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Article

(b Rādāuţi, Bukovina, April 28, 1929; d Paris, April 29, 2010).

Israeli painter, draughtsman, printmaker and writer, of Romanian birth, active in France. The drawings he made in deportation from Nazi labour camps at the age of 13 and 14 saved his life by attracting attention to his precocious talent. In 1944 he emigrated to Israel, living in a kibbutz near Jerusalem and studying art at the Bezalel School in Jerusalem; after being severely wounded in 1948 in the Israeli War of Independence, he continued his studies in Paris (which he made his home in 1954) at the Ecole des Beaux-Arts (1949–51). He first made his name as an illustrator, for example of an edition of Rainer Maria Rilke’s The Way of Love and Death of Cornet Christopher Rilke (Jerusalem, 1953), for which he was awarded a gold medal at the Milan Triennale in 1954. From 1957 to 1965 he produced abstract paintings, such as Noir basse...

Article

Willemijn Stokvis

(b Constantine, Algeria, Jan 23, 1913; d Paris, Feb 12, 1960).

French painter, lithographer and writer. The Jewish intellectual milieu in which he grew up led to his interest in philosophy and religion, and from 1930 to 1934 he studied philosophy at the Sorbonne. While in Paris, however, he was confronted with modern painting for the first time, and his interest in poetry was awakened. Recognizing a means of expressing his interest in magical phenomena, in 1941 he began to paint and write poetry. His activity in the Résistance and his Jewish ancestry led to his arrest in 1942; by pleading insanity he was able to save himself but was confined to the Sainte Anne asylum, where he wrote poetry and painted. In the autumn of 1944, shortly after leaving the asylum, his first and only collection of poems, Le Sang profond, was published, and he exhibited drawings at the Galerie Arc en Ciel.

During the immediate post-war years Atlan’s work was well received in Paris. He had a one-man show in ...

Article

(b Scobje, Macedonia [now Skopje, Former Yugoslav Republic of Macedonia], March 23, 1909; d 1993).

Turkish painter and printmaker. He studied painting at the Belgrade School of Fine Arts (1927–8) and at the Accademia di Belle Arti in Florence (1929–35), where he also worked on engravings. In 1935 he exhibited his work at the Academy of Fine Arts in Istanbul and in 1937 took up a position in a new printmaking workshop there, where he taught for many years. In 1948 Berkel studied book illustration and production with the French painter Jean-Gabriel Daragnès (1886–1950) in Paris. During the 1950s the style of his work progressed from linear geometric compositions, such as Bagel Seller (1952; Istanbul, Mimar Sinan U., Mus. Ptg & Sculp.), to include the first abstract calligraphic composition in Turkish art, Monogram (1957; priv. col., see Renda and others), exhibited in the Turkish Pavilion at the Exposition Universelle et Internationale in Brussels in 1958. In both his earlier figurative paintings and his later abstract works form takes precedence over colour, with a concern for composition and balance. He exhibited his work at the São Paulo Biennales in ...

Article

Susan T. Goodman

(b Beirut, 1936).

Israeli painter, sculptor, printmaker and film maker of Lebanese birth. He studied from 1959 to 1961 under Yehezkel Streichman at the Avni Art Institute in Tel Aviv. From 1966 to 1976 he lived in London, where he studied at St Martin’s School of Art and created sculptures concerned with movement, time and energy, for example Corners (1967; Jerusalem, Israel Mus.). He became involved with conceptual art after settling in New York in 1976, producing drawings, prints and photographs that explore energy, space and process of duration, and expanding on problems of perception in sculptural installations. In works such as August from Undercover Blues Series (1980; New York, Jew. Mus.) he used light to define the relationships between an object and its shadows, while in conceptual films such as Putney Bridge (1976) he used the environment to analyse the relationship between reality and illusion. On returning to Europe in ...

Article

Susan T. Goodman

(b Tel Aviv, 1936).

Israeli painter and printmaker. He studied at the Avni Art Institute in Tel Aviv from 1960 to 1964 and taught at the Bezalel Academy of Art and Design in Jerusalem (1972–7) and at the Art Teachers’ Training College in Ramat Hasharon (from 1978). Taking as his subject-matter the cultural, social and political myths that embody Israeli life, Gershuni was one of the first Israeli artists to practise conceptual art and performance art in the late 1960s, first questioning the nature of art and later the structure of society as manifested in cultural and political coercion; at the Venice Biennale in 1980 he exhibited an installation, Red Sealing/Theatre, in which an entire room was devoted to texts in Hebrew on the theme of ‘Who Is a Zionist and Who Is Not?’. His themes in the 1980s ranged from the unknown soldier to the plight of the Jew forced to assimilate into a hostile society. His ...

Article

Evita Arapoglou

(b Ayvalık, Turkey, Nov 8, 1895; d Athens, July 13, 1965).

Greek painter, printmaker, hagiographer, and writer. An ardent believer in the Byzantine and post-Byzantine tradition, he left Ayvalık in 1913 to study painting at the School of Fine Arts in Athens. His studies were interrupted by World War I, during which he travelled to Paris with Spyros Papaloukas; he returned to Ayvalık in 1919, but after the Greco-Turkish War of 1922 he settled in Athens, where he spent the rest of his life. The Asia Minor disaster had a profound impact on his development in that he devoted himself to Byzantine iconography as, in his view, the genuine expression of the Greek spirit.

Working consistently throughout his life as a painter and writer, from 1930 he based his themes almost exclusively on Greek traditions, using an unpretentiously simple and direct language in both media. His work included small panel paintings (mainly icons and portraits), book illustrations, miniatures, drawings for mosaics and wood sculptures, lithographs, woodcuts, and frescoes in Greek Orthodox churches, for example, for St George in Kypseli, Athens (...

Article

S. J. Vernoit

(b Aïn Beida, Jan 20, 1947).

Algerian painter and graphic artist. He studied at the Ecole des Beaux-Arts in Algiers, and in Paris at the Ecole des Beaux-Arts, Ecole des Arts Décoratifs and Institut d’Urbanisme de l’Académie de Paris. After returning to Algeria he worked at the Bureau d’Etudes des Tanneries and the Bureaux d’Etudes des Textiles, and he then went to Tunisia, where he became cultural adviser at the Musée d’Art Moderne in Tunis. Inspired by the calligraphic movement in Arab painting in the 1960s, he explored the potential of abstract calligraphic compositions in graphic art to great effect (e.g. the engravings Testament of the Enemy, 1981) and also utilized such media as wood, silk, parchment and ceramics for this purpose, often with a minimal use of colour. Since 1970 he has exhibited his work in Europe, the Middle East, Japan, South America and the USA, and has won numerous awards.

Third World Biennale of Graphic Art...

Article

(b Najaf, 1944).

Iraqi calligrapher, painter, printmaker and writer, active in Paris (see fig.). He studied painting and calligraphy in Baghdad from 1960 to 1969, and in 1969 exhibited his work at the Iraqi Artists’ Society exhibition and at the French Cultural Centre in Baghdad. The same year he went to Paris and studied at the Ecole des Beaux-Arts until 1975. Thereafter he lived in Paris. Although influenced by traditional calligraphy, he developed his own calligraphic style, which incorporated painterly elements. In many of his works, for example Je suis le feu tapi dans la pierre. Si tu es de ceux qui font jailler l’étincelle alors frappe (1984; Paris, Inst. Monde Arab.), he employed proverbs and quotations from a range of sources. He also researched and wrote about Arabic calligraphy.

Article

Dora Vallier

(b Paris, July 13, 1920; d Montbéliard, Sept 10, 1999).

French painter and printmaker. He attended the Ecole Nationale Supérieure des Arts Décoratifs and travelled in Italy and Algeria to broaden his artistic education. His first solo exhibition took place in 1943 at the château of Montbéliard. Influenced by Klee’s work and by his contact with the art critic Charles Estienne, who as early as 1950 sensed that geometrical abstraction was leading towards a new academicism and pleaded the cause of a freer and more lyrical pictorial expression, Messagier lightened his colours to near transparency and opted for broad, spontaneous brushwork. His landscapes of the Franche-Comté, such as Après-midi montante (1958; Eindhoven, Stedel. Van Abbemus.), expressed his sensitivity to nature and the rhythm of the seasons. From 1960 he began to exhibit abroad and took part in some of the major international events as a representative of new trends in French painting. He also transposed his supple brushwork into numerous engravings and from ...

Article

W. Iain Mackay and Pauline Antrobus

(b Cajabamba, Cajamarca, March 19, 1888; d Lima, Dec 15, 1956).

Peruvian painter, printmaker and teacher. From 1908 he visited Europe (Italy in particular) and North Africa before studying at the Academia Nacional de Bellas Artes, Buenos Aires, from 1910. From 1913 to 1918 he taught art in Jujuy. He returned briefly to Buenos Aires before spending six months in Cuzco, where he became committed to portraying scenes of Cuzco and her inhabitants and thus pioneered Indigenism. The works from this period were exhibited in 1919 at the Casa Brandes, Lima, where they caused a considerable stir. In 1920 he began teaching at the Escuela Nacional de Bellas Artes, Lima, becoming Director in 1932; his ‘resignation’ in 1943 was the result of the government’s gratuitous appointments of staff without consultation.

A short visit to Mexico in 1922 and contacts with Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros engendered in Sabogal that determination to promote Peruvian art internationally. He was involved with José Carlos Meriátequi’s review, ...

Article

(b Zerków, nr Posen, Germany [now Poznań, Poland], May 27, 1887; d Nahariya, Israel, 1968).

Israeli printmaker and painter of German birth. He attended the Akademie der Künste in Berlin in 1906 and in 1907 studied painting with Lovis Corinth and etching with the German painter Hermann Struck (1876–1944). He went to Paris in 1907 and here he studied first under Jean-Paul Laurens, then under Matisse and Théophile-Alexandre Steinlen. After returning briefly to Berlin in 1910 he visited Italy the following year. In Berlin again in 1912 he co-founded Die Pathetiker group together with Ludwig Meidner and the German painter Richard Janthur (b 1883); they had their first group show at the Sturm-Galerie that year. The group emphasized dramatic content over artistic form and the resulting works, such as Steinhardt’s oil The City (1913; Berlin, Neue N.G.), reveal the characteristic Expressionist style. Die Pathetiker (Berlin, 1912), a portfolio of the group’s work, included etchings by Steinhardt.

While serving in the German army in World War I Steinhardt successfully exhibited 50 drawings at the ...

Article

Mark Allen Svede

(b nr Cēsis, April 28, 1896; d Tbilisi, Georgia, July 14, 1944).

Latvian painter, printmaker, ceramicist, interior designer, tage and film set designer and theorist. He was the foremost ideologue for modernism in Latvia and was one of its greatest innovators. His militant defence of avant-garde principles befitted his experience as a soldier and as one of the artists who, after World War I, was denied a studio by the city officials and staged an armed occupation of the former premises of the Riga Art School. At the end of the war he painted in an Expressionist manner: In Church (1917; Riga, priv. col., see Suta, 1975, p. 19), for example, is an exaltation of Gothic form and primitivist rendering. Unlike his peers Jāzeps Grosvalds and Jēkabs Kazaks, he was extremely interested in Cubism and Constructivism, the theories of which informed his paintings, drawings, prints and occasional architectural projects of the 1920s. At this time he and his wife, the painter ...

Article

Michelle Facos

(b Gävle, Sept 23, 1860; d Solna, Jan 8, 1928).

Swedish painter and printmaker. He studied at the Royal Academy of Art in Stockholm from 1879 to 1882. For the next 12 years he lived abroad, travelling to Italy, Spain, France, Germany and North Africa and settling in London in 1886. During this time printmaking became his primary interest and in 1892 he joined the Royal Society of Painter-Etchers and Engravers in London. In 1895 he returned to Stockholm, where he initiated a printmaking course at the Royal Academy. Among his students were Carl Olof Larsson, Anders Zorn, the Swedish painter Albert Engström (1869–1940) and Ferdinand Boberg. It was largely due to his efforts that printmaking gained widespread popularity among Swedish artists in the 20th century.

Några ord om etsning och andra Konstnärliga gravyrmetoder [Some words on etching and other artistic engraving methods] (Stockholm, 1912) J. Nordling: ‘Axel Tallberg och hans etsarskola’ [Axel Tallberg and his etching school], ...

Article

Susan T. Goodman

(b Tel Aviv, 1939).

Israeli sculptor, painter, draughtsman, printmaker and conceptual artist. He studied at Bezalel Academy of Arts and Design in Jerusalem and in 1965 at Central School for Arts and Crafts in London. After painting abstract pictures in an expressionist technique he began to make etchings and (from the early 1970s) drawings. He also became involved in land art and conceptual art projects, some of them politically oriented, such as the Messer-Metzer Project in 1972, which involved an exchange of earth between an Arab village and an Israeli kibbutz. On some of these projects he collaborated with other artists, among them Moshe Gershuni and Avital Geva.

From 1978 Ullman evoked graves, archaeological excavations or trenches both in drawings and in sculptures in earth such as Lot’s Wife (1984), a six-foot deep pit dug in Har Sedom, Israel. As Israel’s representative at the Venice Biennale in 1980 he showed a large work, the ...

Article

(b Istanbul, Aug 5, 1906; d Ankara, 1974).

Turkish painter and printmaker . He studied at the Fine Arts Academy in Istanbul and worked as a teacher in Konya for a short period before graduating in 1930. The visit to Konya was his first to Anatolia, and it gave him the opportunity to observe the peasant and nomadic life. As a result Anatolian themes entered his work, although he used the techniques of Western painting. He was also inspired by East Asian art and by the Turkish miniature painting tradition. Upon graduation he went to Paris to continue his studies but stayed only a few weeks and returned to Turkey to teach in Sivas, where he rekindled his interest in Anatolian life. His works were exhibited in Istanbul by the D Group (founded 1933), which he later joined. In 1939 he participated in the tours to the provinces organized for artists by the Turkish government, returning from the town of Kayseri with a series of paintings. His individual style for depicting local scenes, which used well-defined forms in bright colours, became popular in Turkey, and the narrative element of his paintings related them to themes in Turkish folklore. Zaim’s aim was to develop a contemporary pictorial language to express life in Anatolia. He also produced etchings in the 1930s and linoleum prints in the early 1960s. His daughter ...

Article

(b Tehran, 1937).

Iranian painter and printmaker . He studied at the College of Fine Arts and the College of Decorative Arts in Tehran and began to exhibit his work early in his career, at the Biennales in Paris (1959–63), Tehran (1960–66), São Paulo (1963) and Venice (1964), receiving a number of awards. He first began to be influenced by Iranian Shi‛ite folk art in 1959, presenting it in his work in a distinctive way, with neither parody nor satire. He went to live in Paris in 1961 but continued to take a close interest in the development of art in Iran. At the third Tehran Biennale in 1962, held in the Abyaz Palace in the Gulistan compound, he exhibited canvases that consisted of geometric patterns of squares, triangles and circles, using colours characteristic of religious folk art, and covered with calligraphy to create a distinctive texture. It was on this occasion that the Iranian art critic ...