Tag Archives: Dada

Jean Tinguely

Today’s Artist Birthday: Jean Tinguely

Jean Tinguely (22 May 1925 – 30 August 1991) was an artist who worked in the Dada tradition, best known for his mechanical sculpture work, also known as kinetic art. He called his creations “Metamechanics,” which playfully mocked mass consumerism and the overproduction of material goods.

Jean Tinguely, 1976, in Basel. [Photo by: Helen Sager]
Jean Tinguely, 1976, in Basel. [Photo by: Helen Sager]
Born in Fribourg, Switzerland, Tinguely grew up in Basel. He attended the School of Arts and Crafts, though records indicate that he was not terribly fond of consistent attendance. He later had an apprenticeship as a decorator, until 1947 when he begins to spend a lot of time in the circle of the Basel anarchist Heiner Koechlin.

Heiner Koechlin, c.1960

In 1952 he moved to France with his first wife, Swiss artist Eva Aeppli, to pursue a career in art. They immersed themselves in the Parisian avant garde scene throughout the mid-twentieth century, and there he developed his distinctive, mischievous, and whimsical style.

Images of Eva Aeppli and Jean Tinguely, 1958 in Paris
Images of Eva Aeppli and Jean Tinguely, 1958 in Paris

At the beginning of 1955,  he moved into a studio in the Impasse Ronsin where one of his neighbors was the sculptor Constantin Brancusi. Later that same year, Tinguely takes part in the exhibition Le Mouvement at the Galerie Denise René in Paris, together with Pol Bury, Soto, Calder, Vasarely, Duchamp and other artists, where the concept of kinetic art plays a major role for the first time.

mouvement

In 1956, through his network of connections in the Parisian art scene, he meets the brilliant young artist Yves Klein, and the two quickly became great friends. In November of 1958, Tinguely and Klein collaborated on a joint exhibition entitled Vitesse pure et stabilité monochrome, at the Galerie Iris Clert.

 

Jean Tinguely and Yves Klein, 1958
Jean Tinguely and Yves Klein, 1958
Tinguely and Klein, 1958

In 1959 in grand style, he scatters copies of his manifesto “Für Statik (For statics)” from an airplane over Düsseldorf, promoting the idea “Everything moves. Standstill does not exist …”.

Jean Tinguely, above the skies of Düsseldorf, about to scatter copies of his manifesto on the city below.
Jean Tinguely, above the skies of Düsseldorf, about to scatter copies of his manifesto on the city below. 1959

In October of 1960, he is one of the founders of the group “Nouveaux Réalistes” in Paris. Headed up by Klein, the group sets its goal as exploring new ways of perceiving reality. Aside Tinguely and Klein, the initial members were Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé. The following year, they were joined by César, Mimmo Rotella, Niki de Saint Phalle, and Gérard Deschamps.

Jean Tinguely (far left) Niki and unidentified man, shooting paint at a nearly finished work, 1961 [photo: Shunk-Kender; © 2008 Niki Charitable Art Foundation, all rights reserved / VG Bild-Kunst Bonn 2012; photo © Roy Lichtenstein Foundation, Shunk-Kender]
Jean Tinguely (far left) Niki de Saint Phalle, and unidentified man, shooting paint at a nearly finished work, 1961 [photo: Shunk-Kender; © 2008 Niki Charitable Art Foundation, all rights reserved / VG Bild-Kunst Bonn 2012; photo © Roy Lichtenstein Foundation, Shunk-Kender]
In 1962 he completes his spectacular Study for an End of the World No. 2, a sculptural ensemble that completely self-destructs before an audience in the desert of Nevada, outside Las Vegas, USA. Earlier in 1960, he had attempted his first self destructing sculpture, Homage to New York, but the work did not completely self-destruct. What remains of that sculpture now resides in the garden of the Museum of Modern Art, New York.

1963-64, he created the monumental sculpture Heureka for the Expo 64 in Lausanne, Switzerland.

"Heureka," by Jean Tinguely, Basel, Switzerland. Created 19
“Heureka,” by Jean Tinguely, Basel, Switzerland. Created 1963-4

In 1966, Tinguely, along with Niki de Saint-Phalle and Per Olof Ultvedt, created the Hon-en-Katedrall (sometimes spelled “Hon-en-Katedral“) art installation exhibited at Moderna Museet in Stockholm. The work was a large scale sculpture of a colorful pregnant woman lying on her back with her legs wide apart. The sculpture was 25–26 meters long, about 6 meters high and 11 meters wide. It was constructed of scaffolding and chicken wire, covered with fabric and fiberglass, then painted with brightly-colored poster paint. Visitors would enter the work through an opening in the location of the woman’s vagina, returning to the womb, as it were. Once inside, they were to find a screen showing Greta Garbo films, a goldfish pond and a soft drink vending machine, all the while being entertained by the music of Johann Sebastian Bach, played through hidden speakers. The piece was exhibited from June 4 to September 9 in 1966, and during that time had over 80,000 visitors.

Installation of "Hon-en-Katedrall," Tinguely
Installation of “Hon-en-Katedrall,” created by Jean Tinguely, with Niki de Saint-Phalle, and Per Olof Ultvedt (pictured right to left).

One of his most celebrated works was created in 1970, when he and a group of friends create La Vittoria in front of the Milan Cathedral, in Milan, Italy. It was a giant golden phallus which, with much pomp and circumstance, burns to the ground as part of the festival celebrating the 10th anniversary of the Nouveaux Réalistes.

la vittoria 1
Phase 1 of “La Vittoria,” by Jean Tinguely, celebrating the 10 year anniversary of the Nouveaux Réalistes, a group he founded in 1960 with the delightful Yves Klein, and others.
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Phase 2 & 3 of “La Vittoria,” by Jean Tinguely. The sculpture is revealed and then set on fire. The event was to celebrate the 10 year anniversary of the Nouveaux Réalistes, a group he founded in 1960 with the delightful Yves Klein, and others.
la vittoria 3
Phase 4 of “La Vittoria,” by Jean Tinguely. The sculpture had been set on fire and now remains only the frame. The event was to celebrate the 10 year anniversary of the Nouveaux Réalistes, a group he founded in 1960 with the delightful Yves Klein, and others.

In 1971, Tinguely married his second wife, his long time creative partner, Niki de Saint Phalle.

Niki de Saint Phalle and Jean Tinguely, 1966
Niki de Saint Phalle and Jean Tinguely, 1966

From the 1970’s until 1991, Tinguely worked continuously on his complicated and fantastical sculptures and exhibitions. His creative flow was intense and prolific, however the near-frantic pace of his creation may have taken its toll however.

Jean Tinguely in his studio, 1981
Jean Tinguely in his studio, 1981

On August 18, 1991 Jean Tinguely suffered a stroke and was taken to the Inselspital Hospital in Berne. He resisted death for nearly two weeks, but unfortunately never recovered. He would succumb to the complications of the stroke and passed away on August 30, at the young age of 66 years.Tinguely01

His funeral was held on September 4, 1991 in Basel. His 1979 tractor-like and drivable sculpture entitled “Klamauk,” was part of his funeral procession. That same sculpture still makes the rounds of Basel on “Tinguely Tag,” or “Tinguely Day,” a annual celebration of his life, remembering him each year on the anniversary of his death.


tinguely by vera isler, 1990
“Playing is art. So I am playing.”

Jean Tinguely

digital collage portrait created by 
Terri Maxfield Lipp
May 22, 2017


References:


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Originally posted May 22, 2016
Updated on May 22, 2017 

Salvador Dalì

Salvador Dalì: creative genius

 

This year, as always, we celebrate the anniversary of the birth of Salvador Dalì (1904-1989). The surrealist painter, sculptor, philosopher, chef, author, filmmaker (to name a few of his strong points), is thought by many to be one of the most creative and brilliant minds of the twentieth century.

Dalí’s mustache was already famous, but was made legendary by the vision and foresight of the great photographer, Philippe Halsman.

To read more and see many of the great artist’s works, please click here to see the full article on the maestro, posted on his birthday in 2016.


Salvador Dalì

Digital collage portrait
by Terri Maxfield Lipp
Created for
TML Arts: The Artist Birthday Series
(click image for full resolution)


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Click the button below to let us know about typos, incorrect information, broken links, erroneous attribution,
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Hannah Höch

Hannah Höch: visual artist

Hannah Höch (November 1, 1889 – May 31, 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage. Her work existed to dismantle the fable and dichotomy that existed in the concept of the “New Woman”: an energetic, professional and androgynous woman, who is ready to take their place as man’s equal.

hannah-hoch-profile

Hannah Höch was born Anna Therese Johanne Höch in Gotha, Germany. Although she went to school, domesticity took precedence in her household, and in 1904 at the age of 14, Hannah was taken out of the Höhere Töchterschule in Gotha to care for her youngest sibling Marianne.

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Hannah Höch with one of her Dada dolls, c. 1920

In 1912 she began classes at the School of Applied Arts in Berlin under the guidance of glass designer Harold Bergen. She chose the curriculum glass design and graphic arts, rather than fine arts, to please her father. In 1914, at the start of World War I, she left the school and returned home to Gotha to work with the Red Cross.

hannah-hoch-p
c. 1925

In 1915 she returned to school, entering the graphics class of Emil Orlik at the National Institute of the Museum of Arts and Crafts. Also in 1915, Höch began an influential friendship with Raoul Hausmann, a member of the Berlin Dada movement. Höch’s involvement with the Berlin Dadaists began in earnest in 1917.

Höch, 1915
At 27 years old, 1915

 

Hannah Hoch, 1916
At 28 years old, 1916

It was at this time that Höch became one of the first pioneers of the art form that would come to be known as photomontage. Photomontage (or fotomontage), is a type of collage in which the pasted items are actual photographs or photographic reproductions pulled from the press or other widely produced media.

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After her schooling, she worked in the handicrafts department for Ullstein Verlag (The Ullstein Press), designing dress and embroidery patterns for Die Dame (The Lady) and Die Praktische Berlinerin (The Practical Berlin Woman). The influence of this early work and training can be seen in her later work involving references to dress patterns and textiles.

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In 1920, she participated in the First International Dada Fair, in Berlin, which took on the traditional format of an art salon, but the walls of the site were plastered with posters and photomontages. Höch was allowed to participate only after Hausmann threatened to withdraw his own work from the exhibition if she was kept out. Höch’s large-scale photomontage Schnitt mit dem Küchenmesser DADA durch die letzte weimarer Bierbauchkulturepoche Deutschlands  (English: Cut with the Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany) (1919)—a forceful commentary, particularly on the gender issues erupting in postwar Weimar Germany—was one of the most prominently displayed and well-received works of the show. Despite her critical success, as the group’s only woman, Höch was typically patronized by and kept at the margins of the Berlin group. Consequently, she began to move away from the group, including Hausmann, with whom she broke off her relationship in 1922.

Höch (on right) with Raoul Hausmann, at the First International Dada Fair, 1920
Höch (on right) with Raoul Hausmann, at the First International Dada Fair, 1920

 

The First International Dada Fair, Berlin, 1920 (Hannah Höch, seen on far left)
The First International Dada Fair, Berlin, 1920 (Hannah Höch, seen on far left)

 

The First International Dada Fair, Berlin, 1920 (Hannah Höch, seated on left)
The First International Dada Fair, Berlin, 1920 (Hannah Höch, seated on left)

 

Schnitt mit dem Küchenmesser DADA durch die letzte weimarer Bierbauchkulturepoche Deutschlands (English: Cut with the Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany) (1919)
Schnitt mit dem Küchenmesser DADA durch die letzte weimarer Bierbauchkulturepoche Deutschlands (English: Cut with the Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany) (1919)

Art historian Maria Makela has characterized Höch’s personal relationship with Raoul Hausmann as “stormy”, and identifies the central cause of their altercations—some of which ended in violence—in Hausmann’s refusal to leave his wife. Hausmann continually disparaged Höch not only for her desire to marry him, which he described as a “bourgeois” inclination, but also for her opinions on art. Hausmann’s hypocritical stance on women’s emancipation spurred Höch to write “a caustic short story” entitled The Painter in 1920, the subject of which is “an artist who is thrown into an intense spiritual crisis when his wife asks him to do the dishes.”

1920
1920

 

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Höch with one of her Dada dolls, c. 1921

From 1926 to 1929 she lived and worked in the Netherlands. Höch made many influential friendships over the years, with Kurt Schwitters and Piet Mondrian among others. In 1926, she met and began a relationship with the Dutch writer and linguist Mathilda (‘Til’) Brugman, whom Höch met through Schwitters. By autumn of 1926, Höch moved to Hague to live with Brugman, where they lived until 1929, at which time they moved to Berlin. Höch and Brugman’s relationship lasted nine years, until 1935. They did not explicitly define their relationship as lesbian (likely because they did not feel it necessary or desirable), instead choosing to refer to it as a “private love relationship.”

Höch and Brugman, 1930
Höch and Brugman, 1930

While the Dadaists, including Georg Schrimpf, Franz Jung, and Johannes Baader, “paid lip service to women’s emancipation,” they were clearly reluctant to include a woman among their ranks. Hans Richter described Höch’s contribution to the Dada movement as the “sandwiches, beer and coffee she managed somehow to conjure up despite the shortage of money.” During their partnership, Raoul Hausmann even suggested that Höch get a job to support him financially. Höch was the lone woman among the Berlin Dada group, although Sophie Täuber, Beatrice Wood, and Baroness Else von Freytag-Loringhoven were also important, and decidedly overlooked, Dada figures. Höch references the hypocrisy of the Berlin Dada group and German society as a whole in her photomontage, Da-Dandy.

Da-Dandy, 1919
Da-Dandy, 1919

In 1935, Höch began a relationship with Kurt Matthies, whom she was married to from 1938 to 1944.

"Hungarian Rhapsody," 1940
“Hungarian Rhapsody,” 1940

Her work commonly combined male and female traits into one unified being. During the era of the Weimar Republic, “mannish women were both celebrated and castigated for breaking down traditional gender roles.” Her androgynous characters may also have been related to her bisexuality and attraction to masculinity in women (that is, attraction to the female form paired with stereotypically masculine characteristics).

hannah-hoch-8 screen-shot-2012-10-17-at-2-40-pm hoch1001

During World War II, Höch spent the years of the Third Reich in Berlin, Germany, keeping a low profile. She lived in Berlin-Heiligensee, a remote area on the outskirts of Berlin, hiding in a small garden house. She married businessman and pianist Kurt Matthies in 1938 and divorced him in 1944. She suffered from the Nazi’s censorship of art, and her work was deemed “degenerate art” making it even more difficult to show her works. She was even forced to hide much of her work by burying it in her yard until the war was over.

1946
1946

Though her work was not acclaimed after the war as it had been before the rise of the Third Reich, she continued to produce her photomontages and exhibit them internationally until her death at the age of 88 in 1978, in Berlin.

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Her house and garden can be visited at the annual Day of the Memorial (Tag des offenen Denkmals).

hannah-hoech-haus-2009-23


Afterword:

In the spring of 2016, my always-art-encouraging husband and I took Dada inspired trip to Switzerland and Germany, specifically to visit three separate exhibitions celebrating the 100th anniversary of the birth of the Dada movement. On May 1, we visited the Museum Haus Konstruktiv in Zurich, to visit the show DADA Differently: Sophie Taeuber-Arp, Hannah Höch, Elsa von Freytag-Loringhoven curated by Sabine Schaschl, Margit Weinberg Staber, and Evelyne Bucher. It was a relatively small but perfectly presented collection of works from all three women. Having been a long time devotee of ladies of Dada, I actually burst into tears when taking Höch’s work in for the first time. Thus far, only Van Gogh and Cezanne had brought me to the point of public weeping, so this was a treat, indeed.

That same afternoon, we walked over to the Kunsthaus Zürich to see the Dadaglobe Reconstructed on its last day of exhibition in Europe (the collection was then exhibited at MOMA in New York in the United States from June 12–September 18, 2016), which contained rare pieces from Hannah Höch and others. Dadaglobe Reconstructed reunited over 100 works created for Dadaglobe, Tristan Tzara’s planned but unrealized magnum opus, originally slated for publication in 1921.

One of Hannah Höch's works in the Dadaglobe exhibition in Zurich, May 2016 - featuring a self portrait (seen on left) and portrait of Raoul Hausmann
One of Hannah Höch’s works in the “Dadaglobe: Reconstructed” exhibition in Zurich, May 1, 2016 – featuring a self portrait (seen here on the right) and portrait of Raoul Hausmann –  (photo by TMLipp)

 

View of Dadaglobe: Reconstructed, at the Kunsthaus Zürich, May 1, 2016
View of “Dadaglobe: Reconstructed,” at the Kunsthaus Zürich, May 1, 2016 (photo by TMLipp)

We then traveled to Germany and the gorgeous city of Mannheim, where the Kunsthalle Mannheim organized a large, impressive solo exhibition of Höch’s work, which we were honored to get the chance to see on May 6.  Nine large rooms held the collection, with a tenth, interactive room where one could watch a wonderful documentary about Höch’s life, or one could play with the wall of make-your-own-photomontage-Dada-contruction-from-wall-magnets (which I enjoyed immensely). The collection was comprehensive, breathtaking, and emotionally touching, and we spent hours slowly moving through the dreamland of Höch’s work.

Comprehensive exhibition of the work by Hannah Höch, Kunsthalle Mannheim (photo by TMLipp, May 6, 2016)
Exhibition of the work by Hannah Höch, Kunsthalle Mannheim, Germany (photo by TMLipp, May 6, 2016)

 

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Exhibition of the work by Hannah Höch, Kunsthalle Mannheim, Germany (photo by TMLipp, May 6, 2016)

 

hoch-exhibition-3
Exhibition of the work by Hannah Höch, Kunsthalle Mannheim, Germany (photo by TMLipp, May 6, 2016)

 

tmlipp-dada-selfportrait
“Self Portrait of MyDadaSelf” by TMLipp, created at the Kunsthalle Mannheim, Germany, during the exhibtion of the work by Hannah Höch. (photo by TMLipp, May 6, 2016)

 

hoch-exhibition-entry
Kunsthalle Mannheim, Germany (photo by TMLipp, May 6, 2016)

 


Edited from:


Hannah Höch, November 1, 2016

Digital collage portrait by TMLipp
Created for The Artist Birthday Series:
(click image for full resolution)

hoch-feat


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Click the button below to let us know about typos, incorrect information, broken links, erroneous attribution,
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Viking Eggeling

Viking Eggeling: artist and filmmaker

Viking Eggeling (21 October 1880 – 19 May 1925) was a Swedish avant-garde artist and filmmaker connected to Dadaism, Constructivism and Abstract art and was one of the pioneers in absolute film and visual music. His 1924 film Diagonal-Symphonie is one of the seminal abstract films in the history of experimental cinema.

viking_eggeling_from_die_kunstismen_1925

Helmuth Viking Eggeling was born in Lund, Sweden, and was orphaned at the age of fourteen. Two years later he moved to Germany to pursue an artistic career. He studied art history in Milan from 1901 to 1907, supporting himself with work as a bookkeeper. In 1903 he married Nora Sidney Marie (Noné) Fiernkranz from Vienna.

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Eggeling and his wife Noné, c.1906

From 1907 to 1911, he taught Art at the Hochalpines Lyceum in Zuoz/Institut Engiadina (today Lyceum Alpinum Zuoz) in Switzerland. He separated from his wife and then lived in Paris from 1911 to 1915, where he was acquainted with Amedeo Modigliani, Hans Arp, Léopold Survage and other artists of the time. At this point his art was influenced by Cubism, but soon grew more abstract.

Portrait of Viking Eggeling, by Amedeo Modigliani, 1916
Portrait of Viking Eggeling, by Amedeo Modigliani, 1916

In the years 1915 through 1917, he lived in Switzerland and while there, he married his second wife Marion, née Klein.

Eggeling with his wife Marion (the two seated far left), at a dinner party at the home of Hans Richter
Eggeling with his wife Marion (the two seated far left), at a dinner party at the home of Hans Richter

It was during this time he was influenced specifically by the first animated, color, abstract film, entitled Rythmes colorés of Survage, and he started making sketches on scrolls, or “picture rolls” as he would call them. In Zurich, 1918, he re-connected with Hans Arp and took part in several Dada activities, befriending Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, and the other Dadaists connected to the now famed Cabaret Voltaire.

Cabaret Voltaire, 2016
Cabaret Voltaire, 2016

In 1919 he also joined the group Das Neue Leben (“New Life”), that was based in Basel and featured Marcel Janco, Hans Arp, Sophie Taeuber, Augusto Giacometti, and others. The group supported an educational approach to modern art, coupled with socialist ideals and Constructivist aesthetics. In its art manifesto, the group declared its ideal of “rebuild[ing] the human community” in preparation for the end of capitalism.

"Extension," lithography - 1919 by Eggeling
“Extension,” lithography – 1919 by Eggeling

That same year Eggeling was co-founder of the similar group Artistes Radicaux (“Radical Artists”), a more political section of the Neue Leben group. During this time, in 1918, Tristan Tzara introduced him to Hans Richter, with whom he would work intimately for a couple of years, and in 1919 the two of them left Switzerland for Germany. Richter later wrote that “The contrast between us, which was that between method and spontaneity, only served to strengthen our mutual attraction…for three years we marched side by side, although we fought on separate fronts.”

Portrait of Viking Eggeling by Hans Richter, 1918
Portrait of Viking Eggeling by Hans Richter, 1918

In Germany his first stop was Berlin, where he met with Raoul Hausmann, Hannah Höch and other radical artists. He here also joined the Novembergruppe (“November Group”), a radical political group that featured many artists connected to Dada, Bauhaus and Constructivism.

novembergruppe-01
After moving to Klein-Kölzig with Richter, he continued his experiments with “picture rolls”. These scrolls were sequences of painted images on long rolls of paper that investigate the transformation of geometrical forms and could be up to 15 meters in length. As they were to be “read” from left to right, this soon evolved into cinematographic experimentation on film stock. In 1920, Eggeling separated from his second wife, and he also began producing his first film, Horizontal-Vertikal-Messe, based on a “picture roll” containing approximately 5000 images.

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In 1921, he ends his collaboration with Richter and postponed his work on Horizontal-Vertikal-Messe. In 1923 he instead collaborates with Erna Niemeyer and works on Diagonal-Symphonie, a synthesis of image, rhythm, movement and music, created from series of black sheets of paper with cut-out geometrical shapes. This film was completed in 1924 and shown for the first time in November the same year. Its first public screening was in Berlin in May 1925, at the film exhibition “Der absolute Film”, arranged by the Novembergruppe.

16 days after the successful showing of the film, Eggeling suddenly became very ill and died. The reported cause of death was septic angina, most likely caused by consuming bread made with grain that had been infested with a type of mold called Fusarium, a high producer of the fatal poison, trichothecene mycotoxin.

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The artist Hans Richter wrote, “Eggeling died at the Steglitz Hospital in Berlin on May 19, 1925. Fritz Schupp, his nephew, his last girl friend the dancer, Inge, and I were at his death bed. At his funeral were present twenty to thirty artists who had known and respected Eggeling during his lifetime and three of his girl friends. I spoke at his grave and, after me, Raoul Hausmann.” Though Richter’s memoir notes that he and Hausmann spoke at Eggeling’s grave somewhere in Berlin, the location of his final resting place is no longer known.

Portrait of Viking Eggeling, by Marcel Janco, 1919
Portrait of Viking Eggeling, by Marcel Janco, 1919

 


Viking Eggeling, October 21, 2016

Digital collage portrait by TMLipp
Created for The Artist Birthday Series:
(click image for full resolution)

eggeling-feat


Edited from:


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Special thanks to: Daily Artfixx, On This Day, WikipediaFind-A-Grave, A&E Bio, The Smithsonian American Art Museum Renwick Gallery, Famous Birthdays, Encyclopedia Brittanica, and all the art history buffs that keep the internet full of wonderful information and images. 


Jean Arp

Jean Arp: multigenre artist

Hi there. We are on vacation from September 5th, until September 19, 2016. But the Artist Birthday Series continues! Albeit, much shorter. :)

Thank you so much for your continued interest in this project. When we return from our magical, mystery excursion...I'm sure there will ever-so-interesting be stories to be told. 

Wishing all the best of everything beautiful, delicious, and good-smelling to you. 

~ TMLipp

143690_original

Jean Arp (or the name he used in German, Hans Arp) (16 September 1886 – 7 June 1966) was a German-French sculptor, painter, poet, and abstract artist in other media such as torn and pasted paper. He was also the husband of the artist, painter, sculptor, textile designer, and dancer, Sophie Tauber-Arp.

Sophie Tauber Arp (left) and Jean Arp
Sophie Tauber Arp (left) and Jean Arp

jean-arp-in-studio1

Arp was a founding member of the Dada movement in Zürich in 1916. In 1920, as Hans Arp, along with Max Ernst and the social activist Alfred Grünwald, he set up the Cologne Dada group. However, in 1925, his work also appeared in the first exhibition of the surrealist group at the Galérie Pierre in Paris.

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This introduction to Jean Arp is edited from the full article here: https://en.wikipedia.org/wiki/Jean_Arp


TML Arts aims for accuracy in content and functionality in posts. Click the button below to let us know about typos, incorrect information, broken links, erroneous attribution, or additional relative information.

See something? Say something.


Special thanks to: Daily Artfixx, On This Day, Wikipedia, Find-A-Grave, A&E Bio, The Smithsonian American Art Museum Renwick Gallery, Famous Birthdays, Encyclopedia Brittanica, and all the art history buffs that keep the internet full of wonderful information and images.