1-20 of 90 results  for:

Clear all

Article

Philip Cooper

(Charles Félix)

(b Paris, Jan 22, 1885; d 1961).

French critic and poet. His poetry was influenced by Joachim du Bellay (1522–60), Charles Baudelaire and Auguste Angellier (1848–1911), and the many volumes he published include La Féerie des heures (Paris and Lille, 1902) and L’Appartement des jeunes filles (Paris, 1919). He was briefly associated with the Abbaye de Créteil in 1907–08, and he moved to Paris from Lille in spring 1910, soon coming into contact with the Cubists. He was one of their earliest and most perceptive defenders. In his first article on art, a review of the Salon d’Automne of 1910, he wrote approvingly of the work of Jean Metzinger, Albert Gleizes and Henri Le Fauconnier as marking the final rout of Impressionism. Allard played a leading role in bringing these and other Cubists together for the first group exhibition at the Salon des Indépendants of 1911 and largely remained a supporter of Salon Cubism. He maintained a broad attitude towards Cubism, seeing it as a return to the balance and composure of classicism, blended with the more modern ideas of Henri Bergson. Initially unaware of the pioneering work of Picasso and Braque, he reacted with hostility in his article ‘Sur quelques peintres’ (...

Article

Hajo Düchting

[Apollinaire de Kostrowitzky, Guillaume Albert Wladimir Alexandre]

(b Rome, Aug 26, 1880; d Paris, Nov 9, 1918).

French poet and writer. He loved to hint at his ‘dark’ origins: he was the illegitimate son of Angélique-Alexandrine Kostrowitzky, an eccentric beauty from a Polish noble family under the protection of the Roman Curia, and Francesco Flugi d’Aspermont, a former officer in the Royal Army of the Kingdom of the Two Sicilies. When the liaison ended Apollinaire was placed under the wing of the Bishop of Monaco, Monseigneur Theuret, and went through an exciting period of travel and education in Catholic schools on the French Riviera, where his mother had settled. Apollinaire liked to ascribe his genesis to a cardinal or even to Pope Pius IX himself.

While still a schoolboy, Apollinaire took a keen interest in literature and poetry, not only in the work of the Symbolists Stéphane Mallarmé (1842–98) and Paul Verlaine (1844–96) but also in the writings of the Naturalist school. In ...

Article

Joan Marter

[Aleksandr ]

(b Kiev, Ukraine, May 30, 1887; d New York, Feb 25, 1964).

Ukrainian sculptor, active in Paris and in the USA. He began studying painting and sculpture at the School of Art in Kiev in 1902 but was forced to leave in 1905 after criticizing the academicism of his instructors. In 1906 he went to Moscow, where, according to the artist, he participated in some group exhibitions (Archipenko, p. 68). In 1908 he established himself in Paris, where he rejected the most favoured contemporary sculptural styles, including the work of Rodin. After only two weeks of formal instruction at the Ecole des Beaux-Arts he left to teach himself sculpture by direct study of examples in the Musée du Louvre. By 1910 Archipenko was exhibiting with the Cubists at the Salon des Indépendants, and his work was shown at the Salon d’Automne from 1911 to 1913.

A variety of cultural sources lies behind Archipenko’s work. He remained indebted throughout his career to the spiritual values and visual effects found in the Byzantine culture of his youth and had a strong affinity for ancient Egyptian, Gothic, and primitive art that co-existed with the influence of modernist styles such as Cubism and Futurism....

Article

(b Geneva, Feb 25, 1872; d Lausanne, Jan 1, 1938).

Swiss painter and multimedia artist . From 1890/91 she studied under Hugues Bovy (1841–1903) and Denise Sarkissof at the Ecole d’Art in Geneva. A travel scholarship enabled her to study in Munich for a year. From 1904 until the outbreak of World War I Bailly lived in Paris, where she associated with Cubist artists, including Albert Gleizes, Jean Metzinger, Fernand Léger, Marie Laurencin and Sonia Lewitska (1882–1914). From 1905 to 1926 she exhibited regularly at the Salon d’Automne. From 1906 to 1910 her work was influenced by Fauvism, and from 1910 she became interested in Cubism and Futurism: Equestrian Fantasy with Pink Lady (1913; Zurich, Gal. Strunskaja) is reminiscent of the work of Gino Severini or Franz Marc in its rhythmic movement and planar fragmentation of horses and riders into coloured patterns. Other paintings of this period that are also indebted to these movements include ...

Article

Colette Giraudon

[Fr.: ‘laundry boat’]

Complex of artists’ studios in Paris established in 1889. Planning permission to convert a wooden building at 13, Rue Ravignan in the Montmartre district from a locksmith’s workshop into artists’ studios was sought by its owner on 19 June 1889, and the restoration work was entrusted to the architect Paul Vasseur. The origins of the name are uncertain, but one theory that has been proposed is that it was the writer Max Jacob who chose in this way to refer to the ramshackle and unsteady structure. The first well-known painter to settle there was Maxime Maufra in 1892, but it was the arrival in 1904 of Pablo Picasso, whose reputation was then still unestablished, that brought the place to life. Picasso worked at night, and his studio became a meeting-place not only for artists and writers resident there but for others who lived in the Montparnasse district in the south of Paris, which from ...

Article

Lenka Bydžovská

(b Velké Lišice, nr Chlumec nad Cidlinou, Jan 22, 1883; d Prague, March 27, 1979).

Czech painter, writer and theorist. In 1902–4 he studied at the Prague School of Applied Art and in 1904–7 at the Academy of Fine Arts. After visiting Dresden, Berlin, Munich and Paris, he returned to Prague and joined Eight, the, which had been set up by his former fellow students; he exhibited at the group’s second show in 1908. His early work was influenced by the ideas of Bohumil Kubišta, with whom he shared a workshop. Although basically an uncomplicated, sensual painter, he attempted to keep well informed about contemporary artistic trends. In 1910–14 he became a fervent devotee of Cubism and, together with Emil Filla, adhered faithfully to the style of Picasso and Braque. He was one of the founders (1911) of the Group of Plastic Artists and contributed theoretical articles to its journal, Umělecký měsíčník. No consistent reconstruction of his paintings before World War I can be made because most of his Cubist works were later destroyed. His process of crystallization in relation to the painting of space culminated in ...

Article

Paloma Alarcó Canosa

(b Santander, March 6, 1881; d Paris, April 15, 1932).

Spanish painter. She was marked from birth by a physical deformity, which determined her bitter destiny. In 1903 she moved to Madrid to become a painter, studying successively under the painters Emilio Sala (1850–1910), Fernando Alvarez de Sotomayor (1875–1960) and Manuel Benedito (1875–1963). She won a grant in 1909 to pursue her studies in Paris, where she attended the Académie Vitti; she was taught by Hermengildo Anglada Camarasa and later by Kees van Dongen, whose example helped free her from the constraints of her academic training in Spain. During this period she came into contact with Cubism, meeting Juan Gris and Jacques Lipchitz, both of whom influenced her later work. Until 1916, however, her work remained academic in spirit, with an emphasis on firm draughtsmanship and sombre tonalities.

On her return to Madrid in 1914, Blanchard participated in Pintores integros, an exhibition organized by the writer Ramón Gómez de la Serna, in which works by Lipchitz and Diego Rivera were also included. After teaching drawing for a short period in Salamanca, in ...

Article

Lewis Kachur

(b Argenteuil-sur-Seine, Seine-et-Oise, May 13, 1882; d Paris, Aug 31, 1963).

French painter, collagist, draughtsman, printmaker and sculptor. His most important contribution to the history of art was his role in the development of what became known as Cubism. In this Braque’s work is intertwined with that of his collaborator Pablo Picasso, especially from 1908 to 1912. For a long time it was impossible to distinguish their respective contributions to Cubism, for example in the development of Collage, while Picasso’s fame and notoriety overshadowed the quiet life of Braque.

His family moved in 1890 to Le Havre, where his father had a painting and decorating business. In 1897 Braque entered the municipal art school, where he met and became friendly with Othon Friesz and Raoul Dufy. He joined them in Paris at the turn of the century and, after a year of army service, settled in Montmartre in 1902. He began to visit the Musée du Louvre, where he encountered van Gogh’s work, and that October he began to study at the Académie Humbert, where his fellow students included Francis Picabia and Marie Laurencin. The following year he studied briefly with ...

Article

Vojtěch Lahoda

(b Hronov, March 23, 1887; d Bergen-Belsen, April 1945).

Czech painter, printmaker and writer. He studied weaving (1901–3) in Vrchlabí and then from 1904 to 1910 decorative painting at the School of Applied Arts in Prague, where he was influenced by the highly decorative art of the Secession. During this period he wrote stories with his brother, the novelist Karel Čapek (1890–1938). In 1910 they went to Paris for nearly a year, where Josef Čapek studied painting at the Académie Colarossi and became a friend of Apollinaire. In 1911 he and his brother co-founded the Cubist-orientated Group of Plastic Artists. Čapek attempted to modify Cubism by introducing elements of Expressionism and Symbolism. His efforts dumbfounded some members of the group, and in 1912 he and various of his friends parted company with it. From 1915 he began to achieve a synthesis of Cubism, Neo-classicism and a personal symbolism (e.g. the Man in the Hat, 1915...

Article

Susan Compton

[Shagal, Mark (Zakharovich); Shagal, Moses]

(b Vitebsk [now Viciebsk], Belarus’, July 7, 1887; d Saint-Paul-de-Vence, Alpes-Maritimes, March 28, 1985).

French painter, draughtsman, printmaker, designer, sculptor, ceramicist, and writer of Belarusian birth. A prolific artist, Chagall excelled in the European tradition of subject painting and distinguished himself as an expressive colourist. His work is noted for its consistent use of folkloric imagery and its sweetness of colour, and it is characterized by a style that, although developed in the years before World War I, underwent little progression throughout his long career (see.g. I and the Village, 1911; New York, MOMA). Though he preferred to be known as a Belarusian artist, following his exile from the Soviet Union in 1923 he was recognized as a major figure of the Ecole de Paris, especially in the later 1920s and the 1930s. In his last years he was regarded as a leading artist in stained glass.

Chagall spent his childhood, admirably recorded in his autobiography, in a warm Hassidic family in Vitebsk [now Viciebsk], with frequent visits to his grandfather’s village home. He attended the traditional Jewish school but afterwards succeeded in entering the local Russian high school, where he excelled in geometry and drawing and determined to become an artist. At first he studied locally in the studio of ...

Article

Mikhail F. Kiselyov

(Vasil’yevich)

(b Valayka Station, Novgorod Province [now Lykoshino, Tver’ region], 1878; d en route from Germany to Paris, Feb 22, 1936).

Russian graphic artist, ceramicist, painter and designer. In 1896 he studied at the School of Drawing at the Society for the Encouragement of the Arts and in 1897 at Maria Tenisheva’s art school in St Petersburg, where he worked under Il’ya Repin until 1900. In 1904 he worked in the pottery studio at the Abramtsevo colony. At this period he employed Art Nouveau elements in his work, as in the majolica decorations for the Hotel Metropole, St Petersburg (early 1900s) and the majolica panel St George Triumphant for the Municipal Primary School on Bol’shaya Tsaritsynskaya [now Bol’shaya Pirogovskaya] Street in Moscow (1909). He took up book illustration in 1904 and his graphic talent flourished in the 1910s. His work for Apollon was particularly successful, his illustrations first appearing in its pages in 1911. Chekhonin soon became an original and skilful artist, using a sharp and elastic line interspersed with dots. From ...

Article

Radomíra Sedláková

(b Písek, Oct 13, 1880; d Karlovy Vary, July 6, 1956).

Czech architect. He studied architecture at the Technical University, Prague, and later at the Akademie der Bildenden Künste, Vienna, under Otto Wagner. In 1911, together with Josef Gočár, Pavel Janák, Vlastislav Hofman (1884–1964) and others, he founded the Group of Plastic Artists, Prague, which sought to develop a more artistic approach to architecture. He subsequently became one of the leading exponents of Czech Cubism in architecture, which concentrated on the sculptural articulation of façades with abstract, prismatic forms. He designed four houses (1911–13; for illustration) below Vyšehrad Hill in Prague with faceted façades that are among the best examples of Czech Cubism. At about the same time, however, he produced drawings for austere, geometric, undecorated façades that anticipated the later development of Czech Purism. Buildings he designed in the Purist style included an office building (1920–21) in Jindřišska Street and a building (1923–5) for the ...

Article

David Cohen

(b London, Feb 20, 1911; d London, April 1, 1984).

English collector and writer. Born into a wealthy family that had made its fortune in Australia, he studied at the universities of Oxford and Freiburg and at the Sorbonne in Paris. When, in 1932, he resolved to spend one third of his inheritance (approximately £100,000) on art, he decided to amass the best examples of paintings, drawings, sculptures and prints by Pablo Picasso, Georges Braque, Juan Gris and Fernand Léger, concentrating on their Cubist works of 1906 to 1914. The high calibre of his collection must be attributed in part to this early and consistent focus of attention. He also collected other works by these four artists as well as works by artists unconnected with Cubism, but his principal energies and resources always reverted to this primary objective. After World War II, for example, he sold off most of his works by Joan Miró and Paul Klee to finance the acquisition of superior pieces within his preferred area, but the core of his ...

Article

Ronald Alley

[József]

(b Szeged, March 18, 1888; d Paris, May 1, 1971).

French sculptor of Hungarian birth. He studied at the school of Decorative Arts in Budapest from 1904 to 1905. In 1908 he went to Paris and settled in the block of studios La Ruche, where he was a neighbour of Fernand Léger, Alexander Archipenko, Henri Laurens, Marc Chagall and Chaim Soutine. He joined the Cubist movement in 1911, and he was included by Marcel Duchamp in the Salon de la Section d’Or in 1912. Only three of his pre-1914 sculptures survive, two Heads (e.g. 1914; Saint-Etienne, Mus. A. & Indust.) and a Clothed Figure (1913; Paris, Pompidou), which show a progression from a style still influenced by Rodin to a blocklike simplification and Cubist faceting. Volunteering for the French Army in 1914, he was unable to make any more sculptures until his return to Paris in 1919, when he acquired French citizenship; his immediate post-war work was much more abstract. After making in ...

Article

Cubism  

Christopher Green and John Musgrove

Term derived from a reference made to ‘geometric schemas and cubes’ by the critic Louis Vauxcelles in describing paintings exhibited in Paris by Georges Braque in November 1908; it is more generally applied not only to work of this period by Braque and Pablo Picasso but also to a range of art produced in France during the later 1900s, the 1910s and the early 1920s and to variants developed in other countries. Although the term is not specifically applied to a style of architecture except in former Czechoslovakia (see Czech Cubism), architects did share painters’ formal concerns regarding the conventions of representation and the dissolution of three-dimensional form (see §II). Cubism cannot definitively be called either a style, the art of a specific group or even a movement. It embraces widely disparate work; it applies to artists in different milieux; and it produced no agreed manifesto. Yet, despite the difficulties of definition, it has been called the first and the most influential of all movements in 20th-century art....

Article

Anthony Parton

Term first used in 1913 in a lecture, later published, by the Russian art critic Korney Chukovsky (1882–1969) in reference to a group of Russian avant-garde poets whose work was seen to relate to French Cubism and Italian Futurism; it was subsequently adopted by painters and is now used by art historians to refer to Russian art works of the period 1912–15 that combine aspects of both styles. Initially the term was applied to the work of the poets Vladimir Mayakovsky, Aleksey Kruchonykh, Velimir Khlebnikov, Benedikt Livshits (1886–1939) and Vasily Kamensky (1864–1961), who were grouped around the painter David Burlyuk. Their raucous poetry recitals, public clowning, painted faces and ridiculous clothes emulated the activities of the Italians and earned them the name of Russian Futurists. In poetic output, however, only Mayakovsky could be compared with the Italians; his poem ‘Along the Echoes of the City’, for example, which describes various street noises, is reminiscent of Luigi Russolo’s manifesto ...

Article

Radomíra Sedláková

Term used to describe a style in architecture and the applied arts, directly inspired by Cubist painting and sculpture, which was developed by architects and designers active in Prague shortly before World War I; the term itself was not used until the 1960s. The leaders of the style were the members of the Group of Plastic Artists (1911–14), which broke away from the Mánes Union of Artists in 1911 and for two years published its own journal, Umělecký měsíčník (‘Art monthly’). The architects in the group were Josef Gočár, Josef Chochol, Vlastislav Hofman (1884–1964) and Pavel Janák; other members included Emil Filla, Václav Špála, Antonín Procházka and Otto Gutfreund. The group was reacting against the austere rationalism of such architects as Jan Kotěra, seeking instead to sustain architecture and the applied arts as branches of art rich in content. Their approach was expounded in various articles, particularly by Janák, who developed the principles of architectural Cubism; based on the thesis of Cubism in painting and sculpture, that art should create a distinctive, parallel picture of reality, it attempted to dematerialize a building’s mass by the three-dimensional surface sculpturing of the façade with abstract, prismatic forms....

Article

Marco Meneguzzo

(b Rome, June 29, 1927; d Perugia, May 17, 2005).

Italian painter. He began painting shortly after World War II. His first works were influenced by Cubism and show a knowledge of the work of artists in Rome who were at that time engaged in the figurative renewal of Italian art. However, the influence of Futurist works and his acquaintance with the Russian avant-garde and De Stijl led Dorazio to adopt an abstract idiom. In 1947, with Giulio Turcato, Pietro Consagra, Carla Accardi, Ugo Attardi (b 1923), Antonio Sanfilippo (1923–80), Mino Guerrini (b 1927) and Achille Perilli (b 1927), he founded the Forma group, declaring himself to be a ‘formalist’ and to have the aim of creating ‘objective abstract forms’ in which ‘the form is both the means and the end’. He made frequent visits to France and to the USA, where he exhibited for the first time in 1950 at the Museum of Non-objective Painting in New York. Here he came into contact with the American abstract painters and with action painting, both of which played a key role in helping him perfect his own form of abstraction. The USA became very important to him, and during the 1950s he made several prolonged visits there, returning to teach at the University of Pennsylvania, Philadelphia, in ...

Article

Francis M. Naumann

(b Blainville, Normandy, July 28, 1887; d Neuilly-sur-Seine, Oct 2, 1968).

French painter, sculptor and writer, active also in the USA. The art and ideas of Duchamp, perhaps more than those of any other 20th-century artist, have served to exemplify the range of possibilities inherent in a more conceptual approach to the art-making process. Not only is his work of historical importance—from his early experiments with Cubism to his association with Dada and Surrealism—but his conception of the ready-made decisively altered our understanding of what constitutes an object of art. Duchamp refused to accept the standards and practices of an established art system, conventions that were considered essential to attain fame and financial success: he refused to repeat himself, to develop a recognizable style or to show his work regularly. It is the more theoretical aspects implicit to both his art and life that have had the most profound impact on artists later in the century, allowing us to identify Duchamp as one of the most influential artists of the modern era....

Article

Marie-Noelle de Grandry-Pradel

(b Damville, Eure, Nov 5, 1876; d Cannes, Oct 7, 1918).

French sculptor and draughtsman. The second son of a Normandy notary, he played a central role in the development of modern aesthetics, as did his elder brother Jacques Villon and his younger brother (Henri-Robert-)Marcel Duchamp. He came from an educated family and was an assiduous student at secondary school in Rouen; in 1894 he registered at the Faculté de Médecine in Paris, where he attended classes for several years. Rheumatic fever forced him to break off his studies in 1898 just before completion and left him immobilized for a considerable length of time; this unforeseen event altered the whole course of his life. During this period of enforced leisure (1899–1900), he modelled small statuettes (of subjects such as familiar animals and female figures), discovering his true vocation as a sculptor. He was essentially self-taught and rapidly attained a high level of mastery and maturity. He settled in Paris ...