Age, Biography and Wiki

Norbert Prangenberg was born on 23 June, 1949 in Nettesheim, Cologne, Germany, is a German artist (1949–2012). Discover Norbert Prangenberg's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 63 years old?

Popular As Norbert Prangenberg
Occupation N/A
Age 63 years old
Zodiac Sign Cancer
Born 23 June 1949
Birthday 23 June
Birthplace Nettesheim, Cologne, Germany
Date of death 29 June, 2012
Died Place Krefeld, Germany
Nationality Germany

We recommend you to check the complete list of Famous People born on 23 June. He is a member of famous artist with the age 63 years old group.

Norbert Prangenberg Height, Weight & Measurements

At 63 years old, Norbert Prangenberg height not available right now. We will update Norbert Prangenberg's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Norbert Prangenberg Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Norbert Prangenberg worth at the age of 63 years old? Norbert Prangenberg’s income source is mostly from being a successful artist. He is from Germany. We have estimated Norbert Prangenberg's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Timeline

1949

Norbert Prangenberg (June 23, 1949 — June 29, 2012) was an abstract painter, sculptor, and engraver who was born in Nettseheim, just outside of Cologne, Germany.

1970

Though he had no formal training and did not fully engage with art until his 30s, Prangenberg did finally come up with a style that was uniquely his own, not fitting comfortably into the neo-expressionist or neo-geo movements of his time, in the 1970s and 1980s.

At this time, he was considered a major figure in contemporary German art.

Though he got his start with abstract paintings, he also became known for making sculptures of all sizes; and while his work initially appears abstract, the titles given sometimes allude to the human body or a landscape.

As a trained gold- and silversmith, as well as a glassblower, he always showed an attention to materials and how they could be physically engaged with.

He was interested in how his own two hands could affect the painting or sculpture's surface.

1980

By the 1980s, he becomes a full-time artist, moving organically between watercolor, sculpture, and oil painting, sometimes simultaneously.

Throughout his artistic career he always kept a fine eye on material and sought to experiment with how his own hand could change the surface of an abstract painting or bulbous sculpture.

Prangenberg's initial forays into art making were in the 1980s and his interests were focused primarily on color and structure.

His medium of choice was watercolor on paper or canvas and his easel of choice was in fact not an easel at all, but the floor.

Only after he was done would he stretch the painting over stretcher bars.

1980 1981 1982 1983 1984 1985 1986 1987 1988 1988–1989 1989 1990 1991 1992 1993 1994 1995 1996–1997 1997 1998 1998–1999 1999 2000 2001–2002 2002 2003 2003–2004 2004 2004–2005 2005 2006 2007 2008 2009 2010 2011 2012 2012–2013 2013 2014 2016–2017

1981

1981 1982 1983 1984 1985 1986 1987 1987–1988 1988 1989 1990 1991 1992 1995 1996 1996–1997 1997 1997–1998 1998–1999 1999 2000 2001 2002 2002–2003 2003 2004 2005 2006 2007 2007–2008 2008 2009 2009–2010 2010 2011 2011–2012 2012 2013 2014 2015 2016

1990

By the 1990s, Prangenberg was also working with sculpture.

2000

In the 2000s, he switched up his painting and sculpting techniques substantially.

2007

He continued using this process until 2007.

According to John Yau, these early paintings were "planes of luminous color inhabited by geometric forms, which seem to have been scooped out."

Yau may have made use of the words "scooped out" because Prangenberg was using an impasto technique, applying the paint in a thick manner that allowed the surfaces to be cut into.

In 2007, he stopped painting with watercolors directly on the floor and focused, instead, on oil painting on easels.

These abstract paintings tended to have distinct areas within the composition.

This way of making a painting within a painting informed his later ceramic sculptures.

2008

Annegret Laabs, writing in 2008 in the artist's monograph, "Norbert Prangenberg: Venustas et Fortuna," explained: “Up to the mid-1990s, the focus of his ceramic works was to be found in large, bulbous, hollow forms, usually lying on their side, which were characterized by the independent movement of the glass flux that surrounds the terracotta when it is fired, and which ultimately merges light and darkness, the visible and the imaginary, or, indeed, keeps them apart.” However, after the mid-1990s, Pragnenberg rotates these large scale, monumental sculptures so that they are standing, mimicking a standing human body.

Yet, they maintain the same spontaneous, playful, organic nature of the ones resting on their sides.

His sculptures also show an interest in materiality; in certain parts of the clay forms you can see where his fingerprints have affected the surface by way of holes, notches, and incisions.

2012

Traces of the artist's hand appear literally throughout his entire oeuvre, before he lost the battle with liver cancer in 2012.

At age 13, Prangenberg was studying to be a gold- and silversmith.

After three and a half years of study and a year working for a small company, he attended a werkkunstchule (school for crafts) until the age of 23.

Once he was finished with his studies he began working at a glass factory, making designs for wine glasses and vases.

At this point, he began dabbling with his own independent drawing and painting.

From the age of 26 to 29, he continued freelancing at various glass factories and became a father of two.

At this time, he also became critically engaged with the surrounding art world in Cologne and Düsseldorf, visiting galleries and museums frequently and seeing art by leading visionaries such as Jasper Johns and Yves Klein.

By the age of 30, Prangenberg felt confident that he was making art that was uniquely his.

On a whim, he contacted museum curator Johannes Cladders who began championing his work immediately and connecting him to other curators and dealers.

In 2012, he was awarded a six-week residency in the ceramics studio at Mason Gross School of the Arts at Rutgers.

Though he was battling liver cancer at the time, he churned out many small scale works.

2014

Writing about the works in 2014, Roberta Smith noted that his "small, ebullient tabletop works convey a wildness typical of kindergarteners."

Going one step further, Ben La Rocco wrote of the pieces: “One finds tiny landscapes, portrait heads, a stag, what looks like fragments of architecture, byzantine patterning, abstractions, and other bits of imagery painted into the glazes, creating a miniature exhibition of painting within the sculpture exhibition.” In fact, Prangenberg named these works exclusively either "Kopf" (head) or "Landschaft" (landscape), perhaps encouraging us to look past the initial estimate of abstraction.

Additionally, many of them had smaller surfaces with painting on them; it was as if many works of art made up one small sculpture.

2016

2016–2017

2017

2017