Tag Archives: Surrealism

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.
la vittoria 2
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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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. 


Mark Demsteader

Mark Demsteader, painter

Mark Demsteader (born 1963) is a British figurative artist. According to The Daily Telegraph, he is “one of Britain’s best-selling figurative painters,” and according to a great many people, he creates some of the most beautiful artwork by any artist alive today. (I, for one, completely agree…I find his work to be truly enchanting, both visually and viscerally.)

Born in Manchester, his formative years were spent in Manchester’s meat market where he would accompany his father (Harold Demsteader) to the family butchery and meat-packing business. Completely absorbed in the noise, smells, and sheer physicality of this environment, the young Mark learnt more about the structure of sinew, bone, and flesh—albeit livestock—than in any subsequent life drawing class.

Mark Demsteader, at work
Mark Demsteader, at work

As a teenager passionate about pursuing an artistic career, Mark completed two foundation courses: first and at Oldham and then Rochdale Colleges of Art. However, in the 1980s conceptual art dominated the mainstream market and there were little opportunities for a young figurative painter in Manchester. Forced to return to work at his father’s wholesale butchery, Mark continued to attend life classes throughout the next decade.

“Chloe Standing”
“Hannah Seated”

In the early 1990s the family business fell victim to the recession and Mark was spurred on to find a commercial outlet for his work. To allow himself time to build a portfolio, he took a job as an art technician at an Oldham grammar school for another ten years. A short course at the Slade School of Fine Art gave him an opportunity to tour the London galleries with his portfolio, but with Brit Art in the ascendency he found drawing out of favour. Eventually, a gallery in Blackheath offered him space in a mixed show where he sold six works. Mark gave notice at the grammar school soon after.

“The Crossing”

In 1997 he became a member of the Neomodern Art Group founded by Guy Denning. He has held an annual solo exhibition with Panter & Hall in the West End of London since 2004. He is now represented in Daikanyama, Japan by Art Obsession.

“Swathe” – image from Panter and Hall Gallery

Notably, he produced a surreal portrait of musician Anomie Belle for her album Flux, and 34 paintings of Harry Potter actress Emma Watson.

Anomie Belle
Emma Watson
Emma Watson
Mark Demsteader and Emma Watson

 


 Interviews:



For more information:

The artist’s website: markdemsteader.com
Twitter: @markdemsteader
Facebook: Mark Demsteader
Instagram: markdemsteader
Email: mark@demsteader.com


Text edited from:

https://en.wikipedia.org/wiki/Mark_Demsteader


Mark Demsteader

Digital collage portrait by Terri Maxfield Lipp
Created for The Artist Birthday Series
17 April, 2017
(click image for full resolution)


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Max Klinger

Max Klinger:  painter, sculptor

Max Klinger (18 February 1857 – 5 July 1920) was a German symbolist painter, sculptor, printmaker, and writer.


Klinger was born in Leipzig and studied in the beautiful and inspirational city of Karlsruhe, Germany. An admirer of the etchings of Menzel and Goya, he shortly became a skilled and imaginative engraver in his own right. He began creating sculptures in the early 1880s. From 1883–1893 he lived in Rome, and became increasingly influenced by the Italian Renaissance and antiquity.

"The Judgement of Paris," 1886-87
“The Judgement of Paris,” 1886-87

His best known work is a series of ten etchings entitled Paraphrase on the Finding of a Glove (printed 1881). These pictures were based on images which came to Klinger in dreams after finding a glove at an ice-skating rink. In the leitmotivic device of a glove—belonging to a woman whose face we never see—Klinger anticipated the research of Freud and Krafft-Ebing on fetish objects. (see slideshow below for all ten plates)


In this case, the glove becomes a symbol for the artist’s romantic yearnings, finding itself, in each plate, in different dramatic situations, and performing the role that we might expect the figure of the beloved herself to fulfill. Semioticians have also seen in the symbol of the glove an example of a sliding signifier, or signifier without signified—in this case, the identity of the woman which Klinger is careful to conceal. The plates suggest various psychological states or existential crises faced by the artist protagonist (who bears a striking resemblance to the young Klinger).

"Bust of Elsa Asenijeff," c. 1900
“Bust of Elsa Asenijeff,” c. 1900
Klinger’s model, Elsa Asenijeff, c. 1897

Klinger traveled extensively around the art centers of Europe for years before returning to Leipzig in 1893. From 1897 he mostly concentrated on sculpture; his marble statue of Beethoven was an integral part of the Vienna Secession exhibit of 1902.

“Statue of Beethoven,” 1902

Klinger was cited by many artists (notably Giorgio de Chirico) as being a major link between the symbolist movement of the 19th century and the start of the metaphysical and Surrealist movements of the 20th century. Asteroid 22369 Klinger is named in his honor.

Elsa Asenijeff, 1896
“The Great Goddess,” 1916
“Adam, Opus III”
“Amor, Tod, und Jenseits (Love, Death, and Beyond)”

In Elsa Bernstein’s naturalist play Dämmerung, Klinger is mentioned in the third act when Carl talks of being able to afford “etchings by Klinger” for 80 francs.
Inspection Medical Hermeneutics, an infamous Moscow art collective, based their 1991 installation Klinger’s Boxes, on an idea inspired by Klinger’s Paraphrase on the Finding of a Glove.

From “Klinger’s Boxes,” this is “Cold Reduction” 1991

Edited from:


Max Klinger

 


Digital collage portrait by TMLipp
Created for The Artist Birthday Series,
February 18, 2017

(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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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. 


Gerhard Richter

Gerhard Richter

Gerhard Richter (born 9 February 1932) is a German visual artist. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. His art follows the examples of Picasso and Jean Arp in undermining the concept of the artist’s obligation to maintain a single cohesive style.
In October 2012, Richter’s Abstraktes Bild set an auction record price for a painting by a living artist at $34 million (£21 million). This was exceeded in May 2013 when his 1968 piece Domplatz, Mailand (Cathedral square, Milan) was sold for $37.1 million (£24.4 million) in New York. This was further exceeded in February 2015 when his painting Abstraktes Bild sold for $44.52 million (£30.4 million) in London at Sotheby’s Contemporary Evening Sale.


Richter was born in Hospital Dresden-Neustadt in Dresden, Saxony, and grew up in Reichenau, Lower Silesia (now Bogatynia, Poland), and in Waltersdorf (Zittauer Gebirge), in the Upper Lusatian countryside, where his father worked as a village teacher. Gerhard’s father, Horst Richter, was a mathematics and physics student at the Technische Hochschule in Dresden, when he married Hildegard Schönfelder in 1931, and Gerhard was born the following year.

Gerhard Richter, c. 1966
Gerhard Richter, c. 1966

After struggling to maintain a position in the new Nationalist Socialist education system, Horst found a position in Reichenau. In Reichenau, Gerhard’s younger sister, Gisela was born in November 1936. Horst and Hildegard were able to remain primarily apolitical due to Reichenau’s location in the countryside. Horst, being a teacher, was eventually forced to join the National Socialist Party. He never became an avid supporter of Nazism, and was not required to attend party rallies. In 1942, Gerhard was conscripted into the Deutsches Jungvolk, but by the end of the war he was still too young to be an official member of the Hitler Youth. In 1943 Hildegard moved the family to Waltersdorf, and was later forced to sell her piano which had great importance to her as her father had been a well known pianist.

"S. mit kind (S. with child)," 1995
“S. mit kind (S. with child),” 1995

Gerhard left school after 10th grade and apprenticed as an advertising and stage-set painter, before studying at the Dresden Academy of Fine Arts. In 1948, he finished higher professional school in Zittau, and, between 1949 and 1951, successively worked as an apprentice with a sign painter and as a painter. In 1950, his application for study at the Dresden Academy of Fine Arts was rejected as “too bourgeois”. He finally began his studies at the Dresden Academy of Fine Arts in 1951. His teachers were Karl von Appen, Heinz Lohmar (de) and Will Grohmann.

Richter married Marianne Eufinger in 1957; she gave birth to his first daughter. He married his second wife, the sculptor Isa Genzken, in 1982. Richter had a son and daughter with his third wife, Sabine Moritz after they were married in 1995.


In the early days of his career, he prepared a wall painting (Communion with Picasso, 1955) for the refectory of his Academy of Arts as part of his B.A. Another mural entitled Lebensfreude (Joy of Life) followed at the German Hygiene Museum for his diploma. It was intended to produce an effect “similar to that of wallpaper or tapestry”.

"Lebensfreude (Joy of Life)," 1956
“Lebensfreude (Joy of Life),” 1956

Both paintings were painted over for ideological reasons after Richter escaped from East to West Germany two months before the building of the Berlin Wall in 1961. After German reunification two “windows” of the wall painting Joy of Life (1956) were uncovered in the stairway of the German Hygiene Museum, but these were later covered over when it was decided to restore the Museum to its original 1930 state. From 1957 to 1961 Richter worked as a master trainee in the academy and took commissions for the then state of East Germany. During this time, he worked intensively on murals like Arbeiterkampf (Workers’ struggle), on oil paintings (e.g. portraits of the East German actress Angelica Domröse and of Richter’s first wife Ema), on various self-portraits and on a panorama of Dresden with the neutral name Stadtbild (Cityscape), 1956.

“Stadtbild (Cityscape),” 1956

When he escaped to West Germany, Richter began to study at the Kunstakademie Düsseldorf under Karl Otto Götz together with Sigmar Polke, HA Schult, Kuno Gonschior, Hans Erhard Walther, Konrad Lueg and Gotthard Graubner. With Polke and Konrad Fischer (de) (pseudonym Lueg) he introduced the term Kapitalistischer Realismus (Capitalistic Realism) as an anti-style of art, appropriating the pictorial shorthand of advertising. This title also referred to the realist style of art known as Socialist Realism, then the official art doctrine of the Soviet Union, but it also commented upon the consumer-driven art doctrine of western capitalism.

Richter with colleagues Sigmar Polke, Konrad Fischer (then Lueg) and Manfred Kuttner

 

“Party,” 1963

Richter taught at the Hochschule für bildende Künste Hamburg and the Nova Scotia College of Art and Design as a visiting professor; he returned to the Kunstakademie Düsseldorf in 1971, where he was a professor for over 15 years. In 1983, Richter resettled from Düsseldorf to Cologne, where he still lives and works today. In 1996, he moved into a studio designed by architect Thiess Marwede.

Window at Cologne Cathedral, by Gerhard Richter
Window at Cologne Cathedral, by Gerhard Richter
Window at Cologne Cathedral, by Gerhard Richter

Nearly all of Richter’s work demonstrates both illusionistic space that seems natural and the physical activity and material of painting—as mutual interferences. For Richter, reality is the combination of new attempts to understand—to represent; in his case, to paint—the world surrounding us. Richter’s opinions and perspectives on his own art, and that of the larger art market and various artistic movements, are compiled in a chronological record of “Writings” and interviews. The following quotes are excerpts from the compilation:

  • “I am a Surrealist.”
  • “My sole concern is the object. Otherwise I would not take so much trouble over my choice of subjects; otherwise I would not paint at all.”
  • “My concern is never art, but always what art can be used for.”


Edited from:

https://en.wikipedia.org/wiki/Gerhard_Richter


Digital collage portrait by TMLipp
Created for The Artist Birthday Series:
February 9, 2017

Gerhard Richter

(click image for full resolution)

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,
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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.