Das kleine Querregal".
Subtitle: 2 part.
Date: 2009/10.


Description: Each oil and acrylic. 200 x 149.5 cm (reservoir) 50 x 150 cm (horizontal shelf). Installation dimensions: ca. 260 x 150 cm. Each titled, signed and dated verso on the folded canvas upper: “Der Stausee” Titus Schade 2009 and “Das kleine Querregal” Titus Schade 2010



Provenance:
- - Galerie Leuenroth, Frankfurt am Main

- Private collection, North Germany (acquired from previous owner in 2010)



- A skilful fusion of old-master technique and modern vision

- The work brings together two very different series of paintings by the artist into a cohesive body of work with a powerful spatial presence

- A striking tension between painterly illusion and constructed order



In Titus Schade’s two-part work, landscape and architecture, reality and model-like quality come together in a finely tuned interplay. The upper painting, *The Reservoir*, depicts a vast landscape beneath a dramatically staged sky. Clouds loom with an oversized presence, lending the image an almost theatrical sense of depth. In the lower third of the image, a hilly terrain with scattered structures and a hinted-at reservoir stretches to the horizon, where architecture and nature come into balance—calm, yet by no means static. This effect is due in no small part to a deliberate use of light that bathes the scene in a dramatic, almost apocalyptic glow and reinforces the underlying atmosphere of decay and melancholy. In contrast stands ‘The Small Shelf,’ which resembles a stage set: a shelf display featuring miniature buildings arranged like props. The architectural elements appear like models from a fictional world—abstracted, reduced, yet still possessing a clear identity. The arrangement across two levels creates a narrative moment, as if it were an inventory of ideas, an archive of future spaces. Together, the two works unfold a tension between the painted illusion of the landscape and the constructed order of a model space. Added to this is the complete absence of human figures—a void that makes the scenes seem eerie, almost deserted. In this way, Schade not only questions the representation of space and architecture but also plays with scale, perspective, and expectation—an invitation to reflect on reality, representation, and imagination.



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#Titus Schade #Germany #Contemporary Art #2000s #Contemporary Art.







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