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Article

Greta Stroeh

[Jean] (Peter Wilhelm)

(b Strassburg, Germany [now Strasbourg, France], Sept 16, 1886; d Basle, Switzerland, June 7, 1966).

French sculptor, painter, collagist, printmaker, and poet of German birth. The son of a German father and French Alsatian mother, he developed a cosmopolitan outlook from an early age and as a mature artist maintained close contact with the avant-garde throughout Europe. He was a pioneer of abstract art and one of the founders of Dada in Zurich, but he also participated actively in both Surrealism and Constructivism. While he prefigured junk art and the Fluxus movement in his incorporation of waste material, it was through his investigation of biomorphism and of chance and accident that he proved especially influential on later 20th-century art in liberating unconscious creative forces.

Following a brief period at the Kunstgewerbeschule in Strasbourg (1900–01), Arp received instruction from 1901 from a friend and neighbour, the painter and printmaker Georges Ritleng (1875–1972). He then attended the Kunstschule in Weimar (1904–7) and the Académie Julian in Paris (...

Article

Hans Frei

(b Winterthur, Dec 22, 1908; d Zurich, Dec 9, 1994).

Swiss architect, sculptor, painter, industrial designer, graphic designer and writer. He attended silversmithing classes at the Kunstgewerbeschule in Zurich from 1924 to 1927. Then, inspired by the Exposition Internationale des Arts Décoratifs et Industriels Modernes (1925), Paris, by the works of Le Corbusier and by a competition entry (1927) for the Palace of the League of Nations, Geneva, by Hannes Meyer and Hans Wittwer (1894–1952), he decided to become an architect and enrolled in the Bauhaus, Dessau, in 1927. He studied there for two years as a pupil of Josef Albers, László Moholy-Nagy, Paul Klee and Vasily Kandinsky, mainly in the field of ‘free art’. In 1929 he returned to Zurich. After working on graphic designs for the few modern buildings being constructed, he built his first work, his own house and studio (1932–3) in Zurich-Höngg; although this adheres to the principles of the new architecture, it retains echoes of the traditional, for example in the gently sloping saddle roof....

Article

Leyla Dunia

(b Caracas, Mar 14, 1925).

Venezuela painter, sculptor, and muralist. He was a prominent artist of the abstract movement in Venezuela. His best-known work uses cylinders, cubes, and other volumetric shapes displayed serially in order to investigate the dialog between geometric forms and light. From 1940 to 1945 he studied at the Escuela de Artes Plásticas y Aplicadas in Caracas. In 1945 he participated in a students’ protest that aspired to revolutionize the pedagogical system of the academy, considering it obsolete and restricted. The leaders of the protest were expelled and created the groups La Barraca de Guaicaipuro and La Barraca de Mariperez, in which Debourg was an active participant. In 1948 he assisted the Taller Libre de Arte, attracted by their experimentation with figuration and cubism. In 1949 he traveled to Paris and started working with geometry and abstractionism. In 1950 he joined the group of Venezuelan artists and intellectuals Los Disidentes, who were interested in abstract-geometric visual language and what they considered to be an esthetic renewal of the Venezuelan art canon. Debourg participated in the group’s discourse not only through his paintings but also by publishing several articles in the homonym magazine ...

Article

[Alexander] (Mikhaylovich)

(b St Petersburg, Nov 23, 1891; d Moscow, Dec 3, 1956).

Russian painter, sculptor, designer and photographer. He was a central exponent of Russian Constructivism, owing much to the pre-Revolutionary work of Kazimir Malevich and Vladimir Tatlin, and he was closely involved in the cultural debates and experiments that followed the Revolution of 1917. In 1921 he denounced, on ideological grounds, easel painting and fine art, and he became an exponent of Productivism (see Constructivism, §1) in many fields, including poster design, furniture, photography and film. He resumed painting in his later years. His work was characterized by the systematic way in which from 1916 he sought to reject the conventional roles of self-expression, personal handling of the medium and tasteful or aesthetic predilections. His early nihilism and condemnation of the concept of art make it problematic even to refer to Rodchenko as an artist: in this respect his development was comparable to that of Dada, although it also had roots in the anarchic activities of Russian Futurist groups....