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Gaudí,
Antoni
(1852-1926),
Catalan
el modernisme
architect, primarily active in Barcelona, he
was born into a family of craftsmen. All his
life, Gaudí suffered from arthritis, which
made it difficult for him to concentrate on
the sedentary school work so instead he
spent much time walking and observing forms
in nature. Gaudí attended the
Instituto Colegio de las Escuelas Pías de
Reus, where he achieved
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geometry, and he became interested
in Christianity. From
1873-78
Gaudí was studying architecture at
Escola Provincial d'Arquitectura in
Barcelona,
his drawings were considered both
brilliant and insane, and
henceforward these were the words
used to describe him. Gaudí
was
influenced by medieval books, gothic
art and organic shapes in nature and
among other artists
Henri de Toulouse-Lautrec.
His interest in music also
contributed to his style. John
Ruskin English poet, artist, critic
and conservationist conveyed to
Gaudí his belief that ornament was
the origin of architecture. A book
on medieval French architecture by
the French architect and theorist
Viollet-le-Duc also had a great
influence on him. His first major
project as architect was worker
houses of the cooperative
La Obrera Mataronense,
presented at the Paris World Fair in
1878, the project laid the
foundation of his fame. Thereafter
he worked with the architect
Martorell on projects such as the
Gilbert pharmacy in Barcelona and
the cathedral La Sagrada Familia
(Church of the Holy Family) in
Barcelona.
Gaudí
officially took over construction of
la Sagrada Familia in March of 1883,
at the age of 31,
a huge project in which he worked
until a few days before he died.
Officially,
the building will be finished in
2026, one hundred years after Gaudí
died. Unofficial the building is
estimated to be completed in 2041,
then La Sagrada Familia had been
under construction for more than 150
years. Gaudi's goal was to create a
cathedral for the 20th century. The
eight bell towers (according to
Gaudí's original project, twelve
towers were planned) symbolized the
Apostles, four towers the
Evangelists, one tower the Virgin
Mary and the biggest tower Jesus
Christ. Every window, column,
element and shape referred to
saints, institutions or mysteries of
catholic faith. The building, was an
odd fusion of Gothic Style and
Jugendstyle. Another
example of his bizarre structures is
Casa Milá (1906–12) in Barcelona, a
residential property. Straight line
or plan flat could not be found in
this house - as it was a matter of
chance, its lines and plans winded
in and out. The doorways were
surrounded with columns or
indefinable arch-likes formations.
The window-shapes were mainly
Romanesque style. The Balconies were
displaced. The formation of the roof
were sinuous and the chimneys were
twisted sculptors. Casa Milá was
fantasy, magic, adventure,
spirituality, creativity and
theoretical, professional and
practical training and knowledge of
building constructions. The exciting
architectural expression as
demonstrated in Casa Milá was not a
style which further could be
imitated or developed. Gaudí wished
a style which fell into step with
time and independent of the past, in
Casa Milá he developed an unique and
extreme architecture. Casa Milá got
the nickname "La Pedrera", the rock
quarry, because the stone facade
made the building looked like a
steep rock with caves in.
(Jugendstyle)
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Parc
Güell
(1900-1914). The main terrace, surrounded by a long
bench formed like a serpent. |
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"Joyeuseté
(Arearea)", 1892, Musée d'Orsay, Paris |
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"The
vision after the sermon - Jacob's fight with the
Angel", 1888, Edinburgh, National Gallery of
Scotland |
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"An
Old Man and His Grandson", 1480, Louvre, Paris |
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Ghirlandaio, Domenico
(Domenico di
Tomaso Bigordi) (1449-1494). Italian painter. He was born in Florence and
he died in Florence. He was son of a goldsmith, the name Ghirlandaio
was derived from his fathers skill in creating garland necklace (collier
guirlande). Ghirlandaio was probably apprenticed to his father and was a
pupil of the Early Renaissance painter Neri di Bicci (1419-1491) - however
profound knowledge of his artistic training and career is absolutely
scanty. The biography "The Lives of the Most Eminent Italian Architects, Painters,
and Sculptors", 1550, by the painter, architect and art historian Giorgio
Vasari (1511-1574) was the primary source materials for early Italian Renaissance
artists. According to Vasari Ghirlandaio was
apprenticed to the painter, mosaicist, and stained glass artist Alesso
Baldovinetti (1425-1499), and for a short period of time, he was close to the
Florentine sculptor and painter Andrea del
Verrocchio (1435-1488) - it is perhaps doubtful.
Ghirlandaio, who was influenced by Flemish Realism, depicted bourgeois
families - his patrons were wealthy patricians. He was a
realistic portrait-painter - he carefully painted details of the
physiognomy e.g. "The old
man and his grandchild" one of his most fascinating portraits shows a
tender proximity between the grandfather and his grandchild, however the
same fineness of execution, which can be observed in Flemish portraits,
did not exist.
In Florence Ghirlandaio ran, together with his brothers Benedetto
and David, al arge workshop, he was one of the most
productive artist of the period, his works did not represent
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and new. He executed, together with his pupils, a great number
of frescoes in Tuscan churches - a series of frescoes in Cappella Tornabuoni
Santa Maria Novella, Florence. In Rome he executed, together with his brother David,
frescoes for the Sistine Chapel,
Michelangelo
was his pupil. Ghirlandaio's
fresco cycles contained a
great number of portraits - a family chronicle. (Early
Renaissance)
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1. The
birth of Mary, 1485-1490, Cappella
Tornabuoni
Santa Maria Novella |
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Saint Jerome in his Study, 1479, Florence |
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3. "The
Calling of St. Peter"*, 1482, Sistine Chapel
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*Jesus
Calls the First Disciples, Luke 5,
1:11:
"On one occasion, while
the crowd was pressing in on him to
hear the word of God, he was
standing by the lake of Gennesaret,
and he saw two boats by the lake,
but the fishermen had gone out of
them and were washing their nets.
Getting into one of the boats, which
was Simon's, he asked him to put out
a little from the land. And he sat
down and taught the people from the
boat. And when he had finished
speaking, he said to Simon, "Put
out into the deep and let down your
nets for a catch." And
Simon answered, "Master, we
toiled all night and took nothing!
But at your word I will let down the
nets." And when they had done
this, they enclosed a large number
of fish, and their nets were
breaking. They signaled to their
partners in the other boat to come
and help them. And they came and
filled both the boats, so that they
began to sink. But when Simon Peter
saw it, he fell down at Jesus'
knees, saying, "Depart from me,
for I am a sinful man, O Lord."
For he and all who were with him
were astonished at the catch of fish
that they had taken, and so also
were James and John, sons of Zebedee,
who were partners with Simon. And
Jesus said to Simon,
"Do
not be afraid; from now on you will
be catching men."
And when they had brought their
boats to land, they left everything
and followed him."
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Interior of the church of the Swiss mountain
village Adelboden. The stained glass windows
are created in 1937 by Giacometti. The
windows depict the night at Gethsemane. |
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Giersing,
Harald (1881-1927). Danish painter, critics, theorist and
teacher. He was born in Copenhagen, and he died in Copenhagen, he was married to Besse
Giersing (1896-1944), a daughter of the Funen painter
Fritz Syberg.
Giersing was known for his portraits, figure paintings,
landscapes, interiors and football paintings.
From 1900-04 he studied at the Royal Danish Academy of Fine
Arts, and from 1904-06 he studied at Kristian Zahrtmann's
Painting School in Copenhagen, where he established
friendships with artist colleagues such as Karl Isakson and Sigurd Swane. While studying under Zahrtmann he
visited Copenhagen
art collections of
contemporary French art - during a stay in Paris from
1906-07, a crucial part of his life and art, he became
fascinated by the Impressionist, Expressionists and the
pointillist technique of the Neo-Impressionists -
after his return to Denmark, influenced by the pointillist,
he painted "Woman makes her toilet",
1907. Later he created a number of monumental works, and his
colours got darker, and he often used strong contours - his
work showed the influence of various styles
including Expressionism and Cubism - an incipient Cubism was
seen in "Sophus
heads the ball" (a newspaper photo reproduction), 1917 -
Giersing developed his personal style, a fine and simplified
expression, and he had an unerring sense of colour. The
colour scheme of his landscapes was like the classic Danish
landscape painting, he used simple shapes and dark colours.
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Giersing formulated laws of modernistic
painting, and he became a role model for young Danish artists.
Giersing exhibited for the first time in 1908 at The artists
Autumn Exhibition in Copenhagen, he was co-founder and
member of the artist union Groenningen (1915).
Modernism's breakthrough about 1910 included in paintings
Expressionism, Fauvism, Cubism and Abstract Art and
Functionalism in architecture - the art styles which created
a basis for modern art and architecture - the breakthrough
artists were Harald Giersing, who was the key figure,
Edward
Weie, Karl Isakson, Sigurd Swane, Olaf Rude, Jens Adolf Jerichau
and
Vilhelm
Lundstroem.
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1.-2. Giersing
self-portraits, The
Danish National Gallery, Copenhagen. |
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3.-4. "Woman
makes her toilet", 1907, The Danish National
Gallery, Copenhagen. |
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The
photos (5.-7.) are used with permission of
Jonas
Giersing.
1.
""The
Judgement of Paris", 1908-09, The Danish
National Gallery, Copenhagen. 2.
""Sophus heads the ball", 1917, ARoS,
Aarhus Museum of Art. 3.
"Woman doing needlework", 1919, ARoS, Aarhus
Museum of Art
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"The Wedding Feast at Cana",
1304-1306, Capella degli Scrovegni, Padua,
Italy. |
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"Madonna
Enthroned", c. 1310, Galleria degli Uffizi,
Florence, Italy. |
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"Kiss
of Judas", The Scrovegni Chapel/Capell degli Scrovegni aka the Arena
Chapel, Padua, Italy. |
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"Lamentation
or The Mourning of Christ", 1304-1306, Scrovegni
Chapel, Italy. |
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"Adoration
of the Magic", 1304-1306, Scrovegni Chapel, Italy. |
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From the fresco cycle of "The
Legend of St. Francis", Basilica of St. Francis of Assisi,
traditionally ascribed to Giotto. |
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The Scrovegni Chapel, Padua, Italy. |
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Goya, Francisco
(1746-1828) Spanish Rococo and Romantic
portrait- and court painter and engraver.
(Romanticism) |
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Museo National del Prado/The
Prado Museum, Madrid |
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Sculpture in front of the Prado Museum showing the
Spanish Romantic court painter and chronicler
Francisco
José de
Goya y Lucientes
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"Tío Paquete", c 1820, Thyssen-Bornemisza
Museum, Madrid. |
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"The 3rd of May 1808 in Madrid: the executions on
Príncipe Pío hill", 1814, Prado
Museum. Napoleon I of France invaded Spain in
1808. The Spanish people were discontented with the new
king, Napoleon's brother Joseph Bonaparte, so everywhere in
Spain rebellions broke out. In May the people of Madrid
rose up against the French occupation. Many French
soldiers were killed by the Spanish rebels, and the
French army's reaction to this was to execute thousands
of Spanish civilians and rebels. Many Spaniards,
including Goya, had hoped that the French invasion would
bring liberal reforms to the country and not terror. In disappointment
at this Goya painted "The
3rd of May 1808" focusing on political tyranny. The
motif shows the execution of Spanish rebels. He has portrayed his countrymen as martyrs. |
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"Saturn Devouring one of His Sons", about
1819-23, by,
Prado Museum, Madrid. |
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See also
Photos of Madrid |
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"The Naked Maja/La Maja
Desnuda", c. 1797-1798, Prado Museum,
Madrid. |
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"The Clothed Maja/La
Maja Vestida, c. 1803, Prado Museum, Madrid. |
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Self-portraits. |
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"The Naked Maja/La Maja Desnuda", c. 1797-1798,
Prado Museum, Madrid. |
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"Boys with blood dogs". |
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Gribennikov, Vasily
Ivanovich
(1951).
Russian painter - landscapes. Gribennikov
was born in
Rostov
Region. In 1974 he graduated from the Art-Graphic branch of
Cuban State University. After graduating from the
University, he worked a lot in the field of landscape and
genre painting, still life painting, constantly improving
his own skill. At the present day the name of the painter Vasiliy Gribennikov is well known to wide circles of the
collectors and lovers of art in Russia, Europe, the USA and
some Arab countries.
Devoted
to the traditions of Russians realistic art, he expresses,
in his works, a deep personal understanding and
interpretation of reality based on the knowledge of
objective laws of the developments of art and professional
mastery. Every work represented here has its own original
decision of light colour. |
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Every work represented here has its own original
decision of light and color. In the apparent
simplicity of the composition a great sketch school
of art, powers of observation and the selection of
distinctive dominance are concealed, extremely exact
rendering of nature finely combines with scarcely
visible decoration.
Every his work is filed with sense of air and space.
Various states of nature in the landscapes by Vasily
Gribennikov are always distinguished by a marvelous
sense of art, colour, and composition. All of it
adds
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to the works of the painter definite emotional spirits and
sight. Such landscapes by Vasily Gribennikov as:
"After Thunderstorm",
"Day in May",
"Road
through Wood",
"Yard
in Jaroslavl'"
are well known among art lovers. These works as many other
Russian landscapes are filled with lyricism, wonderful
harmony of coloring and light: the smell of the meadow in
full bloom in July filled with sunbeams, the clouds slowly
passing, the transparent willow lace, the thin young
crescent … The poetry of Russia nature reflected in pictures
by Vasily Gribennikov with great exactness and lyricism.
The marine themes take a particular place in the creative work of
Vasily Gribennikov. In this genre his works empress the spectator
not so much by the play of sea-water tints as the romanticism of
historical sailing-ships and fishing scows. It seems, come up
closer to his marine miniatures and you will feel the salty smell
of sea-water, wet send and shore heather, - smell of sea - the
smell, which refreshes your head, makes you dream of distant
voyages, so curative for the heart and fruitful for the mind.
No doubt lovers of realistic art will find for themselves a lot of
interesting things in works by Vasily Gribennikov who is the
follower of the traditions of Russian art classics.
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Exhibitions:
1980-1982 - Regional Youth Exhibitions, the Exhibition Hall of the
Artists' Union, the city of Rostov-on-Don.
1999 - "Gold Brush", the Central House of Artists,
Moscow.
1999 - "Russian Art", Bezanson, France International
Art.
2004 - "New name in Realistic Art", The Central House of
Artists, Moscow.
2004 - "ARTS - 2004", Exhibition Center "Sokolniki",
Moscow.
Thanks to
Vasily
Gribennikov
for
allowing
me to use his text and photos of his paintings.
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| "Still-life
with peaches", 2004 |
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| "After
Thunderstorm", 2002 |
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"Road
through Wood", 2002 |
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"Yard
in Jaroslavl'", 2003 |
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with jug", 2003 |
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Gris, Juan
(José Vittoriano Gonzales) (1887-1927). Spanish
born French painter, illustrator and writer (aesthetic theories). He was born in
Madrid, and he died in Boulogne-sur-Seine. From 1902-04 he studying engineering
at
Escuela de Artes y Manufacturas in Madrid, where he was
known for drawing caricatures of his professors and fellow students, and he
illustrated newspapers and magazines. From 1904-05 he took painting classes with
the artists José Maria Carbonero. Gris moved to Paris in 1906, where he came into
contact with
Picasso,
Braque and
Léger
and poets such as Guillaume Apollinaire and Max Jacob. He continued to produce humorous
illustrations for the anarchist newspaper L'Assiette au Beurre (the butter
plate). He began painting seriously in 1910, and about 1912 he had developed a
personal cubistic style. Gris exhibited for the first time in 1912 at Salon des Indépendents in Paris,
at the gallery Der Sturm in
Berlin and at several other galleries, the same year he
met the Parisian art dealer D.H. Kahnweiler, who
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Gris to a |
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contract that gave Kahnweiler exclusive
rights to the artist’s work - Kahnweiler also
introduced painters such as
Klee,
Picasso, Braque and Léger, Kahnweiler fled Paris at
the outbreak of World War I, during the War
(1914-1918) Gris worked in Paris and signed a
contract with Léonce Rosenberg in 1916. Gris's first
solo exhibition was held at Rosenbergs' Galerie
l’Effort Moderne in Paris in 1919. In 1920
Kahnweiler returned to Paris and became once again
Gris’s art dealer. From 1922-24 Gris created
decorations and costumes for two ballets by the
Russian ballet producer Sergei Diaghilev. Great
exhibitions of Gris's paintings were held at Galerie
Simon in Paris and Galerie Flechtheim in Berlin in
1923 and at Galerie Flechtheim in Düsseldorf in
1925. After 1925 Gris mainly worked with book
illustrations, watercolours and gouaches. Most of
Gris paintings were still-lifes with guitars and
bottles, he became one of Cubism's greatest artists,
his paintings belong to the third phase of Cubism,
the synthetic Cubism. From 1921-27 his cubistic
idiom changed and became more free and lyric.
(Cubism) |
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Self-portrait. |
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"Violin and Checkerboard", 1913. |
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"Still Life with Fruit Dish and Mandolin", 1919, Private
collection, Paris. |
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"Portrait of Picasso", 1912,
The Art Institute of Chicago. |
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"Harlequin with Guitar", 1919, Galerie Louise Leiris,
Monceau, Paris. |
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"The Sunblind", 1914,
Tate Gallery. |
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"The Guitar", 1918. |
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"Glass of Beer and Playing Cards", 1913,
Columbus Museum of Art, Ohio. |
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Grosz, George born Georg Gross in Berlin, he changed
his name in 1916, (1893-1959). German painter, graphic
artist and caricaturist. From 1909-11 he studied at
Königlichen Kunstakademie (Royal Academy of Arts) in
Dresden, in 1912 at Kunstgewerbeschule (Arts and Crafts
School)
in Berlin and in 1913 at Académie Colarossi
in Paris. In 1910 his first caricatures were printed. He
served in the German Army from 1914-15, he spent the last
years of World War I in Berlin, where he created anti-war
drawings and paintings.
From 1918-20 Grosz was member of the Berlin Dadaist group -
in Grosz' understanding the world was a mental abnormality
cabinet (perhaps he influenced or was influenced by the
sceneries in the classic German Expressionist horror film
"The
Cabinet of Dr. Caligari", 1919), his
propaganda paintings did not correspond with the Dadaists
ideas about anti-art. In the following decade he illustrated
magazines and designed sceneries. His sharp commentaries on
the German society were obvious in the series "Ecce Homo"
(Latin for Behold the Man), 1922, and in 1923 an album,
containing satirical paintings attacking the German society,
was confiscated by the police.
In his grotesque satire from the inter-war period, he ruthless unveiled
e.g. the bourgeoisie, the profiteers and the herrenvolk mentality placed
side by side with the street beggars in a milieu of luxury
villas and slum districts - his paintings represented the
modern city life with its desire, passion and crime - the
cities chaos reflected the human amoral. |
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Untitled",
1920, Kunstsammlung Nordrhein-Westfalen, Düsseldorf
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Together with the political photomontage artist John Heartfield and Heartfield's brother Wieland Hertzfelde Grosz was
commissioned to create a war propaganda film for Germany, but they
produced a cartoon, it does not exist anymore. In 1922 Grosz joined
the German Communist Party, a journey to Russia later this year, together
with the Danish writer Martin Andersen Nexoe, where he met Lenin and
Trotzki, disillusioned him, he felt to be out of step with the Russian
political opinions and he resigned from the Communist Party in 1923, the
following year he became leader of Berlin's Rote Gruppe (Red Group), an
organization of revolutionary artists - Grosz was the first German artist,
who created art for society's sake (the contrast was "art for art's
sake). His attack against Hitler in 1925 made his decision to leave German
inevitable. In 1928 an accusation had been made against him because of the
"Hintergrund" (backdrop) - a series of sketches for the
decoration of the Czech writer Jaroslav Hasek's "The Good Soldier
Svejk".
From 1933 Grosz lived in the US - after his arrival he tried to adapt
into the American society by painting views of New York, and his satirical
works were replaced by nightmare visions and scenes of the brutality of
war. In 1937 his works were denounced as degenerate art, and about 300 of
his paintings on German museums were confiscated and showed at the
official Nazi exhibition of Entartete Kunst (Degenerate Art) opened in
Munich on the 19th July 1937. In 1941 a retrospective exhibition of his
works was held at Museum of Modern Art in New York. In 1946 his
autobiography "A Little Yes and a Big No" was published. In
1947-48 he introduced the Stickman subject - lumpy figures in
nightmare activities. During his last years he began painting harmless
landscapes and still-lifes and continued with his pessimistic paintings.
In 1958 he returned to Germany shortly after he died in an accident.
(Dadaism,
Futurism,
Neue
Sachlichkeit)
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Grünewald executed the Isenheim
Altarpiece between 1512-16 for the monastery of the Order of
St. Anthony at Isenheim in the Elzas near Colmar. The
altarpiece was long believed to have been painted
by Dürer. Today the altarpiece is on display at the
convent chapel at Musée d'Unterlinden, Colmar, France. |
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