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Article

(b Solothurn, March 28, 1868; d Oschwand, July 6, 1961).

Swiss painter and sculptor. From 1884 to 1886 he received irregular lessons from the Swiss painter Frank Buscher (1828–90). In the autumn of 1886 he attended the Akademie der bildenden Künste in Munich and the following year met Giovanni Giacometti, who was to be a lifelong friend. In 1888 he visited the Internationale Kunstausstellung in Munich, where he was particularly impressed by the work of Jules Bastien-Lepage and Whistler. This prompted him to go to Paris to continue his studies, and from 1888 to 1891 he attended the Académie Julian, working under William-Adolphe Bouguereau, Tony Robert-Fleury and Gabriel Ferrier. While in Paris he also met Paul Sérusier, Maurice Denis and other Nabis artists, though his own painting of this period was most influenced by Impressionism. In 1892 he was advised to visit Pont-Aven in Brittany, where he met Emile Bernard, Armand Séguin and Roderic O’Conor, as well as seeing the works of Vincent Van Gogh and Gauguin at first hand. This brief period had a decisive effect upon his work, leading to such Synthetist paintings as ...

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

Yvonne Modlin

(b Wedel, nr Hamburg, Jan 2, 1870; d Rostock, Oct 24, 1938).

German sculptor and printmaker. He experimented with several media because he believed that conventional forms of communication were too formulaic and often failed to make tangible the essence of artistic vision. In his plastic and literary oeuvres Barlach sought to define and externalize the inner processes of humanity and nature through depriving his subject of its superficial mask and extraneous detail.

Barlach studied sculpture at the Kunstgewerbeschule in Hamburg (1888–9) and at the Dresden Akademie (1891–5), where he became the chief pupil of the sculptor Robert Diez (b 1844). After two brief visits to the Académie Julian in Paris, he returned to Germany and collaborated with his friend Karl Garbers (b 1864) on a commission for architectural sculptures for the city halls of Hamburg and Altona. Barlach’s early work was influenced by the sinuous, wavy line of Jugendstil. In 1899 he moved to Berlin, where he lived for two years, but he later returned to Wedel, hoping to find inspiration in a familial environment. In the winter of ...

Article

Morgan Falconer

(b Frauenberg, Nov 11, 1951).

German painter and sculptor. He studied sociology, politics and educational theory at university (1970–76). Bömmels became known within the context of German Neo-Expressionism in the early 1980s: he was a member of the Cologne-based group Mülheimer Freiheit, and his vigorous, fluid technique and symbolist leanings led him to be associated with the ‘wild’ painters or New Primitives. Break with History (1984–5; see Faust, 1990, pl. 22) is typical of his early style: intense, expressionistic facture combines with a striking palette of brown, yellow and red to depict a cryptic scene of fleshy but ghost-like figures in a torn landscape; the scene could be read as referring to the contemporary political divisions within Germany. Bömmels’s interest in history and love of hermetic allegories gradually led him to be influenced by the medieval and Roman art of Cologne. Scales of Justice (1984–5; see Faust, 1990, pl. 22) is characteristic of the early stages of this development: two old tradesmen’s signs, painted with obscure symbols, hang from a crooked wooden cross which stands in the stump of a tree. Towards the end of the 1980s his handling shed its vigour and came to resemble the faintly comic style of Romanesque sculpture; he also began to employ a variety of new formats, including relief carving and paintings on wood. ...

Article

Morgan Falconer

(b Jena, Thüringen, March 15, 1954).

German painter and sculptor. He studied at Berlin University but was self-taught as an artist. He came to international prominence in the early 1980s along with a generation of young German Neo-Expressionist painters. In particular, he was associated with a group from Hamburg that included Albert Oehlen (with whom he had a long and formative association) and Martin Kippenberger. Like many of the Hamburg painters, his work was characterized by satirical attacks on the bourgeoisie, while its fantastical and infantilist dimensions were informed by a distaste for the excesses of contemporary mass culture. Still Life with Ray and Special Offer (1983; see 1987 exh. cat.) is in many ways typical of his early work: a comical image of a frowning ray, it is executed in thick, vigorous strokes and dominated by the dark palette favoured by Büttner during this period. The title, which appears to offer little with which to interpret the image is also characteristic of the way in which he counterposed image and title. His sculpture took a number of forms, but appears to be predominantly inspired by Dada traditions. ...

Article

Paul Vogt and Ita Heinze-Greenberg

International movement in art and architecture, which flourished between c. 1905 and c. 1920, especially in Germany. It also extended to literature, music, dance and theatre. The term was originally applied more widely to various avant-garde movements: for example it was adopted as an alternative to the use of ‘Post-Impressionism’ by Roger Fry in exhibitions in London in 1910 and 1912. It was also used contemporaneously in Scandinavia and Germany, being gradually confined to the specific groups of artists and architects to which it is now applied.

Expressionism in the fine arts developed from the Symbolist and expressive trends in European art at the end of the 19th century. The period of ‘classical Expressionism’ began in 1905, with the foundation of the group Brücke, Die, and ended c. 1920. Although in part an artistic reaction both to academic art and to Impressionism, the movement should be understood as a form of ‘new ...

Article

Vojtěch Lahoda

(b Chropyně, Moravia [now Czech Republic], April 4, 1882; d Prague, Oct 6, 1953).

Czech painter, printmaker, sculptor, writer and collector. After a short period at a business school and in an insurance office in Brno, he became a student at the Academy of Fine Arts in Prague (1903). In 1904 he won the Academy’s first prize. At the end of the year he set out on a lengthy journey to Germany, the Netherlands, Belgium, France and Italy. He became absorbed in the Old Masters, especially Rembrandt. His own style passed from Post-Impressionism to a more expressive dominance of colour. In 1907 he took part in the first exhibition of The Eight (see Eight, the) with a programme painting, the Reader of Dostoyevsky (Prague, N.G., Trade Fair Pal.), partly influenced by the Munch exhibition in Prague in 1905. At the same time the picture is a very personal manifesto reflecting the Angst and scepticism of his generation. At the second exhibition of The Eight in ...

Article

(b New York, May 30, 1931).

American painter, draughtswoman and sculptor. She studied at Yale University, New Haven, CT (1952) and at the Institute of Fine Arts, New York University (1953), where she was influenced by Abstract Expressionism. Her first solo exhibition was in 1959 at the Roko Gallery, New York. In the early 1970s, in her first mature works, she drew on family-album photographs and then photographs from magazines of public figures. Her concern for prevailing feminist issues was revealed in the well-known Gray Border series (1975–6), in which she concentrated on several feminized still-lifes painted in a Photorealist style. In large-scale paintings she manipulated stereotypes of art and femininity. A luminous spatial maze of intricately ordered objects appears in such works as Leonardo’s Lady (1.88×2.03 m, 1975; New York, MOMA), in which a perfect pink rose, an art-historical treatise, lipstick, a Baroque-style statuette of a Cupid, costume jewellery, nail-varnish and other equally lustrous objects float above a picture plane that is never clearly defined. From the early 1980s Flack made large-scale indoor and outdoor sculptures based on female deities, imaginary and Classical. Examples of her work are in numerous private and public collections, notably the Australian National Gallery, Canberra, the Metropolitan Museum of Art, New York, and the National Museum of Women in the Arts, Washington, DC....

Article

Wojciech Włodarczyk

[Pol. Formiści]

Polish group of painters and sculptors that flourished between 1917 and 1922, from 1917 to 1919 known as the Polish Expressionists (Ekspresjoniści Polscy). A foretaste of the Formists’ work appeared in the three Wystawy niezależnych (‘Exhibitions of the Independents’; 1911–13) in Kraków, organized by the artists later to become leading Formists: the painter and stage designer Andrzej Pronaszko (1888–1961), his brother Zbigniew Pronaszko and Tytus Czyżewski, who all opposed Impressionism and favoured Cubism, Futurism and Expressionism. The Formists first exhibited in Kraków in 1917. Their aim was to find a new form and a new national style (they saw themselves as the Polish equivalent of the Italian Futurists and French Cubists) that was in part a continuation of the artistic ideology of the turn of the century (Polish modernism). A wide variety of artists took part in Formist exhibitions, including Stanisław Ignacy Witkiewicz, Leon Chwistek, the painter ...

Article

Tom Williams

(b Oklahoma City, OK, March 23, 1937).

American painter and sculptor. During the late 1950s he moved from Oklahoma City to Los Angeles and attended the Chouinard Art Institute (1959–61) with his childhood friend Ed Ruscha. He subsequently became associated with the emerging Pop art movement when his paintings of milk bottles appeared in Walter Hopps’s 1962 exhibition New Paintings of Common Objects at the Pasadena Art Museum.

Although Goode’s work has often been compared to that of such Pop artists as Andy Warhol and Roy Lichtenstein, it shares little of their preoccupation with either the mass media or technological reproduction. In many respects, his paintings and sculptures have much more in common with the work of Jasper Johns than they do with advertisements and consumer objects. In particular, his work develops the tension between the object and the image that was so central to Johns’s flag and target paintings during the late 1950s. In his milk bottle paintings, for example, he positioned painted bottles in front of low-hung, nearly monochrome canvases to explore the dynamic between the painting as an illusion and a decorative backdrop. During the late 1960s, he also constructed a series of staircases that ran up the walls or into the corners of the gallery. These works made coy reference to the recession of pictorial space in perspectival painting (not to mention Marcel Duchamp’s ...

Article

Karel Srp

(b Dvůr Králové, Aug 3, 1889; d Prague, June 2, 1927).

Czech sculptor and draughtsman. One of the outstanding Czech sculptors of the early 20th century, he had a considerable influence both during his lifetime and subsequently. He studied at the Central School of Ceramics at Bechyně from 1903 and then under Professor J. Drahoňovský at the School of Applied Arts in Prague (1905–9) where his exceptional plastic sensibility became apparent. He then spent a year in Paris at the atelier of Emile-Antoine Bourdelle. Gutfreund’s work can be divided into two contrasting periods: the first, beginning in 1910, is largely Cubist while the second, beginning c. 1919, shows a move to realistic sculpture. (Unless otherwise stated, all sculptures by Gutfreund mentioned below are in Prague, National Gallery.) His early work was influenced by Michelangelo’s Slaves (c. 1514; Paris, Louvre; see fig.) and by Honoré Daumier’s modelling and treatment of light, which jointly inspired Anguish (1911) and ...

Article

Lucius Grisebach

(b Döbeln, nr Dresden, July 31, 1883; d Radolfzell, nr Konstanz, Jan 27, 1970).

German painter, printmaker and sculptor. He was one of the founders of the group Brücke, Die and one of its most influential and active members. His work was central to German Expressionism.

Heckel began painting and drawing as a schoolboy in Chemnitz, where he became a friend of Karl Schmidt (later Schmidt-Rottluff). In 1904 Heckel went to Dresden to study architecture under Fritz Schumacher at the Technische Hochschule, where he met Ernst Ludwig Kirchner and the artist Fritz Bleyl (1880–1966). In 1905 the four artists, united by common artistic desires and aims, formed Die Brücke. Heckel abandoned his architectural studies in order to pursue his creative work and to organize the group, although he continued to work as a draughtsman and site manager for the architect Wilhelm Kreis until 1907. In common with other members of the group, Heckel drew and painted life models, either in the studio or ...

Article

Kathleen James

(b Hörde, May 4, 1874; d Interlaken, 1949).

German architect and sculptor. As a youth he worked as a stonecutter. In 1897 he enrolled as a sculpture student in the Kunstakademie, Düsseldorf. In 1900 he went to Paris and stayed there for seven years. He was initially influenced by the work of Rodin but later looked to archaic Greek sculpture. In 1905 he participated in the first Salon d’Automne and in 1907 he returned to Germany. He became a member of the artists’ colony in Darmstadt in 1911. The colony transformed the Mathildenhöhe, a ducal estate, into a display of Art Nouveau architecture and design. His contribution was a set of sculptures (1912–14) in the grove of plane trees planted in the park’s main terrace, which stood in front of the Wedding Tower and Exhibition Hall, built by Joseph Maria Olbrich in 1908. The sculptures include a fountain decorated with four reliefs entitled Sleep, Resurrection, Life and Spring. At the end of the terrace his sculpture of a dying mother and her child, a classically inspired grouping, looks back at the tower. Elsewhere in the grove, friezes of standing and crouching nude youths hint at the beginning of his appreciation of German Expressionism, the movement with which most of his architecture is associated. Their self-consciously awkward forms suit their folkloric themes....

Article

Kristina Van Kirk

(b Long Beach, CA, Sept 12, 1928).

American painter and sculptor. He studied at the Otis Art Institute (1948–50) and at the new and progressive Chouinard Art Institute, Los Angeles (1952–4), where he adopted an Abstract Expressionist painting style. Through his association with the Ferus Gallery, Los Angeles (1959–66), he came into contact with such artists as Ed Moses (b 1926) and Billy Al Bengston. Irwin disdained his early paintings for their lack of ‘potency’. In the early 1960s he began a continuous series of experiments. He broke with figuration, searching like Minimalist artists for a way to make the work of art autonomous in content, that is representing nothing but itself, as in the Disc series that he began in 1966 (exh. 1968, Pasadena, CA, Norton Simon Mus. A.). Designed to exacting dimensions, colour tones, and lighting criteria, the Discs appeared suspended, free from the wall and comprising an uncertain mass that dematerialized into its environment....

Article

Ronald Alley

(b Copenhagen, June 4, 1912; d Tågelund, Jan 26, 1993).

Danish sculptor. He supported himself from 1926 by a variety of jobs. In 1930, self-taught, he began to make sculptures in wood. His early works were influenced by an exhibition of German Expressionism that he saw in Copenhagen in 1932; his pieces included roughly carved, primitive, doll-like figures, which were partly painted. In the early 1940s he turned to carving in stone and c. 1944–5 made some figures in granite of imps and goblins inspired by Viking art, for example Granite Sculpture (1944–5; Randers, Kstmus.). He was actively involved at this period in the movement that later led to the formation of Cobra and was a friend of Asger Jorn and Richard Mortensen.

In 1947 Jacobsen went to Paris, where Mortensen introduced him to Hans Arp, Jean Deyrolle, Jean Dewasne, Auguste Herbin, Alberto Magnelli, Serge Poliakoff and Victor Vasarely, and he started to make abstract sculptures such as Graphics in Iron...

Article

Pierre Baudson

(b Borgerhout, nr Antwerp, May 22, 1887; d Brussels, Dec 1, 1970).

Belgian sculptor. The son of the Belgian sculptor Emile Jespers (1862–1918), he attended the Koninklijk Akademie voor Schone Kunsten in Antwerp from 1900 and the Hoger Instituut voor Schone Kunsten from 1908 to 1911. At the beginning of his career he came under the influence of Auguste Rodin, Rik Wouters, Constantin Meunier and George Minne, and later that of Ossip Zadkine. He was a friend of the Belgian painter Paul Joostens (1889–1960) and of the poet Paul Van Ostaijen. He made his first direct carvings in 1917 in a tentative Cubist style. His Constructivism began to assert itself in 1921, while he was finding a balance between material and technique, but later in the decade he moved towards Expressionism. In Brussels he belonged to Sélection and then to Le Centaure, and he formed friendships with Constant Permeke, Gustave De Smet, Frits Van den Berghe and Edgard Tytgat....

Article

(b New York, July 24, 1927).

American painter, sculptor, and printmaker. He studied (1946–50) in New York and in Skowhegan, ME. In the early 1950s he was influenced by the work of Jackson Pollock and other Abstract Expressionists and produced swiftly executed pictures of trees as well as various works based on photographs. In the mid-1950s, working from life, he painted spare, brightly coloured works of landscape, interiors, and figures, and soon afterwards also produced simplified images in collage. These early works emphasized the flatness of the picture plane while remaining representational, and this insistence on figuration placed him outside the contemporary avant-garde mainstream, in which abstraction and chance were key qualities. He developed his style in the portrait works of ordinary people from the late 1950s, such as Ada with White Dress (1958; artist’s col., see Sandler, pl. 55). This resolution of the demands of formalism and representation looked forward to the Pop art of the following decade. In the 1960s Katz’s works became more realistic and were executed in a smoother, more impersonal style, as in ...

Article

Hilary Pyle

(Austin Ernest)

(b Dublin, May 17, 1915; d Dublin, April 7, 1986).

Irish sculptor. He studied languages at Trinity College, Dublin, from 1933 to 1937. A scholarship to study philology in Frankfurt am Main brought him into contact with German Expressionism and the work of Ernst Barlach. Among his other influences were Gothic sculpture in Ireland and the work of David Jones. On his return from Germany he attended evening classes at the National College of Art in Dublin and studied wood-carving, settling again in Dublin in 1946 but studying briefly under Henry Moore in England from 1947 to 1948. As early as Dancing Man (1946; M. Scott priv. col., see 1978 exh. cat., p. 30), a small carving in wood, Kelly consistently favoured traditional Irish subjects worked in a simplified Expressionist idiom; later examples of such themes include Children of Lir (1966; Dublin, Garden of Remembrance) and Chariot of Fire (1978; Dublin, Irish Life Cent.)

From 1949 Kelly produced many religious works, often on commission, including carved reliefs such as the ...

Article

Lucius Grisebach

(b Aschaffenburg, May 6, 1880; d Frauenkirch, June 15, 1938).

German painter, printmaker, and sculptor. He is one of the most important representatives of Expressionism (see Expressionism, §1). He was the leading figure in Brücke, Die, which was active in Dresden and Berlin from 1905 to 1913. His pictures of urban life have become the incarnation of the nervously agitated modern state of mind in Europe on the eve of World War I. After 1917, with his depictions of the Swiss mountain landscape of Davos and its inhabitants, he made one of the most important contributions to landscape painting in the 20th century.

Kirchner came from a middle-class family with artistic interests. He ended his schooldays in Chemnitz, after spending his childhood in various parts of Germany and Switzerland. Although his artistic talents were fostered by drawing and watercolour lessons at home, his parents did not support his wish to become an artist. After taking the school-leaving examination in ...

Article

Sook-Kyung Lee

One of the characteristics of Korean contemporary art is a continuous effort in employing and interpreting international art practices and discourses. Art movements from Europe and North America in particular, including Abstract Expressionism, Art informel, Minimalism, Conceptual art and Post-modernism, have influenced many Korean artists’ styles and ideas since the 1950s, providing formal and conceptual grounds for critical understandings and further experiments. Whilst some artists who maintained traditional art forms such as ink painting and calligraphy exercised modernist styles and abstract forms largely within the norms and conventions of traditional genres, a large group of artists proactively adapted to Western styles, employing new materials and techniques as well as the notions of avant-garde and experimentalism (see fig.).

A major critique of the reception of Western art and aesthetics came from ‘Minjung art’ (People’s Art) in the 1980s as part of instigating a nationalist and politically charged art strategy. Several art historians and critics who emerged in the 1990s also expanded the scope of the debate with postcolonial and pluralist points of view. The shift in social, economic and political environments played an important role in changing sensibilities in art, along with the advances of technology and new media in the 2000s. The high degree of diversity and sophistication of Korean art in terms of media and subject matters became widely acknowledged within and outside the nation, and an increasing number of artists started to work on the cutting edge of international art....