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Swiss, 20th – 21st century, male.

Active since 1978 active in Germany.

Born 1951, in Lucerne.

Painter (gouache/mixed media), performance artist. Figures, nudes.

Body Art, New Fauves.

Luciano Castelli lives and works in Berlin. He appeared on the international art scene at the beginning of the 1980s, at the same time as German Neo-Expressionism and Italian Transavanguardia. He soon emerged as the key figure among what critics called the New Fauves. He practises a form of art in which performance, painting and concert are combined and complement each other. In ...

(b Chatou, nr Paris, June 17, 1880; d Garches, Sept 8, 1954).

French painter, sculptor, illustrator, stage designer and collector. He was a leading exponent of Fauvism. In early 1908 he destroyed most of his work to concentrate on tightly constructed landscape paintings, which were a subtle investigation of the work of Cézanne. After World War I his work became more classical, influenced by the work of such artists as Camille Corot. In his sculpture he drew upon his knowledge and collection of non-Western art.

Derain abandoned his engineering studies in 1898 to become a painter and attended the Académie Carrière. He also sketched in the Musée du Louvre and painted on the banks of the Seine. On a visit to the Louvre in 1899 he met the painter Georges Florentin Linaret (1878–1905), who had been his companion at school, and who was copying Uccello in an extraordinary manner; he was studying under Gustave Moreau and later introduced Derain to a fellow pupil, Henri Matisse. Derain’s painting was already influenced by the work of Cézanne, and in ...

(Hirsche)

(b Stockholm, Sept 2, 1888; d nr Oslo, May 22, 1946).

Swedish painter, stage designer and teacher. He studied at the Konstnärförbund school in Stockholm (1905–8), then travelled to Paris and studied at Matisse’s school (1908–11). He was a member of the Young Ones group. In 1911 he married Sigrid Hjertén. Grünewald was greatly influenced by Matisse between 1910 and 1920, and Fauvism was generally important to him. His prize-winning design (1912–14) for decorating the Register Office of Stockholm Town Hall was purely Fauvist, and he was forbidden to execute the project. This French influence can be seen in Ivan in the Armchair (1915; Stockholm, Mod. Mus.). Cézanne’s paintings also had an early significance for him. In 1915 he exhibited together with his wife at the Sturm-Galerie in Berlin. Grünewald carried out the first of many stage designs for a production of Samson and Delilah at the Kungliga Teater, Stockholm, in 1921. He was a sought-after decorator during the 1920s and worked in a classical spirit. He was also an able portrait painter and illustrator, e.g. ...

German, 20th century, male.

Born 1942, in Augsburg.

Painter (mixed media), draughtsman, sculptor, photographer. Figures, nudes, landscapes. Stage costumes and sets.

New Fauves.

Hacker attended the art academy in Munich before settling in Berlin. In 1974, he was guest professor at the school of fine art in Hamburg. After producing works ascribable to kinetic art, Hacker became interested in the problems of creative activity, and displayed them in exhibitions alongside objects based on popular art. In ...

Danish, 20th century, male.

Active also in Germany.

Born 1 September 1938, in Copenhagen.

Painter (oils, watercolours), sculptor, draughtsman, engraver, performance artist, environmental artist. Landscapes.

Neo-Impressionism.

Fluxus, Nouveaux Fauves.

Per Kirkeby received a doctorate in geology and has participated in several scientific expeditions to Greenland, Central America, Central Asia, and Ireland. In the 1960s, he was a member of the experimental art school in Copenhagen, which was close to the Fluxus group, and, in 1978, was made professor at the fine arts academy in Karlsruhe. He has lived and worked in Copenhagen, on Læsø island (north Jutland), and in Karlsruhe.

Kirkeby’s modes of expression are eclectic: he is a painter, sculptor, and draughtsman, but also a poet and maker of prints, environments, models, films, and documentaries. At the beginning of his career, he was inspired by Surrealism and Pop Art, calling himself a ‘superrealist’. He subsequently produced collages based on a spontaneous form of associationism, which incorporated dried vegetable elements and were sometimes arranged in letter shapes. Later, he became involved in the Fluxus group and took part in performances with Joseph Beuys in Copenhagen, with Immendorf in Aachen, and with Nam June Paik in New York. He also mounted exhibitions that brought together various objects he had gathered during his travels. Nothing remains of his work from this period....

pseudonym of Winckler Ralf

German, 20th – 21st century, male.

Born 5 October 1939, in Dresden, Germany.

Painter (including gouache), sculptor, engraver, performance artist, filmmaker, writer, musician.

New Fauves.

A. R. Penck produced his first paintings (landscapes and portraits) at the age of ten and subsequently studied commercial art in 1955. He was self-taught, practised different professions, and pursued many activities, such as music, poetry, and editing scientific, political, and aesthetic texts. He was a pupil of the painter Jürgen Böttcher-Strawalde and collaborated with him on joint works. He worked with a great many other artists from the West, such as Jörg Immendorf and Georg Baselitz, whom he met in 1961 in the former West Berlin. In 1980, he decided to live in the West, near Cologne; then he settled first in England and then in Ireland. In 1987, he became a teacher at the school of fine art in Düsseldorf. He recorded records with the painters Martin Kippenberger and Immendorf. During his career as an artist, he changed his identity several times: in 1969 to ‘Penck’, in 1973 to ‘Mike Hammer’, in 1974 to ‘TM’, and in 1976 to ‘Y’. He lives and works in Dublin....

(b Dieppe, Aug 8, 1869; d ?Paris, Jan 2, 1952).

French painter, printmaker and stage designer. He spent much of his youth in Versailles, moving in 1887 to Paris, where he studied under Gustave Moreau at the Ecole des Beaux-Arts and under Jules Dupré at the Académie Julian. There he met Maurice Denis, Pierre Bonnard, Edouard Vuillard and Albert André. With a keen interest in both artistic precedents and contemporary trends, he absorbed in the mid-1890s the chief tenets of Impressionism, van Gogh’s work and Pointillism before slowly developing his own style. In 1895 he collaborated with Henri de Toulouse-Lautrec and André on the set of Aurélien-François Lugné-Poë’s play Chariot de terre cuite, performed at the Théâtre de l’Oeuvre, Paris. Under Toulouse-Lautrec’s influence, his own works darkened both in colour and sentiment, for example Chez Maxim’s (1895; Geneva, Petit Pal.), in which he depicted two gaunt, severe-looking women seated in a murky café. By 1896 he painted contemporary French life with an overall sunnier, more optimistic air, as in ...