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Name Burkhardt, Hans Gustav Namensvariante/N Burkhardt, Hans Lebensdaten * 20.12.1904 Basel, † 22.4.1

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Name Burkhardt, Hans Gustav Namensvariante/N Burkhardt, Hans Lebensdaten * 20.12.1904 Basel, † 22.4.1 1937 in dessen Atelier tätig – teilweise in Gemeinschaftsarbeit; Kontakt zu Gorky-Schüler Willem de Kooning. 1937 Umzug nach Los Angeles. 1939 erste Einzelausstellung in der Stendhal Gallery, Los Angeles. Ab 1949 Reisen nach Mexiko; zunehmend internationale Ausstellungen und Preise. Ab 1958 Dozent an diversen Universitäten, 1963–1990 an der California State University, Northridge. Burkhardt, Hans Gustav, One Way Road, 1945, Öl auf Leinwand, 88,3 x 101,6 cm (Bildmass), Los Angeles County Hans Gustav Burkhardts Schaffen pendelt stets zwischen Museum of Art Figuration und Abstraktion, düsterer Palette und Farbenspiel sowie den Gegensatzpaaren von Leben und Tod, Krieg und Hoffnung. In spielerischer Synthese paart er den Abstrakten Bearbeitungstiefe Expressionismus mit surrealistischen und kubistischen Elementen und reagiert damit auf diverse Strömungen der amerikanischen Avantgarde. Von populären Tendenzen in Name den 1960er Jahren, wie der Farbfeldmalerei oder Pop Art, Burkhardt, Hans Gustav bleibt er unberührt. Das Zeichnen nach Modell bildet die Basis seines Werkprozesses. In einem zweiten Schritt Namensvariante/n überträgt er seine Vorlage in abstrahierten Formen in seine Burkhardt, Hans Zeichnungen, Pastelle, Druckgrafiken und Ölbilder. Die meisten Arbeiten entstehen als zeitnahe Reaktion auf Lebensdaten bewegende Weltgeschehnisse. Die apokalyptischen * 20.12.1904 Basel, † 22.4.1994 Los Angeles Schilderungen und Visionen des öffentlichen Lebens bilden einen inhaltlichen Gegenpol zu den erotischen, expressiv Bürgerort ausgeführten Figurenbildern. Mit Ausbruch des Spanischen Basel Bürgerkriegs 1938 schafft Burkhardt seine ersten Anti- Kriegsbilder. In gestischen Pinselstrichen bringt er dunkle Staatszugehörigkeit und feurige Farbtöne auf die Leinwand auf. Knochige CH, USA Figuren, Totenschädel und zähnefletschende Vulven zählen zum Vokabular (War, Agony in death, 1939–1940). Vitazeile Burkhardt malt die Massengräber und Konzentrationslager Maler, Zeichner und Grafiker. Ab 1924 in New York. des Zweiten Weltkriegs und die Gräuel von Hiroshima, lässt Schüler von Arshile Gorky. Ab 1937 in Kalifornien. Bilder in imaginierten Szenen Kriegsherren für ihre Taten büssen ( des Abstrakten Expressionismus, mit Einflüssen von The Death of Hitler, 1939) und rückt in den 1960er Jahren Surrealismus und Expressionismus den Vietnamkrieg in den Fokus. Erstmals appliziert er Totenschädel, die er auf seinen Mexikoreisen sammelt, auf Tätigkeitsbereiche riesige Leinwände (My Lai, 1968) und wird dafür vom Ölmalerei, Pastell, Aquarell, Kohlezeichnung, Linolschnitt Kunsthistoriker Donald Kuspit zum Erfinder des «abstrakten Memento Mori» gekürt. Kulturelle Aspekte, etwa aus Lexikonartikel Mexikos Totenkultur, durchdringen fortan sein ganzes Hans Burkhardt wächst mit einer Schwester in armen Schaffen. In den Werkserien Silent Sounds (1958–1960) Verhältnissen auf. Der Vater reist 1907 nach New York; die fängt er in ungewohnt lichten Farben die Klänge religiöser Mutter stirbt 1910 an Tuberkulose und die Kinder kommen Prozessionen ein, während die Serie Journey into the ins Waisenhaus. Trotz harter Arbeit als Gärtner und Aushilfe Unknown das Motiv des Sargträgers (The Gorky Burial, in einer Basler Chemiefirma lebt Burkhardt während des 1950) variiert: Die an ein Tor erinnernde Form steht als Ersten Weltkriegs in prekärer Finanzlage. In den Museen Metapher für die mexikanische Auslegung des Todes als Tür studiert er Arnold Böcklin und Hans Holbein. 1924 Umzug zur Wiedergeburt. Zwischen den düsteren Werkphasen nach New York; Anstellung in Möbelfabrik Schmieg & entstehen immer wieder bunt flirrende Bilder voller Leben, Company, in der auch sein Vater arbeitet. 1925–1928 Liebe und Hoffnung (Befreiung von Paris, 1944). In den Malkurse an der Cooper Union. Wechselt an die Grand 1980er Jahren überführt Burkhardt die Strassenwirren und School of Arts, New York; Unterricht bei Mentor und Jugendbewegungen, die er bei den jährlichen Besuchen in lebenslangem Vorbild, dem Maler Arshile Gorky; 1928– seiner Heimatstadt Basel antrifft, in bunt sprühende Bilder, angelehnt an die Graffitis, die er an den Fassaden der Seite 1 von 2 - http://www.sikart.ch/kuenstlerinnen.aspx?id=4004159&lng=de autonomen Jugendzentren sieht. Am Schluss seines vielgestaltigen Werks steht eine amerikanische Geschichte: Direktlink 1992–1993 bestückt er gemalte Amerikaflaggen mit Leinen, http://www.sikart.ch/ kuenstlerinnen.aspx? rostigen Nägeln und Kruzifixen. Diese zählen zur Desert id=4004159&lng=de Storm- und Black Rain-Serie und referieren auf Amerikas von Elend wie Hoffnung gezeichneten Einsätzen im Letzte Änderung Irakkrieg. 17.11.2020 Werke (Auswahl): Kunsthalle Basel; Cambridge (Massachusetts), Harvard Art Museums, Fogg Museum; Columbia Museum of Art (South Carolina); Dublin, Irish Disclaimer Museum of Modern Art; Kentucky, Speed Art Museum; Alle von SIKART angebotenen Inhalte stehen für den Laguna Beach (Kalifornien), Laguna Art Museum; Little persönlichen Eigengebrauch und die wissenschaftliche Rock, Arkansas Arts Center; London, British Museum; Los Verwendung zur Verfügung. Angeles County Museum of Art; Los Angeles, MOCA Museum of Contemporary Art; Los Angeles, Hammer Copyright Museum; New York, Solomon R. Guggenheim Museum; Das Copyright für den redaktionellen Teil, die Daten und die New York, Whitney Museum of American Art; Omaha Datenbank von SIKART liegt allein beim Herausgeber (SIK- (Nebraska), Joslyn Art Museum; Philadelphia Museum of ISEA). Eine Vervielfältigung oder Verwendung von Dateien Art; Pasadena, Norton Simon Museum; Phoenix Art Museum oder deren Bestandteilen in anderen elektronischen oder (Arizona); Portland (Maine), Portland Museum of Art; gedruckten Publikationen ist ohne ausdrückliche Portland (Oregon), Portland Art Museum; Raleigh, North Zustimmung von SIK-ISEA nicht gestattet. Carolina Museum of Art; Sacramento, California State Capitol Museum, Art Collection of the State of California; Empfohlene Zitierweise San Francisco, Fine Arts Museum, Legion of Honor, AutorIn: Titel [Datum der Publikation], Quellenangabe, Achenbach Foundation; Stockholm, Moderna Museet; <URL>, Datum des Zugriffs. Beispiel: Oskar Bätschmann: Washington, D.C., National Gallery of Arts; Washington, Hodler, Ferdinand [2008, 2011], in: SIKART Lexikon zur D.C., Hirshhorn Museum. Kunst in der Schweiz, http://www.sikart.ch/kuenstlerinnen.aspx?id=4000055, Julia Schallberger, 2019 Zugriff vom 13.9.2012. Literaturauswahl - Hans Burkhardt. Paintings of the 1960s. Los Angeles, Jack Rutberg Fine Arts, 2008. Text: Jack Rutberg. Los Angeles: Jack Rutberg Fine Arts, Inc., 2008 - Hans Burkhardt. The California State University, Northridge collection. California State University, Northridge collection, 2008. Edited by Betty Ann Brown. Northridge, 2008 - Hans Burkhardt. Drawings 1932–1989. The Arkansas Arts Center, Little Rock, USA. Hrsg. von Townsend Wolfe und The Arkansas Arts Center; Text von Peter Frank. Little Rock, 1996 - Hans Burkhardt (Schweiz/USA). Pastelle. Eine Retrospektive von 1938 bis 1983. Berlin, Galerie Hesselbach, 1993. Berlin: Galerie Hesselbach, 1993 [zweisprachiges Vorwort Deutsch-Englisch] - Donald Kuspit: Hans Burkhardt. Black Rain. Los Angeles, Jack Rutberg Fine Arts, 1993-94. Los Angeles, 1993 - Peter Selz: Hans Burkhardt. Desert Storms. Los Angeles, Jack Rutberg Fine Arts, 1991. Los Angeles, 1991 - Catastrophe. According to Hans Burkhardt. Allentown, Muhlenberg College, 1990. Text: Donald Kuspit; Introduction: Dorothy White. Allentown: Muhlenberg College, 1990 - Hans Burkhardt. Paintings and Pastels. 1988-1989. Jack Rutberg Fine Arts, Los Angeles, 1990. Los Angeles: Jack Rutberg Fine Arts Inc., [1990] - Jack V. Rutberg: Hans Burkhardt. The War Paintings. A Catalogue Raisonné. Los Angeles, Jack Rutberg Fine Arts, 1985. Interview by Colin Gardner. Northridge: Santa Susana Press, [1985] Website http://hansburkhardtestate.com/ Seite 2 von 2 - http://www.sikart.ch/kuenstlerinnen.aspx?id=4004159&lng=de.
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