Hans Hartung 1904 Born in Leipzig, Germany 1989 Died in Antibtes, France

Total Page:16

File Type:pdf, Size:1020Kb

Hans Hartung 1904 Born in Leipzig, Germany 1989 Died in Antibtes, France Hans Hartung 1904 Born in Leipzig, Germany 1989 Died in Antibtes, France 1924 Studied in the University of Leipzig on Philosophy and Art History 1930 Studied in Fine Arts Academy of Dresden Solo Exhibitions 2017-2018 Hans Hartung (1904-1989) Abstraction: A Human Language, de Sarthe Gallery, Hong Kong Hans Hartung - Polittici, Galleria Nazionale dell’Umbria, Perugia, Italy Hartung et les peintres lyriques, Fondation Leclerc, Landerneau, France 2016 Beau Geste: Hans Hartung, Painter and Legionnaire, Museum of the Foreign Legion and Art Center Les Pénitents Noirs, Aubagne, France Hans Hartung and Photography, Museum of contemporary art, Siegen, Germany Hans Hartung N° 2, Setareh Gallery, Düsseldorf, catalog by Setareh Gallery, Germany 2014 Hans Hartung: L’Atelier du Geste, Centro Cultural Banco do Brasil, Sao Paulo, Brazil Art Informel in Paris, Lee Ungno Museum, Daejon, South Korea 2013 Hans Hartung, l ’ Opera Grafica, Istituto Nazionale per la Graca, Rome, Italy 2012 Hans Hartung Paintings 1960’s -1970’s, de Sarthe Gallery, Hong Kong 2011 Les Sujets de l’Abstraction : Simon Hantaï, Gérard Schneider, Georges Mathieu, Pierre Soulages, Hans Hartung..., Musée Rath, Geneva, Switzerland The Art of Writing: Cy Twombly, André Masson, Georges Mathieu, Hans Hartung..., Artforum - Wiesbaden, Wiesbaden, Germany Hans Hartung, The Final Years 1980-1989, Timothy Taylor Gallery, London, England 2010-2011 Hans Hartung, Prints, Staatliche Museen zu Berlin, Berlin, Germany; Bibliothèque Nationale de France, Musée d'Art et d'Histoire de Genève, France 2010 Hans Hartung : The Last Paintings 1989, Cheim & Read, New York, USA 2009 Hans Hartung: The Last Work, Caserma Cosenz, Gaeta, Italy 2008 Hans Hartung: esencial, Círculo de Bellas Artes, Madrid, Spain Hans Hartung: Gesture and Method, Fondation Marguerite et Aimé Maeght, Saint- Paul-de-Vence, France 2007-2008 Hans Hartung: Spontaneous Calculation. Paintings, Photographs, Film 1922-1989, Museum der Bildenden Künste, Leipzig, Germany; Kunsthalle zu Kiel, Kiel, Germany 2005 Hartung in China, National Art Museum of China, Beijing, China; National Museum, Nanjing, China 2004 Hans Hartung: So beschwor ich den Blitz [So I Pleaded with the Lightning]. Works on Paper, 1922-1938; Large Format Paintings, 1980-1989. Small Format Works, 1922-1989, Museum Ludwig, Cologne, Germany Hans Hartung, Musée d'Art et d'Histoire, Belfort, France; tour 46, Musée du Château des Ducs de Wurtemberg, Montbéliard, France 2000 Hans Hartung, Galleria d'Arte Moderna, Turin, Italy 1998 Hans Hartung, Aichi Prefectural Museum of Art, Nagoya, Japan 1996 Hartung, Modern Painter, Le Capitou - Centre d'Art Contemporain, Fréjus, France 1992-1993 Hans Hartung: Extreme Works, 1922-1989, Musée de Montbéliard, France; Villa Franck, Ludwigsburg, Germany 1988 Hartung: Paintings 1988, Galerie Sapone, Nice, France Hans Hartung: Recent Works, 1986-1988, Musée des Beaux-Arts, Carcassonne, France 1987 Hans Hartung, Galleria Civica d'Arte Moderna, Ferrara, Italy 1984 Hans Hartung: Early Paintings, 1922-1949, Musée Picasso, Antibes, France Hans Hartung: 1971-1983, Noroit, Arras, France Hans Hartung: 80th Birthday Tribute: Paintings and Lithographs, 1964- 1984, Galerie Wolfgang Ketterer, Munich, Germany Hans Hartung: Graphic Works [46 acquisitions], Kupferstich- Kabinett der Staatlichen Kunstsammlungen, Dresden, Germany 1983 Hans Hartung: Paintings 1980-1983, Galerie Sapone, Nice, France 1981-1982 Hans Hartung: Paintings, Drawings, Photography, Städtische Kunsthalle, Düsseldorf, Germany; Staatsgalerie Moderner Kunst, Munich, Germany 1980 Hans Hartung: A Vision into Abstraction (1923-1964)—A 75th Birthday Tribute, Fischer Fine Art Limited, London, UK; Peis-Leusden, Berlin, Germany 1979 Hartung: Works from 1922-1939, Musée d’Art Moderne de la Ville de Paris, Paris, France Hans Hartung : The Photographs of Hans Hartung, Musée Nicéphore Niépce, Chalon-sur-Saôn, France 1978 Hans Hartung: Works on Paper. Retrospective (1922-1978), Musée de l'Abbaye Sainte-Croix, Les Sables-d'Olonne, France 1977 Hans Hartung, Fondation Veranneman, Kruishoutem, Emka, Belgium Hans Hartung ; Paintings and Works on Paper 1976-1977, Galerie de France, Paris, France Hans Hartung: Paintings and Graphic Works, Fritz-Winter-Haus, Ahlen, Germany 1975-1976 Hartung, Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France Hans Hartung: Paintings, Metropolitan Museum of Art, New York, USA 1974-1975 Hans Hartung: Works from Five Decades, a traveling retrospective exhibition: Wallraf- Richartz Museum, Cologne, Germany; National galerie, Berlin, Germany; Stiftung Preussischer Kulturbesitz, Berlin, Germany; Städtische Galerie im Lenbachhaus, Munich, Germany 1974 Hans Hartung: 1971-1974, Galerie de France, Paris, France The Graphic Works of Hans Hartung, Städtische Galerie im Haus Seel, Siegen, Germany Hans Hartung: 1971-1974, Galerie de France, Paris, France Hans Hartung: Graphic Works from Erker-Presse 1973, Erker Galerie, St. Gallen, Germany 1971 Hans Hartung : 1971, Galerie de France, Paris, France Hartung: Large Format Works 1961-1971, Fondation Maeght, Saint-Paul- de-Vence, France 1969 Hans Hartung, Museum of Fine Arts Houston, Houston, USA; Musée du Québec, Quebec City, Canada; Musée d'Art Contemporain, Montreal, Canada 1968 Hans Hartung: A Retrospective Exhibition of Paintings and Drawings, City of Birmingham Museum and Art Gallery, Birmingham, UK 1967 Hartung, Galleria d'Arte Narciso, Turin, Italy 1966 Hans Hartung,Galleria Civica d'Arte Moderna, Turin, Italy 1965 Hans Hartung: Small Graphic Works, Galerie Günther Franke, Munich, Germany 1963-1964 Hartung, Stedelijk Museum, Amsterdam, Netherlands 1963 Hans Hartung, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany Hans Hartung, Kunsthaus Zürich, Zürich, Switzerland Hans Hartung, Erker-Galerie, Gallusplatz, St. Gallen, Switzerland 1962 XXXI Biennale, Biennale di Venezia, Venice, Italy Fifty New Works by Hans Hartung, Galerie de France, Paris, France 1961 Works by Hans Hartung 1920 to 1939, Galerie de France, Paris, France 1960 Hans Hartung, Gimpel Fils, London, UK Hans Hartung, Galerie de France, Paris, France 1959 Hans Hartung : Pastels, Kleemann Galleries, New York, USA 1958 Hans Hartung : 35 Pastel and Pencil Drawings, Moderne Galerie Otto Stangl, Munich, Germany Hans Hartung : City of Siegen Rubens Award exhibition, City Hall, Siegen, Germany 1957 Hans Hartung, Kestnergesellschaft, Hanover, Germany; Württembergische Staatsgalerie, Stuttgart, Germany; Haus am Waldsee, Berlin, Germany; Kunsthalle, Hamburg, Germany; Kölnischer Kunstverein, Cologne, Germany; Germanisches Nationalmuseum, Nuremberg, Germany Hans Hartung : Paintings, Kleemann Galleries, New York, USA 1954 Hartung, Palais des Beaux-Arts, Brussels, Belgium 1953 Paintings by Hans Hartung, Lefevre Gallery, London, UK 1951 Hans Hartung, Fritz Winter, Das Amerika-Haus, Erlangen, Germany 1949 Hans Hartung: Abstractions, Hanover Gallery, London, UK 1947 First one-man show, Galerie Lydia Conti, Paris, France Group Exhibitions 2013 The Roots of Signs: Graphic Works, Roma Istituto nazionale per la grafica, Rome, Italy Abstract Paintings, de Sarthe Gallery, Hong Kong 2011 Boeing 70, Villa Giulia, Verbania, Italy 2009-2010 Deadline: Martin Kippenberger, Absalon, Hans Hartung, James Lee Byars, Félix González-Torres, Joan Mitchell, Robert Mapplethorpe, Chen Zhen, Gilles Aillaud, Willem de Kooning, Hannah Villiger, Jörg lmmendorff, Musée d'Art Moderne de la Ville de Paris, Paris, France 1981 Hartung, Bergman, Bret, Clavé, Farhi, Guitet, Helion, Kijno, Laude, Lipszyc, Pignon, Prassinos, Soulages, Zao Wou-Ki, Cloître Saint-Louis, Aix-en- Provence, France 1980-1981 Hans Hartung, Anna-Eva Bergman: Tapestries and Woodcuts, Musée de la Poste, Paris, France 1969 Hartung, Tàpies, Johns, Hozo: 8th International Biennal of Graphic Art Ljubljana, National Gallery, Prague, Czech Republic 1958 Léger - Matisse - Picasso - Miró - Laurens- Magnelli - Arp - Hartung - Jacobsen, Musée de l'Art Wallon, Wallon Museum of Art, Liège, Belgium 1956 Participates in the exhibition Abstract Painters along with Bazaine, Bertholle, Bissière, Eble, Estève, Jan, Lanskoy, Louttre, Manessier, Le Moal, Nallar, Palazuelo, Vieira da Silva, Singier, Spiller, de Staël, Ubac, , Galerie Beyeler, Basel, Swtizerland 1938 Participates in Exhibition of Twentieth-Century German Art, New Burlington Galleries, London, UK 1937 Participates in the exhibition Origins and Development of International Independent Art, Musée du Jeu de Paume, Paris, France From Cézanne to Non-Figurative Art organized by Christian Zervos, Jeu de Paume, Paris, France 1936 Recent Works by Arp, Ferren, Giacometti, Hartung, Hélion, Kandinsky, Nelson, Paalen, Tauber-Arp, La Galerie Pierre, Paris, France Awards 1989 Awarded the distinction of Grand Officier de la Légion d’Honneur by President Mitterrand 1984 Awarded Bundesverdienstkreuz (Cross of Merit) by the Federal Republic of Germany, with a star 1981 Awarded first Oskar Kokoschka Prize established by the Austrian government 1978 Awarded membership in the Maximiliansorden für Wissenschaft und Kunst (Maximilian Order for Science and Art), Bonn, Germany 1977 Nominated to the Académie des Beaux-Arts, Paris, France 1975 Awarded Citoyen d’Honneur by the city of Antibes, France 1967 Prix d’Honneur at the VII International Print Exhibition in Ljubljana (Yugoslavia [Slovenia]). Nominated to France’s International Order of Arts and Letters (Commandeur des Arts et des Lettres) 1959 Awarded the International Grand Prize in Painting at the Venice Biennale by Jury unanimously 1956 Awarded
Recommended publications
  • Hans Hartung (1904-1989) Abstraction: a Human Language
    de Sarthe Gallery is pleased to announce Hans Hartung (1904-1989) Abstraction: A Human Language Opening: 4:30pm - 6:30pm, 25 November 2017 Duration: 25 November 2017 - 13 January 2018 Address: 20/F Global Trade Square, 21 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong de Sarthe Gallery is pleased to announce its second exhibition for Hans Hartung titled Abstraction: A Human Language. The show opens on November 25th, and will continue through January 13th, 2018. The exhibition will survey a selection of works from the 40s to the very end of his life in 80s. As early as 1945 Hans Hartung was regarded as one of the most important abstract expressionists. He was invited to the first Documenta at Kassel, in 1955 and was awarded the International Prize at the Venice Biennale in 1960 and had a major exhibition of his paintings in 1975 at the Metropolitan Museum of Art in New York. Hartung’s works are in the collections of major museums worldwide including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Solomon R. Guggenheim Museum, New York, Tate Gallery, London, Centre national d’art et de culture Georges Pompidou, Paris and the Stedelijk Museum, Amsterdam. His prominent solo exhibitions include: Hartung in China, Palace of Fine Arts, Beijing, China; National Museum, Nanjing, China (2005); Hans Hartung: Spontaneous Calculus, Pictures, Photographs, Film 1922-1989, Museum der Bildenden Künste, Leipzig, Germany; Kunsthalle Kiel, Kiel, Germany (2007-08); Hans Hartung: Essential, Circula de Bellas Artes, Madrid, Spain (2008);
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • HANS HARTUNG HANS HARTUNG (1904, Leipzig, DE – 1989, Antibes, FR)
    HANS HARTUNG HANS HARTUNG (1904, Leipzig, DE – 1989, Antibes, FR) A s a child growing up in the German city of Leipzig, Hans Hartung (1904- 1989) was terrified of thunderstorms. He used to fill notebook after notebook with zig-zag lines, in the hope they’d prevent lightning from harming him. Years later, when Hartung had established himself as one of the world’s top artists, he claimed his interest in abstrac- tion could be traced back to those early drawings of electric flashes across the page.It becomes a vital influence not only on the École de Paris but also later on the arts in Germany. Sadly, his zig-zags don’t really feature in a major retrospective of the artist’s work, Hans Hartung: La fabrique du geste, which opened at the City of Paris Museum of Modern Art this week. Hartung made his name as a pioneer of gestural abstraction, a style en vogue on both sides of the Atlantic after the Second World War. In the United States it went by the name of Abstract Expressionism, in Paris by that of Art Informel or Tachisme (‘tache’ being the French word for spot or stain). HANS HARTUNG T1989-U26 1989 Acrylic on canvas 195 x 130 cm I 76 3/4 x 51 1/4 in. HHAR/M 108 HANS HARTUNG Provenance Estate Hans Hartung Private collection, France Exhibition‘s History Musee d‘Art Moderne de la Ville de Paris Retrospective La fabrique du geste 2019-2020 Hans Hartung La fabrique du geste From 11th October 2019 to 1st March 2020 On the occasion of its re-opening after extensive renovation work, the Museum of Modern Art presents a retrospective of work by the painter Hans Hartung (1904-1989).
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • HANS HARTUNG Painting – Gesture – Liberation
    HANS HARTUNG Painting – Gesture – Liberation 7 December 2013 – 31 January 2014 Opening 6 December 2013, 7 pm During nearly two months Setareh Gallery will give an insight into the oeuvre of the artist Hans Hartung (*1904, Leipzig - †1989, Antibes). Clearly, Hartung belongs to one of the great names of the Informel. Gestural painting and Golden Ratio, Tachism and composition, freedom and calculated action; all these seemingly diametric terms match the artist’s creative process. Werner Haftmann says about Hartung in his essay The great masters of the Lyrical Abstraction and the Informel that he transforms psychomotoric energies into formal processes. The well-known anecdote about Hartungs reaction to a thunderstorm as a child, illustrates this vividly. To overcome his fear of thunderstorms, the child tries to become equal with thunder and lightning through fast streaks on paper: I ask myself, if I wasn‘t more scared of the noise of the thunder than of the actual lightning, which prece- ded it. ... I wanted to see. And even more: I wanted to draw. In one of my notebooks I caught the quivering flashes of lightning on the fly. Already before the thunderclap hit in, the zigzag lines needed to be on the paper. This way, I tamed the lightning. Besides his studies at the academy in Leipzig, Hartung attends lectures at the philosophical faculty; art history, psychology and philosophy become his elective courses. 1925 he meets Kandinsky, 1926 he attends the International Art Exhibition in Dresden, which makes a big impression on him. His in- tellectual curiosity leads him to Paris, where he continues his studies in painting.
    [Show full text]
  • Hans HARTUNG APOLLO
    PRESSBOOK Hans HARTUNG APOLLO June 2016 1/1 Apollo magazine The International Art Magazine The fall and rise of the second school of Paris Emma Crichton-Miller 7 JUNE 2016 T 1949-4,1949 (1949), Hans Hartung. Courtesy Waddington Custot Galleries SHARE In the years following the Second World War, there were more than 350 artists working in Paris. They came from all over Europe and beyond, released from terror and drawn by the city’s enduring reputation as the centre of the Western art world. As this year’s anniversary exhibitions for Giacometti make clear, one response to the traumatic experiences of the war was to turn again to the human figure. Another was to pursue an abstraction freed, in the words of painter Georges Mathieu, from ‘rules, dogmas or canons of beauty’. While the nucleus of a second school of Paris had emerged under the occupation, it was in the maelstrom of post-war critical debate that a loose group of non-figurative artists, opposed to the geometric abstraction of the recent past, began to assert itself. Fluctuating alliances of artists explored work variously tagged ‘art informel’, ‘art autre’ or ‘tachisme’ – among them Maria Helena Vieira da Silva, Nicolas de Staël, Serge Poliakoff, Jean- Michel Atlan, Jean Fautrier, and Jean Dubuffet. Their aim was to define a distinctly European counterbalance to American Abstract Expressionism. In 1947, Mathieu mounted an exhibition of ‘lyrical abstraction’, with its emphasis on spontaneity, the performative gesture and the mark, which included Atlan, Jean-Paul Riopelle, Hans Hartung, and Wols. Gerard Schneider explored a lyricism allied to music, while Pierre Soulages declared ‘time and its relation to space’ to be central to his dark, striated paintings.
    [Show full text]
  • Hans HARTUNG Modern Painters
    PRESSBOOK Hans HARTUNG Modern Painters January 2018 1/1 DATEBOOKThe season’s top picks from all the art capitals NEW YORK Hans Hartung at Perrotin HANS HARTUNG’S STRIKING visual language prefigured developments in Post-War Western painting: abstraction, action painting, and color-field painting. His oeuvre is the focus of an exhibition in the New York space of Galerie Perrotin—which now represents the Hartung Estate—offering the broadest solo presentation since his exhibition at the Metropolitan Museum in 1975. “Hans Hartung: A Constant Storm. Works from 1922 to 1989,” on view January 12-February 18, showcases his experimental paintings across 70 works. Two tandem exhibitions are on view at Simon Lee Gallery in London and Nahmad Contemporary in New York. Later in 2018, the Kunstmuseum N IN I T T O Bonn will organize a solo exhibition of O R Hartung’s work. R rr The artist was born in Leipzig, Germany SY PE E ESY PE T in 1904 into a bourgeois Protestant milieu. In R rt the 1920s, he studied at the Kunstakademie /COU N N/COU in Leipzig, and the Kunstakademie in R R Dresden. Having encountered French O E D E DO Impressionism, Fauvism, and Cubism, he R R headed for Paris and enrolled in the atelier of LAI O: C O: CLAI André Lhote. In 1935, Hartung fled the Nazi T T O O regime and moved to France definitively. H H During World War II, he joined the Foreign S 2018 P S 2018 Legion; he lost a leg in battle,and was I P IS 2018 R R awarded the Croix de la Guerre.
    [Show full text]
  • HANS HARTUNG (B. 1904 in Leipzig, DE – 1989 in Antibes, FR) EDUCATION 1928–1931 Studies at the Academy of Fine Arts Munich (
    HANS HARTUNG (b. 1904 in Leipzig, DE – 1989 in Antibes, FR) EDUCATION 1928–1931 Studies at the Academy of Fine Arts Munich (Student of Max Doerner), DE 1924–1926 Studies at the Academy of Fine Arts Leipzig and Dresden, DE 1924 Studies Philosophy and Art History at the University of Leipzig, DE GRANTS & AWARDS 1989 Grand Officier de la Légion d‘Honneur, FR 1988 Citizen of honour of Lau Gaude, FR 1987 Citizen of honour of Belfort, FR 1985 Grand Prize of the bimillennial celebration of the city of Paris, FR 1984 Grand Cross with Star for Distinguished Service of the Order of Merit Bavarian Maximilian Order for Science and Art, DE 1981 Oskar Kokoschka Prize, Austrian Federal Government, AT 1976 Citizen of honour of Antibes, FR 1970 Grand-Prix des Beaux-Art de la Ville de Paris, FR 1968 Commander of the Legion of Honour, FR 1967 Grand Prize VII. International Biennial of Graphic Arts Ljubljana, SVN Commander of the Order of Arts and Letters, FR 1960 International Grand Prize for painting, Venice Biennial, IT 1957 Rubens Prize of the city of Siegen, DE 1956 Guggenheim International Award, Europe-Africa section, USA SOLO SHOWS (selection) 2020 Hans Hartung and Art Informel, Mazzoleni London, London, UK 2019 La fabrique du geste, Musée d'art Moderne, Paris, FR From Gesture to Form: Postwar European and American Art from the Schulhof Colletion, Peggy Guggenheim Collection, Venice, IT 2018 Hans Hartung, les années de guerre, Musée Zervos, Vézelay, FR Hans Hartung. Malerei als Experiment - Werke von 1962– 1989, Kunstmuseum Bonn, Bonn, DE Hans Hartung, Centre Pompidou, Paris, FR Hans Hartung, Nahmad Contemporary, New York, USA Hans Hartung.
    [Show full text]
  • 202010032215085916.Pdf
    Hans Hartung 概述, 早在1945年,漢斯·哈同(德国,法国)就已被公認為最重要的抽象表現主義大師之一。他於 1955年受邀參加第一屆卡塞爾文獻展,於1960年榮獲威尼斯雙年展的國際大獎,並於1975年在 紐約大都會藝術博物館舉辦了大型個人展。 作为一个开创性的艺术家,Hartung 的作品忠于器具运行轨迹而保留的痕迹。是抒情抽象的奠 基人,虽然他一生都在拒绝被任何一种艺术流派所界定。不仅限于画笔,他使用各种工具及自 动设备作画,他独特大胆的明显带有自发性和书法手势的抽象绘画,影响了一代抽象表现主义 和新表现主义艺术家。1960年威尼斯双年展上,他获得了国际绘画大奖,这标志着他绘画生涯 的一个决定性转折。哈东开始直接在画布上即兴创作,并尝试新媒体,即快速干燥的丙烯酸和 乙烯基涂料,以及刮和喷涂技术。在自发性和完美之间寻求平衡一直是哈东绘画美学的核心, 直到他1989年去世。 Hans Hartung achieved international recognition as a seminal figure of art informel, which arose in France during World War II. Beyond the apparent spontaneity of his distinctively bold and almost calligraphic gestural abstraction, rationalism equally informed his style, which arose out of an early interest in the relationship between aesthetics and mathematics—particularly the harmony of the golden ratio—but also out of necessity: early in his career, he meticulously squared up his successful abstract sketches in order to reproduce them on larger canvases, which he could not afford to risk losing to improvisation. The Grand International Prize for Painting, which he won at the 1960 Venice Biennale, marked a decisive turn in his practice. Hartung began improvising directly onto canvas and experimenting with new media, namely fast-drying acrylic and vinyl paints, as well as scraping and spraying techniques. The quest for balance between spontaneity and perfection remained at the core of Hartung’s painterly aesthetics until the end of his life, in 1989. SOLO SHOWS 2019 - Retrospective, Musée d'Art Moderne de la Ville de Paris (City of Paris Museum
    [Show full text]
  • L'art En Guerre
    THE GUGGENHEIM MUSEUM BILBAO presents on March 16, 2013 L’art en guerre France, 1938–1947: FROM PICASSO TO DUBUFFET Sponsored by As a strategic trustee of the Guggenheim Museum Bilbao since its inception, the BBVA Group is proud and pleased to continue this historic collaboration, via our foundation, with one of the leading institutions of contemporary artistic culture as well as of our times, renowned and acclaimed around the world and throughout Spain and with strong roots in Basque society. An ambitious exhibition is being presented this season, entitled L’Art en guerre. France, 1938-1947: From Picasso to Dubuffet and originally produced in Paris, which reveals how art was used to respond to the dramatic and complex situation in France between 1938 and 1947, with a particular focus on how artists in our neighbor to the north reacted to World War II. More generally, L’Art en guerre can be seen as an exploration of the relationship between art and war carried out through a wide selection of documents and works, whose authors include some of the most famous names of the 20th century. The pieces created over the course of those years reflect very different aspects of the daily reality of those who lived through that period: their dreams, nightmares, and hopes—in short, the cognitive, creative and emotional atmosphere that made life meaningful in different sectors of society. Yet that context of social chaos and spiritual darkness was also a productive and innovative time for art, which survived everywhere and flowed forth in all variety of circumstances, both as an underground trend and within the parameters of official taste.
    [Show full text]
  • The Cornerstone Imprint of Kandinsky in the History of Abstract Art
    RESEARCH ASSOCIATION for INTERDISCIPLINARY DecemberRAIS 2020 STUDIES DOI: 10.5281/zenodo.4412297 The Cornerstone Imprint of Kandinsky in the History of Abstract Art Dr. Samah Nassar October University for Modern Sciences and Arts (MSA), Faculty of Arts and Design, Cairo, Egypt [email protected] ABSTRACT: With all forms of art being continually subjective in the process by which they are perceived and appreciated, abstract art has been no exception, facing both elicited support and criticism over the years. The greatest debate on abstract art was experienced over a century ago when the art first emerged, that is in its initial stages of development. A century ago, abstract art signified a new perception of art that was conceived and accepted only by a few people. However, the art later transformed to be accepted by many as one of the purest and most beautiful forms of art, a change that was brought about through the works and ideas presented by Wassily Kandinsky. Kandinsky had, through his artistic vision and modes of expression, led to a critical revolution in the way abstract art was visualized and conceived. Therefore, he had not only helped lay the robust foundation that governed many of the concepts in abstract art, in contemporary and modern times, but he had also helped revolutionize its framework enriching it with the elements it still carries to the modern day. KEYWORDS: Abstract art, Kandinsky, Avant-garde, Contemporary art Discussion Preceding the 20th century, art was closely associated with realism, since it was always attached to “reality”. In other words, art has been a tool through which artists captured and reflected realistic elements, much similar to modern-day cameras.
    [Show full text]
  • Hans Hartung and Art Informel 1 October 2019 – 18 January 2020 Private View: Monday 30 September 6–8Pm
    Press Release Hans Hartung and Art Informel 1 October 2019 – 18 January 2020 Private View: Monday 30 September 6–8pm Mazzoleni London is proud to present Hans Hartung and Art Informel, which will open to the public on the 1 October 2019 and continue until the 18 January 2020. Collating artworks from four decades, the London exhibition will focus on a selection of Hartung’s paintings shown in context with early post-war works by some of the most important artists within the Art Informel movement of the 20th century. A further solo exhibition of Hans Hartung’s work will open to the public at the Turin gallery on 25 October 2019 until 18 January 2020, a continuation of the gallery’s interest in the artist, since presenting selected works by Hans Hartung in 2004. The exhibitions will mark the 30th anniversary of the artist’s death. Hans Hartung is a renowned figure within Art Informel movement and of gestural abstract painting. The London exhibition will examine the origins of Hartung’s work and investigate the discourse between the diverse circle of artists present in Paris during the 50s and 60s. Works by artists such as Giuseppe Capogrossi; Hisao Domoto; Jean Fautrier; Toshimitsu Imai; Henri Michaux; Georges Mathieu; Serge Poliakoff; Jean-Paul Riopelle; Gérard Schneider; Pierre Soulages; Wols and Zao Wou-Ki, will be presented with the aim to elucidate the artistic relationships which embraced tachisme and lyrical abstraction. The main section of the display will focus on works by Hartung from the 50s, 60s, 70s and 80s, moreover, will track the evolution of his particular visual language to reveal an artist who was continually striving for the unfamiliar and the original.
    [Show full text]