The book "Tritt in die Neuzeit" is published almost 60 years after the death of Rudolf Urech-Seon (1876 - 1959). Over the past few years, Christian Herren has edited the estate of the Swiss artist on behalf of the curator of the estate, Daniel Gutscher, and, in collaboration with the graphic artist Anatole Comte, designed the content and graphic concept of the book.
Comte and Herren were born at the beginning of the 1990s, Urech-Seon dated his last work ("Composition", 1959) to 1989 and noted in his notebook: "Man malt doch nicht nur für diese kurze Spanne Zeit, Jahrtausende sind vorübergegangen." The pre-dated "Composition" is reminiscent of a work from 1957 entitled "Tritt in die Neuzeit" ("Step into Modern Times"). Both works feature flat monochrome applied forms in a reduced palette. An essential difference is an opening on a yellow ground, which only appears in the last work. Perhaps it is an invitation to "modern", later generations, who should open themselves to the artist's versatile work and above all its foundations. The genesis of Urech-Seon's work leads from representational depiction to a constructed mode of representation limited to a few forms. This book pays tribute to the artist's versatile oeuvre, both in the selection and placement of his works and through certain design elements. Urech-Seon's further development of "Villard’schen Teilungskanons" is applied in the schematic design of the book. The illustrated works - many of which are being published for the first time - are presented in chronological order on the one hand and in thematic-formalist groups on the other. The framework for this is the epoch in which the artist lived and which is also reflected in Anatole Comte's typographical concept: Initiallettern and Alinea in the style of "neue Schwabacher" (1876) and "Neuzeit" (1959) for the continuous text. This epoch, however, is in no way intended to tempt us to see the artist's work in an isolated period of time. Urech-Seon, opponent of episodic attributions, did not by chance replace his futuristic ligature for signing the pictures from the 1930s with a signature in the "outdated" Sütterlin script.