Günter Haese born 1924
T00810 After the Rain I 1965
Brass wire and brass gauze, 10 1/4 x 12 3/8 x 13 1/4 (26 x 31.5 x 33.5) excluding wooden base; height including base 11 3/8 (29)
Purchased from the artist through Marlborough Fine Art (Grant-in-Aid) 1965
Exh: Günter Haese, Marlborough Fine Art, London, November-December 1965 (15, repr.); XXXIII Biennale, Venice, June-October 1966 (Germany 115, repr. in Haese catalogue)
Repr: Michael Compton, Optical and Kinetic Art (London 1967), pl.28
The artist wrote (13 February 1966): 'My works of before 1961 bear no relation to my present things. I began as a painter and then worked as a sculptor on large sculptures for public buildings and churches. But it was only in these small constructions that I discovered the means of expression which suited me.
'The materials which started me off in 1961 were the watch springs which I built up into more static structures. The element of free-vibrating movement has remained although the parts of the watch are now finding their way back into my most recent works. [However] the springs are no longer visible and slight movements may be said to be a natural part of the whole construction.
'I enjoy working over a subject again, but it does not result in a precisely identical piece. At present there are still no other versions of "After the Rain". However, for the purpose of your catalogue you could add Version I to the title.
'I made "After the Rain" in the summer of 1965 and exhibited it for the first time at the Marlborough.'
In the Tate's sculpture the spherical elements are fairly widely dispersed over a flat drum-like surface, but Haese subsequently made two further versions in which the surface is divided into two distinct levels and the elements are crowded together on the lower of these. In 'After the Rain II' 1967-8 about a third of the surface is raised and all but one of the elements are concentrated in the crescent-shaped area remaining. 'After the Rain III' 1968 has two raised sections, again with arc-like sides, with the elements channelled into a kind of valley between them.
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.351, reproduced p.351