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Italian, 20th century, male.

Born 24 May 1905, in Bergamo; died 1978, in Bergamo.

Painter, film maker.

Bonfanti studied at art school in Bergamo and began painting in 1925.

His work is in the Geometric Abstraction or Constructivist vein and he was very much influenced by Paul Klee and Jean Arp. His style first became defined in the 1960s and gradually developed. He introduced graphic signs borrowed from number and letters of the alphabet into his spatial constructions. These figures and letters were often interpreted and geographically transposed, sometimes being used as titles - for example, of the work he called ...

Article

Éva Bajkay

(b Beszterce [now Bistriţa, Romania], Dec 1, 1908; d Budapest, Aug 17, 1984).

Hungarian painter, printmaker, collagist, teacher and experimental film maker. In 1921 he attended the Artur Podolni-Volkmann private school in Budapest, and in 1923 he spent a year in Holland. He attended the Academy of Fine Arts, Budapest (1925–30), exhibiting in a group show in 1930 with artists associated with Lajos Kassák’s Work Circle (Munka-kört). After a period in Paris and Holland in 1930, he worked at the Szentendre colony in a Constructivist-Surrealist style similar to that of Lajos Vajda, drawing upon local and folk art motifs (e.g. Szentendre Motif, 1935; Budapest, N.G.), and the musical theory of Béla Bartók. Korniss fought in World War II, returning from a prisoner-of-war camp in 1945. He went on to make small monotypes of rooftops (e.g. Illuminations, c. 1946; Budapest, N.G.). In 1946 he joined the European School, and in 1947–8 he taught at the School of Crafts and Design, Budapest. His work became abstract and geometric, although symbolic meaning is conveyed in the most effective works (e.g. ...

Article

Montage  

Tom Williams

Term that refers to the technique of organizing various images into a single composition in both film and visual art. It is also frequently applied to musical and literary works that emphasize fragmentation and paratactic construction. In film, the term typically refers to the organization of individual shots to create a larger structure or narrative. This technique was developed most systematically by the film makers of the 1920s Russian avant-garde such as Sergey Eisenstein (1898–1948), Lev Kuleshov (1899–1970), and Vsevolod Pudovkin (1893–1953). In visual art, the term refers to the juxtaposition of disparate images in Collage and particularly Photomontage. Although this use of montage has a number of historical precursors, it was developed primarily in the 1910s and 1920s by artists associated with Dada, Surrealism, and Russian Constructivism such as George Grosz, John Heartfield, Hannah Höch, and Aleksandr Rodchenko. During the period after World War II, the technique became an increasingly routine practice in both advertising and the fine arts. In the late 20th century it has been most associated with the work of such figures as ...

Article

Gisela Hossmann

[Johannes] (Siegfried)

(b Berlin, April 6, 1888; d Minusio, nr Locarno, Feb 1, 1976).

American painter, film maker, theorist and writer of German birth. He studied at the Hochschule für Bildende Künste in Berlin and at the Akademie in Weimar from 1908 to 1909. Until c. 1910 he produced academic figure drawings, individual genre scenes and book illustrations (e.g. for Boccaccio’s Decameron). His early paintings showed the influence of Symbolism and of Jugendstil. Between 1911 and 1914 he came under the influence of Cézanne and also of Expressionism. At this time his paintings were flat in character, but with a fluid, dynamic and expressive drawing style, strongly outlined forms and powerful brushstrokes, as in Kurfürstendamm (1911; Locarno, Pin. Casa Rusca).

From 1914 until 1916 Richter’s work was influenced by Cubism, and he realized his idea of the visualization of rhythmical movements, proportion and order. His aim was the ‘free orchestration of forms …as music has orchestrated time …with sound’. Following the example of Picasso and Braque, Richter chose musical subjects for his paintings, such as ...

Article

Uruguayan, 19th – 20th century, male.

Active between 1924 and 1932 in France.

Born 25 July 1874, in Montevideo; died 8 August 1949, in Montevideo.

Painter, draughtsman, watercolourist. Toys.

Constructivism.

Groups: Cercle et Carré, Atelier Torres García.

Torres García's father was Catalan and his mother Uruguayan. They moved to Barcelona when he was seven. He studied at the Escuela Oficial de Bellas Artes in Barcelona ('La Llotja') and at the Academia Baixas. He copied works by Degas and Steinlen. At the same time he decorated the rooms of the Diputación and the library of the city hall, and executed commissions in different churches. He executed these works in a style of Puvis de Chavannes. Little remains today of these paintings, except those of the central library of the Diputación in Madrid. In 1903, Torres García assisted Antoni Gaudi with the execution of stained glass windows for the cathedral of Palma, Majorca and later with the windows for the Sagrada Familia in Barcelona. After a difficult period Torres García went to Paris, hoping to come into as close contact as possible with contemporary art movements. He also spent time in Brussels, Florence and Rome. After his arrival in 1910, he was first influenced by the Futurists. His works most clearly in this style are dated 1917-1918, and are devoted to themes mixed together on the canvas: ...