Germaine Richier

Total Page:16

File Type:pdf, Size:1020Kb

Germaine Richier GERMAINE RICHIER Born 1902 Grans, France Died 1959 Montpellier, France Education 1989 École des Beaux Arts, Montpellier Solo Exhibitions 2014 Germaine Richier, Dominique Lévy Gallery in collaboration with Galerie Perrotin, New York 2013 Germaine Richier: Rétrospective, Kunstmuseum Bern, Bern 2007 Germaine Richier, Peggy Guggenheim Collection, Venice 1997 Germaine Richier, Akademie der Kunste, Berlin 1996 Germaine Richier: rétrospective, Fondation Maeght, Saint-Paul 1993 Olivier Debré. 50 tableaux pour un timbre. Découverte d'une autre édition artistique de la Poste: Germaine Richier, timbre Europa 1993, Musée de la Poste, Paris 1988 Germaine Richier, Louisiana Museum of Modern Art, Humlebæk, Copenhagen 1964 Germaine Richier, Musée Réattu, Arles 1963 Hommage a Germaine Richier, Musée Grimaldi-Chateau, Antibes Germaine Richier, Kunsthaus Zürich, Zürich 1959 Germaine Richier, Galerie Creuzevault, Paris Germaine Richier, Musée Grimaldi, Antibes Germaine Richier, Appel et Paolozzi, Martha Jackson Gallery, New York Sculpture by Germaine Richier, University School of Fine and Applied Arts, Boston 1958 Sculpture by Germaine Richier, Walker Art Center, Minneapolis Germaine Richier, Kunsthalle Bern, Bern 1957 Germaine Richier, Martha Jackson Gallery, New York 1956 Germaine Richier, Musée National d'Art Moderne, Paris Germaine Richier, Galerie Berggruen, Paris 1955 Germaine Richier, Hanover Gallery, London Viera da Silva, Germaine Richier, Stedelijk Museum, Amsterdam 1954 Germaine Richier, Allan Frumkin Gallery, Chicago 1951 Die Plastiksammlung Werner Bar, Kunstmuseum, Winterthur 1948 Germaine Richier, Galerie Maeght, Paris 1947 Sculptures of Germaine Richier, engraving studio of Roger Lacourière, Anglo French Art Center, London 1946 Germaine Richier, Galerie Georges Moos, Geneva 1937 Méditerranée, Pavillon Languedoc Méditerranéen, Paris 1934 Solo exhibition, Galerie Max Kaganovitch, Paris Group Exhibitions 2014 Giacometti, Marini, Richier. The tortured figure, Musée Cantonnal des Beaux- Arts, Lausanne 2013 Happy Birthday Galerie Perrotin, Tri Postal, Lille 2006 El fuego bajo las cenzias, Musée Maillol, Paris Big-Bang. Destruction et création dans l'art du XXe siècle, Centre Georges Pompidou, Paris Découvrir, collections du Musée Fabre, Musée Fabre, Montpellier 2004 La creazione ansiosa Da Picasso a Bacon, Palazzo Forti, Verona Paris 1945-1965.Metropole der Kunst Jahrzehnte des Aufburchs Maleri, Plastik, Grafik, Fotografie, Lentos Kunsmuseum, Linz De l'écriture à la peinture, Fondation Maeght, Saint-Paul Da Modigliani al contemporaneo. Scultura dalle collezioni Guggenheim, Foro Boario, Modena 2003 Le Corps transformé, Musée des Beaux-Arts du Canada, Shawinigan 2002 Paris capital of the Arts 1900-1968, Guggenheim Museum, Bilbao Nouvelle présentation des collections du musée national d'art moderne, Centre Georges Pompidou, Paris The Upright Figure, Tate Modern, London Passioni d'arte. Da Picasso a Warhold, Museo d'Arte Moderna, Lugano Contemporaneos de Arpad Szenes e Vieira da Silva na Coleccao Berardo, Fundacao Arpad Szenes - Vieira da Silva, Lisbon 2001 The Return of The Real, Tel Aviv Museum of Art, Tel-Aviv 2000 Cosmos. From Goya to de Chirico, from Friedrich to Kiefer: Artin Pursuit of the Infinite, Palazzo Grassi, Venice Opening, Tate Gallery, London Le Nu au XXe siècle, Fondation Maeght, Saint-Paul The Timeless Eye. Works on paper from the Jan and Marie-Anne Krugier- Poniatowski Collection, Peggy Guggenheim Collection, Venice; also seen in: Kupferstichkabinett, Berlin; Fundacion Thyssen-Bornemisza, Madrid 1999 Menschenbilder. Figur im Zeiten der Abstraktion (1945-1955), Kunsthalle Mannheim, Mannheim L'Ecole de Paris. 1945-1964, Musée d'art Moderne Grand-Duc Jean, Luxembourg Montparnasse. L'Europa degli Artisti 1915-1945, Museo Archeologico Regionale, Aosta Borduelle et ses élèves: Giacometti, Richier et Gutfreund, Musée Bourdelle, Paris; also seen in: Campredon, L'Isle-sur-la-Sorgue; The Czech Museum of Fine Arts, Prague 1998 Auguste Rodin: Les Bourgeois de Calais. Postérité et filiation, Skulpturenmuseum Glaskasten, Marl; also seen in: Musée Royal de Mariémont, Morlanwelz Glancing at the Century, Basil and Elise Foundation of Contemporary Art, Andros New Displays 1998 (Room 12: Opposing Forces: Germaine Richier and Art in Post-War Europe), Tate Gallery, London 1997 La collection du XXe siècle dumusée Fabre. Acquisitions, dons, dêpots, prêts, Musée Fabre, Montpellier De valloton à Dubuffet, Musée Cantonal des Beaux-Arts, Lausanne Made in France, 1947-1997, Centre Georges Pompidou, Paris Exposition d'été. Collections 1950-1995, Musée de Grenoble, Grenoble 1996 Passion privées, Musée d'Art Moderne de la Ville de Paris, Paris La valle della scultura. Da Rodin à Calder, i maestri del nostro secolo, Museo Archeologico Regionale, Aosta 1995 Jean Cassou, 1897-1986, un musée imaginé, Galerie Mansart, Bibliothèque Nationale de France, Paris Europa de postguerra, 1945-1965, Art després del diluvi, Centre Cultural, Sala Catalunya, Sala Sant Jaume, Barcelona Kunst 1945-1965, Europa nach der Flut, Kunstlerhaus Wien, Vienna Europaische Plastik des Informel, Duisburger Lehmbruck Museum, Duisburg 1993 Paris Post War: Art and Existentialism, Tate Gallery, London 1992 De Matisse à aujourd'hui. La sculpture du XXe siècle dans les musées et les Fonds Régionaux d'Art contemporain du Nord. Pas-de-Calais, Musée Matisse, Le Coteau Manifeste, Centre Georges Pompidou, Paris 1991 L'écriture griffée, Musée d'Art Moderne, Saint-Etienne 1990 La France à Venise. Le Pavillon français de 1948 à 1988: 44e Venice Biennale, Peggy Guggenheim Collection, Venice 1989 L'art en France,un siècle d'inventions, Pushkin Museum, Moscow; also seen in: Hermitage Museum, Saint Petersburg 1988 L'art en Europe, les années décisives: 1945-19, Musée d'Art Moderne, Saint- Etienne Les années 50, Centre Georges Pompidou, Paris 1986 Un musée éphémère, Fondation Maeght, Saint-Paul 1985 In the Mind's Eye: Dada and Surrealism, Museum of Contemporary Art, Chicago 1984 Le siècle de Kafka, Centre Georges Pompidou, Paris 1983 Une exposition montréalaise: don de Eleanore et David Morrice, Museum of Fine Arts, Montréal 1982 Aftermath. France 1945-1954: New Images of Man, Barbican Art Gallery, London Paris after the War, New Images of Man, Louisiana Museum of Modern Art, Humlebæk, Danemark 1981 Paris 1937, Paris 1957, Centre Georges Pompidou, Paris 1980 Skulptur im 20. Jahrundert, Wenkenpark, Basel 1977 L'animal de Lascaux à Picasso, Musée National d'Histoire Naturelle, Paris Art du XXe siecle, Palais des Beaux-Arts, Brussels 1976 Arte del XXe secolo. La Collezione Peggy Guggenheim, Galleria Civica d'Arte Moderna, Turin 1975 Art du XXe siecle. Fondation Peggy Guggenheim Venise, Orangerie des Tuilerie, Paris La femme dans l'art, Musees Royaux des Beaux-Arts de Belgique, Brussels Apercu de la sculpture en France, Parc du Château de Beloeil, Beloeil 1974 Jean Paulhan a travers ses peintres, Grand Palais, Paris 1972 Women Artists, The Baltimore Museum of Art, Baltimore 1970 Der Skulpturensaal Werner Bar im Kunsthaus Zürich, Kunsthaus Zürich, Zürich 1969 Works from the Peggy Guggenheim Foundation, Solomon R. Guggenheim Museum, New York 1968 III Biennale internationale de sculpture contemporaine: Forme humaine, Musée Rodin, Paris 1967 Peggy Guggenheim Samlung fran Venedig, Moderna Museet, Stockholm Sculpture 1947-1967, Musée de la Peinture et de la Sculpture, Grenoble Sculpture since 1945, Art Institute of Chicago, Chicago Exposition universelle et internationale de Montreal, French Pavillon, Montreal 1966 Dix ans d'art vivant 1945-1955, Fondation Maeght, Saint-Paul 1965 The Peggy Guggenheim Collection, Tate Gallery, London I Exposition internationale de sculptures panathenees de la sculpture mondiale, Athens 1964 1954-1964: Paintings and Sculpture of a Decade, Tate Gallery, London La part du rêve, Musées Royaux des Beaux-Arts de Belgique, Brussels I Biennale internationale de sculpture of a Decade: Formes humaines, Musée Rodin, Paris XXXII Venice Biennale, Venice 1963 Modern Sculpture from Joseph H. Hirshhorn Collection, Solomon R. Guggenheim Museum, New York VII Biennale voor Beelhoouwkunst, Middelheimpark, Antwerp 1962 Esposizione internationale di scultura contemporanea, Spoleto 1961 Exposition internationale de sculpture contemporaine, Musée Rodin, Paris Stedelijk Museum visits Louisiana, Stedelijk Mudeum, Amsterdam 1960 XVI Salon de mai, Musée d'Art Moderne de la Ville de Paris, Paris Dalla Natura all'Arte, Centro Internationale delle Arti e del Costume, Venice Cent sculpteurs de Daumier a nos jours, Musée d'Art et d'Industrie, Saint- Etienne 1959 ll Documenta'59 Kunst nach 1945 internationale austellung, Kassel Group exhibition, Musée Rodin, Paris Documenta, Kassel New images of Man, Museum of Modern Art, New York Group exhibition, Detroit Institute of Arts, Detroit The Romantic Agony: From Goya to de Kooning, Contemporary Art Museum, Houston Group exhibition, V.Ie Mostra, Turin Group exhibition, Kunstmuseum Bern, Bern Franzosische Plastik des 20. Jahrunderts, Museum am Ostwall, Dortmund 50 Jaar Verkenningen, Stedelijk Museum, Amsterdam III Concorso internazionale del bronzetto, Padua VI Mostra, Turin 1958 Group exhibition, Musée Rodin, Paris Group exhibition, Kunsthaus Zürich, Zürich Group exhibition, Sonsbeek, Arnhem Exposition universelle et internationale, 50 ans d'art moderne, Palais International des Beaux-Arts, Brussels Group exhibition, XXIX Biennale, Venise 1957 Group exhibition, Kunstgewerbe Museum, Zurich Group exhibition, Middelheimpark, Antwerp Group exhibition, Hanover Gallery,
Recommended publications
  • Germaine Richier, Cinq Oeuvres D'exception
    « J’invente plus facilement en regardant la nature, sa présence me rend indépendante. » Germaine RICHIER morand & morand - germaine richier, cinq oeuvres d’exception - 3 novembre 2015 - paris drouot - 9 drouot 2015 - paris - 3 novembre d’exception - germaine richier, cinq oeuvres & morand morand germaine richier Cinq pièces d’exception germaine richier Cinq pièces d’exception Mardi 3 novembre 2015 à 17h - Drouot - salle 9 pré-exposition - salle 7 du 20 au 28 octobre expositions - salle 9 29 octobre – 11h - 21h 30 au 31 octobre – 11h - 18h 2 novembre – 11h - 18h 3 novembre – 11h - 15h conférences par Camille LEVEQUE-CLAUDET Commissaire de l’exposition Giacometti, Marini, Richier. La figure tourmentée, au Musée cantonal des Beaux-Arts de Lausanne. L’ œuvre de Germaine RICHIER - Jeudi 22 octobre - 19h30 - salle 3 Présentation des cinq œuvres de la vente - Samedi 24 octobre - 15h30 - salle 3 téléphone pendant l’exposition et la vente + 33 (0)1 48 00 20 09 expert de la vente Eric SCHOELLER +33 (0)6 11 86 39 64 / [email protected] responsable de la vente Cristina MOURAUT, commissaire-priseur +33 (0)1 40 56 91 96 / [email protected] Frais légaux : 12,66 % TTC TVA récupérable S.C.P. MORAND - 7, rue Ernest Renan 75015 Paris - Tél. 01 40 56 91 96- Fax. 01 47 34 74 85 Email : [email protected] - 10/01/02 - Internet : www.drouot-morand.com © Imagno - Franz Hubmann / LA COLLECTION Germaine Richier « Ma nature ne me permet pas le calme » Des êtres hybrides, mi-humain mi-animal, dont les membres, formes déchiquetées, arrachées à une matière bouillonnante, sont reliés par de fragiles fils métalliques.
    [Show full text]
  • Germaine Richier
    GERMAINE RICHIER February 27 - April 12, 2014 Tuesday - Saturday, 10am - 6pm Mondays by appointment 909 Madison Avenue, New York, NY 10021 +1 212 772 2004 +1 212 812 2902 View of the exhibition Germaine Richier at Dominique Lévy Gallery and Galerie Perrotin, New York, from February 27 to April 12, 2014. GERMAINE RICHIER February 27 – April 12, 2014 Dominique Lévy Gallery / Galerie Perrotin, New York Dominique Lévy and Galerie Perrotin jointly present the first the Kunstmuseum Bern in Switzerland, as well as American exhibition in half a century devoted to the work of “Giacometti, Marini, Richier: The Tortured Figure” at Musée seminal postwar French artist Germaine Richier (1902 – 1959). Cantonal des Beaux-Arts of Lausanne in Switzerland. On view in the landmark building at 909 Madison Avenue Germaine Richier has been organized with the support of where both galleries reside, Germaine Richier presents the artist’s family. The exhibition is accompanied by a fully more than forty important sculptures ranging from early illustrated catalogue, one of the first scholarly studies of the torsos and figures, to startling hybrids of humans crossed artist’s work ever published in the United States. Researched with bats, toads, spiders, and vegetal organisms, that and edited by Jennifer Buonocore and Clara Touboul, with brought the artist international recognition before her un- support from Daphné Valroff, the book features original timely death at the age of 57. The exhibition traces the essays by Sarah Wilson and Anna Swinbourne. It also re- evolution of a defiantly independent vision and the artistic produces a 1953 text by André Pieyre de Mandiargues, trajectory of a woman whose life was imprinted indelibly by never before translated in English, as well as important ar- two World Wars; who began her career in the studio of chival documents from the Germaine Richier Estate.
    [Show full text]
  • Germaine Richier
    78 TATE MODERN LIVES OF THE ARTISTS 79 Along with her contemporary Alberto Giacometti, Germaine Richier, the French artist Germaine Richier created bold Chessboard, Large Version sculpture that reflected the existential angst of (Original Painted Plaster) 1959, plaster and metal post-war Europe and influenced a generation of young British sculptors Natalie Ferris on Germaine Richier In 1957, discussing her own work, the sculptor and etcher Germaine Richier (1902–1959) reflected upon an artistic practice that had long negotiated the savagery of conflict and the fragility of the human spirit: ‘Our age, when you consider it, is full of talons. People bristle, as they do after long wars. It seems to me that in violent works there is just as much sensibility as in poetic ones. There can be just as much wisdom in violence as in gentleness.’ Perforated, shorn of musculature, or buckling under the strain of their own distended bodies, her bronzes emerged from the furnace of a beleaguered post-war France. Along with her contemporary, the sculptor Alberto Giacometti, with whom she was frequently compared, Richier explored the new image of humanity in an era freighted with continued privation and existentialist angst. And yet the apparent violence committed to these bodies, from the corrosion of their surfaces to the distortion of their limbs, is also a matter of alchemy. In curious, 80 TATE MODERN LIVES OF THE ARTISTS 81 mystical compounds reminiscent of surrealist artists The fact that she is not as well known today Max Ernst or Wifredo Lam, her figures adopt strange as Giacometti may be because of her gender.
    [Show full text]
  • The New Decade : 22 European Painters and Sculptors Edited by Andrew Carnduff Ritchie, with Statements by the Artists
    The New decade : 22 European painters and sculptors Edited by Andrew Carnduff Ritchie, with statements by the artists Date 1955 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2878 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The New Decade LIBRARY Museumof ModernArt ARCHIVE M/IJ6CLEB. MEMBERSHIdepartP ment DO NOT REMOVE The New Decade Bazaine Dubuffet Hajdu Manessier Pignon Richie) Soulages Uhltnann Wcyucy WintcY AYYYiita^c Bacon ButleY Chadwick Scott Afro Buyyi CapogYossi Minguzzi Muko Appcl Vu.ua da Silva The New Decade 22 European Painters and Sculptors edited by Andrew Carndujj Ritchie with statements by the artists The Museum of Modern Art New York in collaboration with The Minneapolis Institute of Arts Los Angeles County Museum San Francisco Museum of Art Copyright 1955. The Museum of Modern Art, New York Printed in the United States of America Acknowledgments On behalf of the Trustees of the Museum of Modern Art, New York, The Minneapolis Institute of Arts, the Los Angeles County Museum and the San Francisco Museum of Art, I wish to convey my deepest gratitude to: the artists in the exhibition, for their statements and their cooperation; the collectors, museums and dealers whose generosity in lending has made the exhibition possible and whose names appear on page 107; Mrs. Lilian Somerville and the staff of the British Council for extraordinary help in select ing and securing British loans and artists' statements; Francis J.
    [Show full text]
  • GERMAINE RICHIER by Alex Turgeon 18/04 – 31/05/2018
    GERMAINE RICHIER By Alex Turgeon 18/04 – 31/05/2018 The sculptural work of artist Germaine Richier operates at the intersection between an exertion of degradation and a perpetual state of chrysalis. Rendered in illusory realms while maintaining a self- reflexive approach to making, Richier’s sculptures describe the transition from materials into form. The Fourteen bronzes on display at Vedovi Gallery exemplify Richier’s innovative pursuits that have spanned her artistic career. These works articulate the artist’s fascination with figuration in which the definitions between external and internal subject become obscured. Having preferred a classical approach to sculpture by working predominantly from live models in her studio, Richier locates an interior narrative within her subject and wrenches it into being through her deconstruction of the figure. The artist incorporates natural processes of decay with that of human existentialism, a theme that dominated artistic discourse during the years following the Second World War. Exemplified in the macabre chess pieces of the pivotal L'Echiquier petit (1953), her work describes moments of metamorphosis and decomposition from human into animal or vice versa as a means of illustrating the dehumanizing effects of war itself. In such works she transfigures her subjects into unearthly creatures by excavating a reflection on humanity in the wake of its own brutality, stating “we decidedly cannot conceal human expression in the drama of our time.” 1 In her seminal work, Le cheval à six têtes, grand (1954-1956), on view in both large and small scale bronzes, Richier succeeds in collapsing time into a single permanent moment.
    [Show full text]
  • The Art Criticism of David Sylvester James Finch Word Count
    The Art Criticism of David Sylvester James Finch Word Count: 99,908 A Thesis Submitted in Partial Fulfilment of the Requirements of the University of Kent for the Degree of Doctor of Philosophy Department of the History and Philosophy of Art, the University of Kent, Canterbury September 2016 2 © Copyright James Finch, 2016. All rights reserved. 3 Abstract The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d’Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester’s criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester’s entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention.
    [Show full text]
  • Germaine Richier – Sculptrice
    Germaine Richier – Sculptrice 1902-1959 La carrière de Germaine Richier a été brève. Ses premières sculptures datent de 1933-34, les dernières de 1959, année de sa mort. Germaine Richier a très tôt mis en place une œuvre personnelle et singulière, remarquée par ses aînés et par les critiques. L’humain est au cœur de sa recherche artistique même lorsqu’elle fait mine de s’en éloigner. Son nom n’est pas familier au grand public comme l’est celui de Camille Claudel ; aussi faut-il rendre hommage à Valérie Da Costa1 dont l’ouvrage intitulé Germaine Richier, un art entre deux mondes permet au lecteur de circuler avec quelques clés d’interprétation au milieu des principales œuvres de Germaine Richier. Mon exposé emprunte beaucoup à ce livre. Bien accueillie sur la scène internationale, la sculpture (diapo 2) de Germaine Richier peut être vue à Londres (Tate Modern), à Zurich ( Kunsthaus), aux musées royaux de Bruxelles, à Venise ! Elle a également été présentée au Musée d’Art Moderne de New York en 1955. En France, l’hommage à l’univers singulier de Germaine Richer s’est exprimé par l’exposition rétrospective du Musée national d’art moderne en 1956, de son vivant ce qui est exceptionnel. Ni Matisse, ni Giacometti n’auront eu le même honneur. Aujourd’hui, on peut la découvrir à Montpellier (Musée Fabre), à Rennes (Musée des Beaux-arts), à Arles (Musée Réattu) à Saint-Etienne (Musée d’Art moderne) à Grenoble, à Antibes (musée Picasso) et à Paris (Centre Georges Pompidou et jardin des Tuileries). La liste des sites d’exposition n’est pas exhaustive.
    [Show full text]
  • Elisabeth Frink Transformation Education Guide Education 19 January – 19 January 7 May 2017
    Elisabeth Frink Transformation Education Guide 19 January – 7 May 2017 7 May 19 January – 1 (front cover) Goggle Head I 1969 Bronze (opposite) Oudolf Field, Hauser & Wirth Somerset 2016 This resource has been produced to accompany the exhibition, ‘Elisabeth Frink, Transformation’ at Hauser & Wirth Somerset. Hauser & Wirth Somerset is a pioneering world-class gallery and multi-purpose arts centre, which provides a destination for experiencing art, architecture and the remarkable Somerset landscape through new and innovative exhibitions of contemporary art. A landscaped garden, designed for the gallery by internationally renowned landscape architect Piet Oudolf and the Radić Pavilion (the Serpentine Gallery 2014 Pavilion), designed by Chilean architect Smiljan Radić, both sit behind the galleries. This publication is designed for teachers and students, to be used alongside their visit to the exhibition. It provides an introduction to the artist Elisabeth Frink, identifies the key themes of her work, methods of practise and makes reference to some of the contexts in which her practice can be understood. It offers activities that can be carried out during a visit to the gallery and topics for discussion and additional research. The exhibition ‘Transformation’ focuses on a selection of Frink’s distinctive bronzes produced in the 1950s and 1960s as well as works from the 1980s, alongside a series of drawings that highlight the artist’s skill as a draughtsman. The works are displayed in the Rhoades and Bourgeois Galleries. Outside in the Cloisters Courtyard are some of Frink’s most important sculptures from her later life, including the celebrated Riace figures. 2 Elisabeth Frink with ABOUT ELISABETH FRINK Birdman c.1960 Elisabeth Frink was born in 1930 in Thurlow, from America towards assemblage, or pop art.
    [Show full text]
  • Complete ICA Exhibitions List 1948
    1 Date Title Artists / Description 1948 40 Years of Modern Art 1907-1947: Jankel Adler, Jean Arp, Francis Bacon, Balthus, John Banting, 10 Feb – 6 Mar a Selection from British Eugene Berman, Pierre Bonnard, Constantin Brancusi, Georges Collections Braque, Edward Burra, Alexander Calder, Marc Chagall, Georgio de Chirico, Robert Colquhoun, John Craxton, Salvador Dali, Paul Held at the Academy Hall, Oxford Delvaux, André Derain, Charles Despiau, Frank Dobson, Raoul St Dudy, Jacob Epstein, Max Ernst, Lyonel Feininger, Lucian Freud, Naum Gabo, Henri Gaudier-Brzeska, Alberto Giacometti, Duncan Grant, Juan Gris, Barbara Hepworth, Ivon Hitchens, Frances Hodgkins, Edgar Hubert, Augustus John, Wassily Kandinsky, Paul Klee, Oscar Kokoschka, John Lake, Wifredo Lam, Louis Le Brocquy, Fernand Leger, Wilhelm Lembruck, Wyndham Lewis, Jean Lurçat, Rene Magritte, Aristide Maillol, Franz Marc, Louis Marcoussis, André Masson, Henri Matisse, Robert MacBride, F E McWilliam, Joan Miro, Amadeo Modigliani, Piet Mondrian, Henry Moore, Paul Nash, Ben Nicholson, Eduardo Paolozzi, Victor Pasmore, Pablo Picasso, John Piper, Man Ray, Ceri Richards, William Roberts, Peter Rose Pulham, Georges Rouault, William Scott, Walter Sickert, Matthew Smith, Stanley Spencer, Graham Sutherland, Chiam Soutine, Tves Tanguy, Pavel Tchelitchev, John Tunnard, Maurice Utrillo, Edouard Vuillard, Edward Wadsworth, Christopher Wood, Jack Yeats, Ossip Zadkine 1948/1949 40,000 Years of Modern Art: a List of artists only includes the artists from the ‘Art of Our 20 Dec - 29 Jan Comparison of
    [Show full text]
  • Germaine Richier. Retrospective
    Germaine Richier. Retrospective November 29 2013 to April 6 2014 Germaine Richier (1902 – 1959) once said about her art that hu- manity alone counted. No exhibition showing the developments of sculpture in the 20th century dares to overlook her work. Despite this, Germaine Richier is an exception to the rule as an artist. Her entire body of work is focused on humankind and ways of present- ing it appropriately. Richier explored the tradition of figurative sculpture in Paris as a pri- vate student of Antoine Bourdelle. From the 1940s onwards she pur- sued a highly independent and outstandingly manifold artistic path, spending periodic sojourns in Switzerland. It is therefore not easy to find a neat label to sum up her work. Like Alberto Giacometti with whom she studied together in Bour- delle’s studio, Richier is viewed by some as a representative of ex- Room 1: Germaine Richier and the Figural Tradition istentialism. The wires constituting the structural framework of her Raum 2: Germaine Richier and the Divine in Humanity cracked and fissured figures, which reduce man to his existence Room 3: Germaine Richier and Existentialism alone, support such an interpretation. Richier, for her part, felt a Room 4: Germaine Richier and Surrealism close affinity to surrealism. Her Nachtmenschen (Nocturnal People), Room 5: Germaine Richier and Nature Gottesanbeterinnen (Praying Mantes) and uncanny hybrid creatures Room 6: Germaine Richier, Color and Technique of women and amphora seem born of the very unconscious that the Room 7: Germaine Richier and the Game of Life surrealists were in pursuit of. Germaine Richier is renowned especially for her insect women, hybrid Room 1: Germaine Richier and the Figural Tradition figures of ants, grasshoppers and spiders with human extremities, From 1920 to 1926 Germaine Richier studied in Montpellier under faces and breasts.
    [Show full text]
  • Artforum.Com / Critics' Picks
    Germaine Richier DOMINIQUE LEVY 909 Madison Avenue February 27–April 12 Though in her heyday she was more prominent than fellow bronze sculptor Alberto Giacometti, Germaine Richier has not had an exhibition in New York since 1957. This two-gallery retrospective rectifies that lapse in decisive fashion, reestablishing Richier (1902–1959) as one of the most pivotal figures in avant-garde European sculpture in the decade following World War II. The forty-six works here, from early nudes to strange late polychrome experiments, foreshadow a whole postwar generation:: the Nouveau Réalisme of Niki de Saint Phalle, the melancholy humanoids of Lynn Chadwick and Hans Josephsohn, and the body-centered work of Alina Szapocznikow. Yet even as Richier’s sculptures scream their influence, they also stand utterly autonomous, with a force and gravity that belie their age. Richier, classically trained when such education was not easy for women, left wartime France for Switzerland in 1939. She began creating patinated bronze figures of humans and insects—ants, grasshoppers, cicadas—whose rough surfaces bear scars and indentations, and whose bodies often have bloated stomachs or stand tangled in linear webs. Often read as an index of wartime trauma, the brutalized, pockmarked surfaces also destroy expectations of female delicacy and beauty. They testify to a European civilization at its frailest, and evoke not only the existential impressions of Jean-Paul Sartre (a Giacometti advocate) but also a more general Christian “man of sorrows,” whose scars bespeak an unbridgeable division between body and soul. Germaine Richier, Le Berger des Landes Shepherd of the Land, 1951, dark patinated Richier’s art is less elegant and far more disquieting than bronze, 58 5/8 x 35 x 23 5/8".
    [Show full text]
  • Post-War & Contemporary
    Thursday 29 June 2017 POST-WAR & CONTEMPORARY ART & CONTEMPORARY POST-WAR POST-WAR & CONTEMPORARY ART Ӏ New Bond Street, London Ӏ Thursday 29 June 2017 Detial lot 30 Detail lot 5 Detail lot 15 Detial lot 7 Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Miranda Leslie, Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Detail lot 21 Edward Wilkinson, Leslie Wright. POST-WAR & CONTEMPORARY ART Thursday 29 June 2017, at 4pm 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES New Bond Street, London +44 (0) 20 7447 7447 Ralph Taylor Monday to Friday 08.30am to 6pm Sunday 25 June 2pm - 5pm +44 (0) 20 7447 7401 fax
    [Show full text]