Georges Seurat, "Sunday Afternoon on the Island of La Grande Jatte", 1884-1886
Kirsten Petersen © 2008
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Salomé (Wolfgang Ludwig Cihlarz), (1954). German artist, born in Karlsruhe. He was trained as a structural draughtsman. I 1973 he went to Berlin, where he was engaged in e.g. homosexual rights movement (Rosa Winkel/the pink triangle). He took the name Salomé*, he posed for artist, which inspired him to begin drawing - himself, he was admitted to the academy because of his self-representations. From 1974-1980 he studied at the Academy of Art in Berlin (Hochschule der Künste/HdK) under Ulrich Knipsel, later he became Meisterschüler under the Neo-Expressionist Karl Horst Hödicke - a Meisterschüler worked on his self-elected final project under the supervision of an expert within the chosen disciplin. In 1977 Salomé founded, together with Helmut Middendorf, Rainer Fetting and Bernd Zimmer the Moritzplatz Self-Help Gallery in Berlin-Kreuzberg, a new city culture was created, the members of the gallery were called "The Young Wild Ones" ("Die Jungen Wilden" and their style Neoexpressionismus). 
Salomé began work on his self-manifestations and performances. In expressive paintings he depicted existential and moral conflicts e.g. exotic outsiders - he thematized erotic voyeurism, he depicted his homosexuality, himself and 
 
  Salomé/Castelli: "Tiere". Exhibition of haute couture by Erik Mortensen, (The house of Pierre Balmain), August 1989, at North Jutlands Museum of Art, Aalborg, Denmark  
... his friend, his narcissism and exhibitionism were not provocation for provocations sake, they were attempts towards understanding of human sexuality. In 1980 Salomé got his breakthrough at the exhibition "Heftige Malerei" (violent painting) in Haus am Waldsee in Berlin. In 1982 he was invited to participate in "documenta 7" in Kassel by the arthistorian Rudi Fuchs, who was appointed artistic director of this year's Documenta.
In the period 1983-99 Salomé commuted between New York and Berlin, since 1999 he has lived an worked in Berlin.
Salomé has created Monet-like paintings e.g. "Wasserstück - Seerosen".
The name "Die Neue Wilden" (The New Wilde/New Fauves) was given to the artists in connection with the Aachen exhibition "Les Nouveaux Fauves - Die Neuen Wilden", 1980. (Neue Wilden)
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*The name Salomé, Matthew 14:6-12:
"But when Herod's birthday came, the daughter of Herodias [Salome] danced before the company and pleased Herod, so that he promised with an oath to give her whatever she might ask. Prompted by her mother, she said, "Give me the head of John the Baptist here on a platter." And the king was sorry, but because of his oaths and his guests he commanded it to be given. He sent and had John beheaded in the prison, and his head was brought on a platter and given to the girl, and she brought it to her mother. And his disciples came and took the body and buried it, and they went and told Jesus."     

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    Salomé, selected exhibitions:
1977 Paintings, Photos, Objects, Performance, Gallery on Moritzplatz, Berlin. 
1978 Frühling (Spring), Gallery on Moritzplatz, Berlin. 
1980 Heftige Malerei (Violent Painting), Haus am Waldsee (Exhibition Building), Berlin.
1981 Träume, Phantasien, Sehnsüchte, (Dreams, Fantasies, Longings) Gallery on Moritzplatz, Berlin. 
Anina Nosei Gallery, New York.
Westkunst - Zeitgenössische Kunst seit 1939 (Art of the Western World - Contemporary Art since 1939), Messehallen Cologne.
Figures, Forms and Expressions, Albright Knox Museum, Buffalo.
1982 Galerie Bruno Bischofberger, Zurich.
documenta 7, Kassel.
Swimmer, RAAB Galerie Berlin.
Zeitgeist, Gropius-Bau, Berlin.
The Venice Biennale.
CAPC Museum of Contemporary Art, Bordeaux.
New Figuration, Frederic S. Wright Art Gallery, University of California.
1984 Galerie Thomas, Munich.
Artistic Collaboration, Hirschorn Museum, Washington.
Götterdämmerung (Twilight of the Gods), RAAB Galerie Berlin.
An International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York.
Die wiedergefundene Metropole (Rediscovered Metropole), Palais des Beaux Arts, Brussels.
1985 The European Iceberg, Art Gallery of Ontario, Canada.
São Paulo International Biennale.
1986 Images of Shakespeare, Grundkreditbank Berlin.
German Art 1945-1985, Taipei Fine Arts Museum, Taipei, Republic of China (Taiwan).
1987 Rena Bransten Gallery, San Francisco.
BerlinArt 1961-1987. Museum of Modern Art, New York.
1988 Aids - Painting life in the face of death, Künstlerbahnhof Westend, Berlin.
Refigured Painting in Contemporary German Art, Guggenheim Museum, New York.
1989 Kunst in Berlin since 1900 until today, Lisbon.
Frauen in Deutschland (Women in Germany), RAAB Galerie Berlin.
2000 Retrospektive, RAAB Galerie Berlin.
2001 Neue Gemälde (New Paintings), RAAB Galerie, Berlin.
2006 "Gladiatoren und Maße", Galerie Deschler, Berlin.
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by Thomas Krens, Michael Govan and Joseph Thompson , Prestel Munich, 1989
 
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 Schad, Christian, (1894-1982). German artist. Born in Miesbach, Oben Bavaria, Germany as son of a lawyer Carl Schad and Marie (née Fohr). His mother was related to the famous German Romantic painter Carl Philipp Fohr. In 1913 Schad begun studying at the Academy of Fine Arts in Munich. His paintings and woodcuts were influenced by the expressionists. 
With the outbreak of World War I Schad declared himself a pacifist and fled to Zurich, Switzerland, where he mingled with the Dadaist circles in Zurich and Geneva. Together with the writer Walter Serner he published the Art Journal "Sirius". In 1917 Shad moved to Geneva. 
In 1919 Schad produced his earliest photograms, or "Schadographs", he was one of the very first to use this technique as artistic expression, one of the largest innovations of the art in the 20th Century - "photographs without camera".  		 
"Maika" 1929, Private Collection
... In the period 1920-25 Schad lived in Rome and Naples together with Serner. His paintings was influenced by the paintings of the Italian Renaissance and his portraits and sensual paintings were filled with depictions of the hedonism and apathy associated with cabarets and apolitical intellectuals.
In 1923 he married Marcella Arcangeli, she gave birth to a son, Nikolaus, through her Italian family, he received a commission to paint the Pope himself. Many more portrait commissions followed after he returned to Germany and settled in Berlin in the late 1920s. In 1925 the family moved he to Vienna. In 1925, together with Otto Dix and George Groz, Schad was pioneer for the style Neue Sachlichkeit. In 1928 he moved to Berlin. In the period 1928-43, his work was exhibited at home and abroad. After the Nazi's takeover, Schad executed portraits for private persons. In 1935 he made a living as manager of a brewery depot in Berlin. In 1936 the exhibition "Fantastic Art, Dada, Surrealism" was held at the Museum of Modern Art in New York - Schad's early woodcuts and "Schadographs" was showed. During World War II his Berlin-studio was destroyed in bombing raid. In 1947 he married Bettina Mittelstädt. In 1960 he took up again the work with "Schadographs". In the 1970s exhibitions of his work were held in London, Paris and Berlin. (Neue Sachlichkeit) 		...
 
 
  "Bauhaus Stairway", 1932, The Museum of Modern Art, 
New York
  Schlemmer, Oskar (1888-1943). German painter, sculptor, set designer and poster artist. From 1921-29 he taught painting, sculpture and set design at the Bauhaus School in Weimar and Dessau. When he worked in Weimar, he developed his geometric concepts of the human body. He was appointed a professor of the Breslau Art Academy from 1929-32 and of the academy in Berlin from 1932-33 - the Nazism forced him to relinquish his position. Schlemmer's style was simple, influenced by Cubism, he was attracted to the strength and discipline of pure geometric forms, his style could be described as Figurative Constructivism.  In 1922 he created the "Triadic Ballet", music by Paul Hindemith. In 1923 he executed murals for Bauhaus in Weimar. He published "Die Bühne im Bauhaus" in 1928. (Functionalism)  
 
... Schmidt-Rottluff (1884-1976). German painter, graphics artist and sculptor. Born in Rottluff near Chemnitz, died in Berlin. Co-founder of the group "Die Brücke" (The Bridge) together with Kirchner and Heckel. At the Technical University in Dresden he began to study architecture, later he studied painting. His early paintings were influenced by the impressionist, about 1909 he changed his style, he began to paint expressive figure-paintings and landscapes. After 1933 he was forbidden by the Nazis to paint, and more than 600 of his works had been confiscated, 51 of his paintings were shown in Munich in 1937 at the exhibition "Entartete Kunst" (Degenerate Art). During World War II, he was called up for military service in Russia. After the war he mainly was engaged in religious woodcuts, and in his paintings the colour scheme became more subdued. He became a professor at the Academy in Berlin in 1946. (Expressionism)
 
 
Schwitters, Kurt (1887-1948). German collage artist and writer, born in Hanover, where he was christened Herman Edward Karl Julius, he died in Kendal in England. From 1908-09 he studied at the Arts and Crafts school in Hanover, and from 1909-14 he studied art and architecture at the Art Academy in Dresden. In 1917 he came into contact with members of the Blue Rider group, he was influenced by Franz Marc and Kandinsky - after this he became Dadaist.
In 1918 he made friends with Arp and was influenced by his collage technique - Schwitters adopted his own nonsense word for his collages, he called them Merzbilden (Merz pictures) - he had extracted the word from the name Kommerzbank. Merz was a German version of Dadaism. His earliest Merz-pictures were made in 1919, the year where he for the first time exhibited at Galleri Der Sturm in Berlin. 
In 1919 he wrote the Merz-poems "Anna Blume" (Eve Blossom), and in 1921 "The Ursonate", a sound poem, the poem begins with: "Fümms bö wö tää zää Uu, pögiff, kwii Ee". 		 ..
The collage includes a self-portrait
From 1919-23 he created a series of Merz pictures. In 1922, together with Arp, he participated in Kongress der Konstructivisten in Weimar, where he met Theo van Doesburg and became influenced by his work and De Stijl. He allied himself with the avant-garde artists - the Dadaists, the Bauhaus artists, e.g. Schlemmer, Kandinsky, Klee, Gropius and Feininger and a new generation of Constructivists from Eastern Europe and the Netherlands e.g. Moholy-Nagy, Lissitsky and among these Theo van Doesburg. ...
... Schwitters's Dada activities included his Merz-Matineen and Merz-Abende, where he introduced his poetry. From 1923-32 he published the magazine MERZ.
About 1923 Schwitters started to make his first Merzbau (Merz Building), his life's work, a construction project, first named The Cathedral of Erotic Misery - Merzbau became the forerunner of Environments. Merzbau was a combination of collage, sculptor and architecture, it was left unfinished when he fled Hannover in 1937 and destroyed during a bombing raid in 1943. 
Schwitters participated in the exhibition Abstrakte und surrealistische Malerei und Plastik in Zurich i 1929. In 1932 he joined the group Abstraction-Création and wrote for the magazine of the same name. In 1936 he took part in the exhibition Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at Museum of Modern Art, New York. In 1937 Schwitters was branded degenerate by the Nazis, his work was condemned as Entartete Kunst (Degenerate Art), and he fled to Norway, where he started to make his second Merzbau, this version became the victim of a fire. 
When the German invasion of Norway began on April 9, 1940, he succeeded in escaping to England, where he was interned until November 1941 - in 1945 he settled down in Kendal, where he in 1947 started to make his third Merzbau, which he was left unfinished at his death the following year. (Dadaism)
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Scully, Sean (1945). Irish-American painter, graphic artist and photographer. He was born in Dublin and grew up in London, and he started his early education at a convent school - the artistic works of Roman Catholic Churches in London were sources of inspiration for his later choice of career. In 1983 he became an American citizen. 
Scully's works combine the elements of Minimalism, Conceptual Art and Abstract Expressionism. His works seem at first sight minimalistic with its contrast colors and simple, often patchwork-like, patterns with squares/chess pattern, 
rectangles, stripes, gratings, plaited squares, horizontals and verticals - meanwhile closer observation shows his attention to details e.g. layers with interesting textural effects and colors. His works consist of systems of crossing stripes creating powerful optical fields, colors and contrast are chosen to create the illusions of depth and space - the influence of Op Art is obvious. In the late 1970s and the early 1980s his works were almost monochrome black paintings. The harmony and the spirituality in Scully's works have been influenced by Piet Mondrian (1872-1944) and Henri Matisse (1869-1954), and the great compositions and the expressions of an inner state of mind have been influenced by Jackson Pollock's (1912-1956) and Mark Rothko's (1903-1970) works. From 1965-68 Scully studied at Croydon College of Art, London. In 1972 he received a Bachelor of Fine Arts degree from the University of Newcastle upon Tyne, after finishing his degree he worked as teaching assistant.
In 1969 he visit Morocco for the first time, the land of carpets, and got fascinated and influenced by the carpet patterns. A travelling scholarship made it possible for Scully to visit America, where he from 1972-73 studied at Harvard University, Cambridge, MA. I 1973 his first solo exhibition was held at Rown Gallery in London, and the following years, he taught at Chelsea College of Art & Design and at the Department of art and design of Goldsmiths College, University of London. In 1975 Scully created the series "Change", which reflected personal crisis and ushered in the large dark canvases of the following years. The same year he was awarded a scholarship for two years, which enabled him to move to New York, where he exhibited, and from 1977-83 he taught at Princeton University, NJ. American art, first and foremost Minimalism, inspired him to simplify his expression. I 1978 he married the painter Catherine Lee, every year he named a painting after her, the Catherine-paintings. In 1980 he visited Mexico, the trip inspired him to depict nature, he transformed his experience of colors and light into watercolors. The following year his first retrospective was held at Ikon Gallery in Birmingham. He turned away from Minimalism. During the early 1980s Scully was a professor at the Parsons School of Art in New York. His international breakthrough came with the MoMA-exhibition "An international survey of recent painting and sculpture", 1984 . In 1985 his first solo exhibition in the US was held at the Museum of Art, Carnegie Institute, Pittsburgh, PA. From 1987-90 he visited Mexico for the second time. In 1989 his first European solo exhibition was held at Whitechapel Art Gallery, London, the exhibition traveled to Madrid and Munich. In 1989 he received the Turner Prize, his works were described as "demonstrated the power of abstract art to embrace personal experience and psychological depth". In 1990 Maurice Poirier's book "Sean Scully" was published. In 1992 Scully returned to Morocco to make a film for British Broadcasting Company (BBC) about Henri Matisse, who visited Morocco in 1912-13. In 1993 Scully for the first time exhibited his "Catherine-paintings" at Modern Art Museum of Fort Worth, Texas. In 1997 he exhibited photographs in Bilbao, Spain. In 2002 he started working part-time as professor of painting at Akademie der Bildenden Künste München. In 2003 a retrospective was held at Sara Hildén Art Museum, Tampere, Finland, later shown in Weimar in Germany and in Canberra. (Minimal Art) 
 
... Severini, Gino (1883-1966). Italian painter and theorist. He was born in Cortona, and he died in Paris. He studied at the Cortona Technical School before he in 1899 moved to Rome, where he attended art classes at the French Academy at the Villa Medici - in 1803, under the French rule, Napoleon took possession of the building, and the Academy moved to the villa. At the Villa Medici Severini came in contact with Balla and Boccioni, who became one of Futurism's theorists. In 1906 Severini moved to Paris, where he studied the French Impressionists and met Signac at got to know artists of the Parisian avant-garde e.g. Braque, Gris, Modigliani and Picasso and also artists of the theatre world and poets e.g. Guillaume Apollinaire. At the request of Filippo Tommaso Marinetti and Boccioni, Severini became an active member of the Futurist movement and signed the manifesto in 1910. However Severini was less engaged in the Futurists fascination of technology and the machine, he 
... . . preferred the motions of the dance to express the ideas of a dynamic art..In 1912 Severini was co-organizer of the the first futurist exhibition at the Paris gallery Berheim-Jeune, and he took part in the following exhibitions in Europe and the US. In 1913 his first solo exhibition was held in London at the Marlborough Gallery and at the Berliner gallery Der Sturm (The Storm). After his last real futurist work, a series of paintings dealing with war subjects, he began to paint in synthetic Cubistic style in 1915, and about 1921 he joined the classical style Valori Plastici and used The golden ratio as balance-creator in his paintings - Valori Plastici (Plastic Values) was the name of an Roman magazine, 1918-22, founded by Broglio, Carrà, Severini and De Chirico, the magazine advocated a return to classicism and the revival of classic academic methods of art teaching - it also became the name of a neoclassical tendency in Italian art. After 1920 Severini lived alternately in Paris and Rome. He explored the fresco and mosaic techniques, and in the 1920s he executed murals in Switzerland, France and Italy. In the 1950s he returned to the subjects from his futuristic period - dancers, light and motion. (Futurism) . . .
 
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Seurat, Georges (1859-1891). French artist. He was born in Paris, and he died in Paris. From 1878-79 he studied art at Academie des Beaux-Arts in Paris. Seurat was influenced by the Impressionists, however his interest into the physics of colour and intensive studies of Delacroix's art opened up new ways, and he became the real originator of Neoimpressionism. With quite small and clearly separated brushstrokes, he put the pure colours of the solar spectrum on the canvas. Just like the Impressionists, he wished to give colours the greatest possible brightness, at the same time he reacted against the spontaneous working method used by the Impressionist, and their interest in the passing impression. Several of Seurat's paintings showed scenic motifs, some great figure compositions took up a prominent place in his production - characteristic were monumental effects, least possible foreshortening and modelling, dark contours and the search for harmony. (Impressionism, Pointillism)
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"The Black Ribbon" (Le Noeud noir), c.1882, Louvre, Paris
"The Circus", c.1890, Musée d'Orsay, Paris
1. "Bathers at Asnières", c.1883, National Gallery, London
2. "Rock-Breakers, Le Raincy", c.1882, Norton Simon Art Foundation, Pasadena, Californien
3. "Grandcamp-Regatta", 1885, Tate Gallery, London
4. "Dike Builders", c.1882
5. "Landscape with a Horse", c.1882
Background: "Boats. Bateux, maree basse, Grandcamp", 1885
 
... Sisley, Alfred (Impressionism)
 
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Staël, Nicolas de (1914-1955). Russian-French painter. Born in St. Petersburg, son of the baron and major general Vladimir De Staël. His mother encouraged him to draw and paint at a very early age. The Russian Revolution forced the family to emigrate to Poland in 1919, his father died in 1921 at the age of 86, and his mother died the following year 68 years of age. Staël and his two sisters were sent to a Russian family in Brussels, where he later got his artistic education at the Académie Saint Gilles and Académie Royale des Beaux-Arts. In 1930 Staël traveled in the Netherlands and France, where he studied the paintings of particularly Rembrandt, Vermeer van Delft and the French artists Cézanne, Matisse and Braque. In 1935 he visited Spain and in 1936 Morocco, where he met the painter Jeanne Guillou with whom he got married. Jeanne was a mother of a little boy, the later writer Antoine Tudal. 
"Still-life with Candlestick" 
... In 1938 the family moved to France, and during this time Staël painted still-lifes and portraits. At the beginning of World War II he enrolled himself in the French Foreign Legion, where he produced maps for the chiefs. He was demobilized in 1941 and returned home to Jeanne in Nice. In 1941-42 he painted "Portrait of Jeanne" and few still-lifes. In 1942 his daughter Anne was born, the same year Staël begun focusing on a new abstract direction in his work. In Nice he met e.g. Jean Arp and Sonia Delaunay. 
In 1943 the family left for Paris, in his art the free abstraction dominated the compositions, and reflected his discovery of the abstract art. In 1944 some of his painting were exhibited at Galerie Jeanne Boucher in Paris. In 1946 Jeanne Guillou died, Staël lived in poverty. Later he married Françoise Chapouton, and she gave birth to three children. Staël had begun to work on a larger scale e.g. his "La Rue Gauget", 1949. The following years several art dealers became interested in his works e.g. the American Theodore Schemppe, who arranged exhibitions in Washington and New York. In 1951 Roger van Gindertael published a book about Staël, and his friend, the poet René Char published a collection of poems illustrated with Staël's woodcuts. Exhibitions followed in New York, Paris and London, articles were written about him, he had became a wealthy and famous man, however he suffered from depressions and loneliness and committed suicide by throwing himself out of a window in his studio in Antibe at the French Riviera. (École de Paris) 		...
 
... Steen, Jan (Baroque)
 
... Stella Frank (Minimalism)
"Empress of India"
   
Kirsten Petersen © 2008
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