Andreas Tschannen

His father was a teacher and his mother a talented, versatile artist. At an early age, he came into touch with representational arts - with his thirst for knowledge and his enterprise he was a real challenge for his family and friends. His parents recognized his artistic talent as a painter and encouraged him where they only could.
Leonardo da Vinci, the painter and inventor, was his ideal. At the age of 9, he tried to copy the Mona Lisa in oil on canvas for the first time. Since then he has not put his paint brush down.
Artists, such as Walter Emch, Peter Travaglini, Martin Ziegelmueller and Buerkli, verified the artistic flair and expressiveness of the 15-year-old, at the International Academy of Art & Design in Niederbipp.
He studied engineering at the Biel School of Engineering and Architecture, but never stopped developing his artistic talents. He studied and copied works from different painters and in different styles, for example Rembrandt, Albert Anker, van Gogh, Sisley and Renoir.


The Instant of Fascination
The female body, staged in a fascinating light-shadow game, erotic but never voyeuristic; that is the world of the painter Andreas Tschannen.
What fascinates Tschannen is the female, the sensual. The expression in his work always comes afresh. Sometimes, the pictures are flat in flamboyant colours. Sometimes, they are restrained, almost still snapshots, which gently approach their objects. Tschannen‘s women have a powerful effect. They seem self-confident, female, while radiating tenderness. They seem mystic. Without ever descending into the profane or even voyeuristic, Tschannen stages beautiful women’s bodies in attractive poses. In doing this, his nudes are often distorted. This especially applies for his latest work. The «Objekt der Begierde», for example, shows a naked woman, on whose skin the pattern of the Louis Vuitton brand is drawn. The ironic distance, which is created as a result, lends the picture a unique detachment, which the observer can barely elude.

Dr. J. Freudiger, 2007