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This profile was last updated on 6/1/15  and contains information from public web pages.


Phone: (928) ***-****  HQ Phone
Lanning Gallery
Hozho Center 431 Highway 179
Sedona , Arizona 86336
United States

Company Description: The gallery's unique casual sophistication features the finest works of art in original oil, acrylic, watercolor, contemporary sculpture, art glass, ceramics,...   more

Employment History


  • MFA
  • MFA degree
    Hartford Art School of the University of Hartford , CT
32 Total References
Web References
Hans Schiebold, Landscape Painter - Lanning Gallery [Sedona Arizona], 1 June 2015 [cached]
Hans Schiebold - A featured artist at the Lanning Gallery [Sedona Arizona]
Artist Hans Schiebold creates large-scale landscape paintings of such depth that each reads like a geological time clock of its scene. It has been said that Schiebold does not paint, but rather sculpts in media on canvas and this is a fair assessment of the singular technique that has secured the artist a listing in the "Who's Who in American Art."
"Implied Landscape 107" - Abstract Landscape Art by Hans Schiebold
"Implied Landscape 107" Mixed Media on Canvas Painting 59" x 40" wrapped
Hans Schiebold believes that risk is necessary in order to be creative and his long career marked by innovation and daring, stands in support of this. There is an exaggerated boldness to his landscape paintings that, through their combination of color, texture and scale represents a style uniquely his own. Observers of his scenic paintings must overcome an urge to touch the artist's renderings of granite-like textures or highly glossed water surfaces.
Schiebold uses his own acrylic-based mixed media and unconventional tools: palette knives, spatulas, hand-shaped metal tools, sponges, nets, patterned rollers, almost anything that will create the pattern or texture he desires. His media is applied thickly in abstract patches of color that merge together when viewed from afar to form complex scenes of heightened realism. "These are landscapes, but they are very process oriented," Schiebold explains. The representational style of Schiebold's landscape paintings continue to carry the influence of his early abstract paintings: Hans Schiebold was active in the New York abstract art scene of the 1970s and his paintings were displayed in major museums on the east coast and featured in international museum shows.
At that time Hans Schiebold was a professor of Fine Arts at Wesleyan University in Connecticut. The artist, having trained in decorative wall and ceiling arts in the former East Germany, emigrated from his home country on the eve of the Berlin Wall's creation. Arriving in the United States while still in his twenties, Schiebold obtained his MFA and taught for twelve years before moving west to pursue painting full time. The artist has a deep appreciation for the public function of art: "In Gothic times," Hans Schiebold notes, "cathedrals were the highest form of art, and they were public. Art was didactic, and the service of society was important. But today, "Contemporary art is dogmatic to the point of exclusion. For Hans Schiebold, having a following is one way to confirm that an artist has made contact with society in a meaningful and constructive way. "Everyone who reacts to art can be a critic," he believes.
"At Oak Creek" - Landscape Paintings of Sedona by Hans Schiebold
"In Between" - Landscape Painting by Hans Schiebold
"Emerald Pond" - Paintings by Hans Schiebold
"Baring Creek" - Natural Landscape Painting by Hans Schiebold
"Baring Creek"
"At Capital Reef" - Landscape Painting by Hans Schiebold
"Reflecting Canyon" - Outdoor Landscape Painting by Hans Schiebold
"Reflecting Canyon"
"Down the River" - Landscape Painting by Hans Schiebold
"Tidal Stripe Series #1095" - Abstract Paintings by Hans Schiebold
"Tidal Stripe Series #1095"
Oregon Magazine, 1 July 2006 [cached]
At left, "Broken Top" by Hans Schiebold.
Feeling the rush of the season, sensing that this is perhaps the best of his paintings that I have seen, I know that my years of watching the work of Hans Schiebold, a renowned Northwest painter with Cannon Beach connections, have come full circle.Today, with this wonderful diptych titled "Surrounding Broken Top," I convert from "observer" to "owner."
Schiebold was born in Freiberg, Germany.He came to the United States to study at Hartford University Art School in Hartford, Conn., and received his Master of Fine Arts in 1970.He then became professor of fine arts at Wesleyan University in Connecticut, where he taught from 1970 until 1978.
During this period, Schiebold was active in the New York abstract art scene of the 1970s, and his paintings were displayed in many major museums on the east coast.In addition, they were featured in several international museum shows.In 1978, he accepted a position as professor of art at Wichita University, in Kansas, which he held until 1982, when he moved to Portland, where he first began to use the landscape form to move from abstract painting to a more representational mode.
Perhaps it was the abundance of natural beauty in the Northwest that lured Hans to paint landscapes.Among his works are beach scenes, mountain views, canyon paintings, desert scapes, and a welter of other natural subjects.Schiebold has done various series on the deserts of the West, as well as series on rivers, canyons and the Cascade mountains.Schiebold is drawn to the vastness of the natural scene, a fact that is reflected in the large size of most of his paintings.
"A painting should dominate a room," Hans says, and proceeds to dictate that in the size and technical uniqueness that marks him as an artist.
Schiebold has lived in the Northwest since 1982, splitting his time between a home in Tigard and Falcon Cove, just south of Cannon Beach.Schiebold maintains studios in both homes, providing his growing clientele with canvases that average five feet in width and four feet in height.
Why did he come to Oregon, and, more specifically, why the coast?
"I loved it; I simply loved it.I lived in Kansas for four years, and there was a little too much Kansas there," he noted with a chuckle.
Schiebold is especially attached to the area around Cannon Beach, where he exhibits in the Bronze Coast Gallery, owned by Kim Barnett.Hans has high praise for Barnett, citing his sensitivity and fairness with artists.
The coast itself offers Schiebold an opportunity to explore his love of landscape art.
"When we moved out here in 1982, I simply fell in love with the Northwest."
One result of the move was a change to more representational landscapes, as opposed to the more stylized work he had previously done."By that time," Hans says, "abstract painting had pretty well said all it could say."The Northwest offered him an opportunity to develop a more representational style and ample subject matter, and he has thrived."They know me here," Hans says, "They know my work."For him, landscape art was a rediscovery of something that lay within, "a rediscovery of a dormancy," as he puts it.
Early Abstract Work
The highly textured technique that Schiebold now uses was not always part of his métier.Some of Schiebold's early work was flat.Color-layering, however, was clearly present, a technique that would later lead to the accretive process of his landscapes and abstracts.In this earlier color-layering, a difficult process of applying acrylic base color veils with an atomizer to create over-all patterns.A color-bleeding effect was achieved from thinned liquid soap
Some of Schiebold's early works were experiments in graphite, texturized in ways that foreshadow his later technique.In these, Schiebold begins to layer his materials more deeply, creating a patchwork of reflective surfaces that catch and break the light in patterns at once pleasant and provocative.
Schiebold does not "paint," he sculpts in media on canvas.Indeed "texture" in Schiebold's work is stretched almost to a breaking point, so layered and worked are his landscapes.His process is not unlike carving away the applied medium, leaving only what is essential to make the statement he sees in the scene before him.He says as much himself: "The ‘how' of painting is more important than the ‘what'."
Pursuing that "how" has caused Schiebold to collect a wide array of implements for creating texture.Schiebold uses no brushes in his work.A look at his work area reveals palette knives, spatulas, hand-shaped metal tools, sponges, nets, patterned rollers, almost anything that will create a specific pattern or texture in the work at hand.Yet, his completed works show only the effects of "taking away" what does not belong, in order for the subject to emerge.At times, in fact, that subject seems more implied that stated, a residue from his abstract days, perhaps.His landscapes have a sense of mystery but are clearly recognizable: Indian Beach; Mt. Hood; the Columbia Gorge; Hells Canyon; and a wide array of Northwest spots that form the nexus of his interests.Ask him for a favorite spot, and he will defer answering, perhaps because the process of landscaping is more important to him than the specific venue.
Simply put, Schiebold is a representational artist, insofar as he deals in landscapes.
That searching leads Schiebold to say that art is like religion: "It functions exactly like a philosophical system."If so, then the concept of "right" is not part of that system."We are searching for something.We do not produce answers; we do not reach conclusions."Ironically, Schiebold notes, "Right" is a concept that "has caused wars in both art and religion."
Is that why Schiebold has chosen to paint landscapes, rather than to tussle with the ambiguities of abstract art?Probably not, because the earliest of his oeuvre contains a wide body of abstractions and experiments in technique, as well as color."I have chosen landscapes, and I am comfortable," Schiebold says.
Schiebold might have added, "Most people think they understand landscapes," but he did not.
For Schiebold's landscapes are not clean-lined representational art, as it is traditionally thought of.An undeniable quality of the abstract artist shows through in Schiebold's landscapes.The colors are often "messy" as he terms them; the forms are not clean-lined, but fuzzy for effect; a few strokes often serve to define an entire tree, a line of bushes, or a "feel of the season."Though the style is unique-the defining identity for every artist-the subject is invariably accessible.Schiebold says, "Everyone who reacts to art can be a critic."In this respect, each of Schiebold's works seems greater than the sum of its parts.Ultimately, the abstractness is resolved into a beach, a waterfall, a mountain, or a river.
Each work, finally, is a matter of perspective."Seen close up, the mudpots in Yellowstone Park are abstractions.Step back, and they are part of a wonderful scene," he says.Seen close up, Schiebold's works are color patches in search of a meaning.Step back, and they resolve into provocative renderings of favorite Northwest scenes.Indeed, most of Schiebold's works are large, requiring some space for appreciation."A painting should dominate a room," according to Schiebold, a conviction he practices in almost every one of his paintings.The diptych I purchased from the Lawrence Gallery, for instance, is ten feet wide and five feet high, totally dominating the room in which I placed it.
The combination of color, texture and size create a style uniquely Schiebold's.In this, Schiebold takes comfort, because "style" is precisely what an artist pursues all his life."If you are not mastering a technique, you are not painting," he says.Schiebold has been commissioned to repeat the same scene many times: Hells Canyon, specific mountains in the Cascades, and so on.Does repetition bring boredom to the artist, so that it overcomes his creative energy?"It (repetition) is a problem," says Schiebold, "but that is how you know an artist's style."It is precisely that repetition, that diverse sameness, which distinguishes one mature artist from another.
"Every painting is different, but the style is inescapable," says Schiebold."Any artist can be identified by his technique.This is who we are and this is basically what we are striving for."It is like a person's signature, he says, just like a person's signature.Schiebold's paintings are like a signature, just as surely as the almost redundant "hbold" painted into the lower corner of each work.
Schiebold has a deep appreciation for the public function of art.Having a
Hans Schiebold - A featured ..., 23 May 2008 [cached]
Hans Schiebold - A featured artist at the Lanning Gallery [Sedona Arizona]
"The Narrows 844" - Landscape Art by Hans Schiebold
"The Narrows 844"Mixed Media on Canvas Painting45" x 36"
Hans Schiebold Showcase
Hans Schiebold - A featured ..., 23 May 2008 [cached]
Hans Schiebold - A featured artist at the Lanning Gallery [Sedona Arizona]
"At West Fork" - Artwork by Hans Schiebold
"At West Fork"Mixed Media on Canvas Painting60" x 48"
Hans Schiebold Showcase
Hans Schiebold, Paintings - ..., 9 Mar 2007 [cached]
Hans Schiebold, Paintings - A featured artist at the Lanning Gallery [Sedona Arizona]
"Canyon Series II" - Painting by Hans Schiebold
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