Richard Hoffmann, painter and sculpturer,born on 23.11.30 in Lebach, Saar , GermanyGermany,
1949 - 54 Study of drawing, painting and history of art,
pupil of Masereel and Boris Kleint
at the Art School Saarbrücken,
Final examination at the school (diploma)
1954 - 55 Scholarship at the Academie de la Grande
Chaumier, PARIS.
1955 - 56 Scholarship at the Ecole National Superieure des
      Beaux-Arts PARIS"
1957 - 62 Scholarship at the Hochschule der Künste,
      BERLIN, Degree, Master students of the college,
      artistic friendships with
Baselitz , Köppel ,Schönebeck u. Arwed Gorella
1951 - 64 National and international exhibitions
1963 - 83 Worked exclusively as a sculpturer,
      contest commissions, large sculptures
      in bronze, stone castings,
concrete and Aluminium
      in public areas
1969 - 89 Teacher of Art
1983     Paid increased attention to painting once again
1997     Worked exclusively as a sculpturer
      Large and small sculptures, plaster designs,
      stone castings,Aluminium, casting resin, bronze
Richard Hoffmann
Large sculptures in public areas
Documented in various books, commissioned by the Institute for Present Day Art in Public Areas in the Saarland
(Federal Republic of Germany) including, ainong others, significant large sculptures and reliefs: Monument to Peace,
German - French meeting point on the Schaumberg in Tholey, Saarland
Remembrance of the wars 1870 / 71 - 1914/18 - 1939/45 under the motto: "CHERCHEZ LA PAIX"
Design: Large relief strongly embossed, bronze Dimensions: 4.00 m X 4.00 m,
Altar material granite - cabinet doors, bronze Size 5.00 m X 1.80 m
Relieffassade der Volksbank Schmelz, Material: Beton, Größe: 4,00 m X 25,00m
The cell ist the organized basic principle, the module, the parent element, ehe evolutionary power,
In the age of a world  of extremly advanced technology with its revolutionary scientific findings,  its penetration  into the  vast cosmic  space and  even  into  the  smallest  secret  chambers  of  nature,  people  of  our  time  are  given a spectacular  insigh t into these fields by means of the most advanced media.  Thus open  spaces  are  created  in  our concious- ness by a new way of seeing. Science,  research  and  technology are the domain of our time, If art is to be understood as an interpretation of the  zeitgeist  and its forms of  appearance on the one hand and as a visual  expe- rience  on the  other hand,  these  influences  must be reflected in art,  as it is for example proven by the influence of Copernicus' epistemology on baroque painting in the first half of the 16th century.
I  aim  at  understanding  nature  in  its  basic  structure,  in   the cell area,  in its dynamic power of evolution,  in  its vehement  development.  The  cell  is the vehicle of the intentions of my pictures. Linear,  two-dimensional and three-dimensional forms of energy are  set  free here.  For me  motion which is the basis  of  all  development  becomes an essential  design  element.  To  the  externally  perceptible reality I add  a  higher degree  of truth  by  specifyinq  the svstem which  is  the  root  of everything  produced  by  nature.  Secret  diligence of  the senses and of the mind, the uninterrupted activity of our optics qualify us to discover again an again new truths in pictures.
All that exists is subjected to the dictate of succession. There are accumulation processes everywhere: small elements unite  into bigger ones,  something  big  into  an  entirety,   into  something  immeasurable.  This  fact  becomes  the fundamental principle of my perception.  Heaven and earth,  man, animal,  plant, and for the most part the real world, the  existing  and  artificial  reality  are subjected to this principle,  to this law of joining together,  of spreading,  for finally resulting in the consistency of one form.  Every  contemplation  produces  empirical  material referring to this basic experience.  Even our eye makes something readable part by part for ultimately giving  us an  idea of the whole by adding up its single observations.  There are always processes of evolution,  organizations of individual elements combining to chains of formation, growing into surfaces, into bodies. into spaces.  Leaf  beside  leaf  forms  a  plant, develops into a bush,  a tree. Tree beside tree becomes an avenue, and in the end is named "forest"
I see great potential for contemporary art in the representation of cell systems, in the fractals,  in systems of linear or non-linear dynamics.  The  principle  of  self-organization  of  cells  to  form  a cell complex, the transitional process between  stability  and  instability  within  the  cellular  architecture,  regular  areas  which becom e entwined to form irregular networks - all  of  these  unavoidably  lead  us  into  a cosmic  adventure. Regularities, abrupt changes and breaks are predominant characteristics in life. Life is based on the principle that evolutionary  activity creates worlds within worlds.  They  all radiate  with their movements,  changes and recoupling from small to large dimensions and back again..
Richard Hoffmann
There is something  cosmic  about  art  in  that  through  art,  the  life of entirety pulsates through the individual and  entirety  is within the life of the individual."
( Umberto Eco )