Neo-Expressionism - I
Neo-Expressionism
Neo-expressionism is a style of late modernist or early-postmodern painting and sculpture that emerged in the late 1970s. Neo-expressionists were sometimes called Transavantgarde, Junge Wilde or Neue Wilden ('The new wild ones'; 'New Fauves' would better meet the meaning of the term). It is characterized by intense subjectivity and rough handling of materials.
Neo-expressionism developed as a reaction against conceptual art and minimal art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in an abstract manner), in a rough and violently emotional way, often using vivid colors. It was overtly inspired by German Expressionist painters, such as Emil Nolde, Max Beckmann, George Grosz, Ernst Ludwig Kirchner, James Ensor and Edvard Munch. It is also related to American Lyrical Abstraction painting of the 1960s and 1970s, The Hairy Who movement in Chicago, the Bay Area Figurative School of the 1950s and 1960s, the continuation of Abstract Expressionism, precedents in Pop Painting, and New Image Painting: a vague late 1970s term applied to painters who employed a strident figurative style with cartoon-like imagery and abrasive handling owing something to Neo-Expressionism. The New Image Painting term was given currency by a 1978 exhibition entitled New Image Painting held at the Whitney Museum.
Critical reception
Neo-expressionism dominated the art market until the mid-1980s. The style emerged internationally and was viewed by many critics, such as Achille Bonito Oliva and Donald Kuspit, as a revival of traditional themes of self-expression in European art after decades of American dominance. The social and economic value of the movement was hotly debated.[6] From the point of view of the history of Modern Art, art critic Robert Hughes dismissed Neo-Expressionist painting as retrograde, as a failure of radical imagination, and as a lamentable capitulation to the art market.
Neo-expressionism around the world
The movement became known as Transavanguardia in Italy and Neue Wilden in Germany, and the group Figuration Libre was formed in France in 1981.
Edouard Pignon
1905 - 1993
Édouard Pignon. Self-portrait
Edouard Pignon
Edouard Pignon is born in 1905 in Bully-les-Mines (Pas-de-Calais, France). His childhood is difficult; he works in a mine, then in a plant from 1920 to 1927. He moves to Paris in 1927 and begins his studies at the Applied Arts School and in the Labour University.
His first solo exhibition is held in 1939 (Paris). Edouard Pignon joins the Communist Party in 1933. He is a resistance member during the Second World War. With Bazaine, Esteve, Lapicque, Le Moal and Manessier, Pignon is one of "Twenty painters of French tradition", who exhibits in Paris at the Braun Galery in 1941.
Throughout his career, Edouard Pignon practices a resolutely figurative painting, blaming abstract art to suppress the reality. The subjects of his paintings often evoke his political commitment, however, without practicing "socialist realism". Pignon declines his pictorial work in series (the rooster fights, the pushers of wheat, Divers, The large red bares, etc.), paintings, watercolors, giant ceramics-sculptures.
Man of character who wants to be free, Edouard Pignon, a friend of Picasso, married to the art critic Helen Parmelin, constantly refuses any commitment to any movement or academy. Artist always against the stream, primarily a colorist, his work is present in most major museums in France and abroad.
Edouard Pignon dies in 1993 in La Couture-Boussey (France). To help create a museum in Marles-les-Mines, Edouard Pignon donates forty of his paintings, drawings and lithographs, as well as works by his friend Picasso (In 1951-1952, Picasso and Pignon shared a workshop in Vallauris).
Edouard Pignon et Pablo Picasso, 1952
Les plongeurs dans les vagues vertes
by Édouard Pignon
Grand combat de coqs,
by Édouard Pignon
Mêlée de coqs blancs,
by Édouard Pignon
Sans titre
by Édouard Pignon
Homme à l'enfant
by Édouard Pignon
Nu
by Édouard Pignon
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Edouard Pignon
Untitled
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Edouard Pignon
Variations sur l' amour
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Edouard Pignon
Lying Female Nude
Edouard Pignon
Untitled
Edouard Pignon
Hommage à Van Gogh
Edouard Pignon
"Nu replié"
Edouard Pignon
Nu accroupi
Edouard Pignon
Female Nude
Edouard Pignon
Female Nude
Edouard Pignon
COCK FIGHT
Edouard Pignon
Original Eaux-fortes Les Mascarades
Edouard Pignon
NU AU CHIGNON
Gaston Chaissac
1910–1964
Gaston Chaissac
Ohne Titel, 1962
Gaston Chaissac
(1910–1964) was a French painter. An autodidact and son of the French rural working class, he became involved in the art world when he lived next door to Otto Freundlich and Jeanne Kosnick-Kloss in Paris during the 1930s. They showed him modern art and supported his efforts to paint, helping him along and promoting his work. Gaston Chaissac is often considered to be part of the Art Brut or Outsider Art category. Some artists have described his style as "modern rustic." Chaissac's art was praised by Jean Dubuffet when he first came across it in 1946.
He also corresponded for some time with such prominent French artists and writers as Albert Gleizes and Raymond Queneau. Writing was an element of Gaston Chaissac's work from the beginning with his own signature. His signature evolved from being a signature to becoming an autonomous element in the composition that makes a sign, and continues with titles influenced by poetry and an exceptionally broad vocabulary.
Gaston Chaissac
Composition à un personnage, 1961
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Gaston Chaissac
Untitled
Francis Gruber
1912–1948
Francis Gruber
(1912–1948) was a French painter, founder of the Nouveau Réalisme school, and a member of the Force nouvelles group.
He was born in Nancy, the son of stained glass artist Jacques Gruber.
He first exhibited at the age of 18. While other artists were becoming more and more abstract, he preferred to paint human figures that were highly sculpted. He was influenced by Hieronymus Bosch and Albrecht Dürer and the Lorraine engraver Jacques Callot. He became friends with the Swiss artist Alberto Giacometti.
He died in Paris.
Francis Gruber Self-portrait (1942)
FRANCIS GRUBER: JOB. 1944. London. Tate Gallery
Francis Gruber. Landscape of the Ile de Ré
Francis Gruber - Woman Lying on a Bed
Francis Gruber. Mia. 1933
L'annonce de l'hiver
Les malheurs d'amour
Femme et enfant 1939
La noyée. 1941
Le poète, hommage à Rimbaud. 1942
Francis GRUBER. A un jeune poète - 1942
L'hommage à Callot. Francis Gruber. 1942
Nu au tricot rouge. 1944
Francis Gruber. Nu Assis à la Chaise Verte. 1944
Le lit rouge. 1944
Francis Gruber. Femme sur un lit rouge, 1946.
Femme sur un canapé. Francis Gruber. 1945
Francis Gruber – Jeune Fille Assise dans Latelier (1938)
Francis Gruber, “Judith,” 1946
Nude Woman in Landscape. Francis Gruber. 1948
Francis Gruber. Autumn. 1937
Asger Jorn
1914 - 1973
Asger Jorn. Self Portrait
Asger Jorn
b. 1914, Vejrum, Jutland, Denmark; d. 1973, Aarhus, Denmark
Asger Jorn was born Asger Oluf Jorgensen in Vejrum, Jutland, Denmark, on March 3, 1914. He visited Paris in the fall of 1936, where he studied at Fernand Léger's Académie Contemporaine. During the war Jorn remained in Denmark, painting canvases that reflect the influence of James Ensor, Vasily Kandinsky, Paul Klee, and Joan Miró and contributing to the magazine Helhesten.
Jorn traveled to Swedish Lapland in the summer of 1946, met Constant in Paris that fall, and spent six months in Djerba, Tunisia, in 1947–48. His first solo exhibition in Paris took place in 1948 at the Galerie Breteau. At about the same time the COBRA (an acronym for Copenhagen, Brussels, Amsterdam) movement was founded by Karel Appel, Constant, Corneille, Christian Dotremont, Jorn, and Joseph Noiret. The group's unifying doctrine was the complete freedom of expression with an emphasis on color and brushwork. Jorn edited monographs of the Bibliothèque Cobra before disassociating himself from the movement.
In 1951 Jorn returned, poor and ill, to Silkeborg, his hometown in Denmark. He began his intensive work in ceramics in 1953. The following year he settled in Albisola, Italy, and participated in a continuation of COBRA called Mouvement International pour un Bauhaus Imaginiste. Jorn's activities included painting, collage, book illustration, prints, drawings, ceramics, tapestries, commissions for murals, and, in his last years, sculpture. He participated in the Situationist International movement from 1957 to 1961 and worked on a study of early Scandinavian art between 1961 and 1965. After the mid-1950s Jorn divided his time between Paris and Albisola. His first solo show in New York took place in 1962 at the Lefebre Gallery. From 1966 Jorn concentrated on oil painting and traveled frequently, visiting Cuba, England and Scotland, the United States, and the Orient. Jorn died on May 1, 1973, in Aarhus, Denmark.
Asger Jorn. Ainsi on s'Ensor
Asger Jorn. Grand Baiser au Cardinal d'Amerique
Asger Jorn. La Lune et les animaux
Asger Jorn. Rode syner
Asger Jorn. Untitled
Asger Jorn. Alla ricerca di un buon tiranno
Asger Jorn. Cobragruppe
Asger Jorn. Guillaume Apollinaire
Asger Jorn. Jedermann
Pierre Bettencourt
1917 - 2006
Pierre Bettencourt
born in Saint-Maurice-d'Etelan, in 1917 and died in Stigny, in 2006.
After his secondary studies in Le Havre and Savoie, Pierre Bettencourt attended Paul Valéry's poetry course at the Collège de France in Paris from 1936 to 1938. During this period, he also developed a passion for the theater. In 1941, he bought a hand press and began to publish his own texts, as well as those of Henri Michaux, Antonin Artaud, Francis Ponge, Guillaume Apollinaire and Jean Dubuffet, in small print runs in his family's house, which was occupied by the Germans at the time.
Following a stay with Jean Dubuffet at Saint-Michel-de-Chaillol in 1953, he made his first high reliefs, which became his trademark. Composed of unconventional materials (coffee beans, eggshells, stones, pine cones) his assemblages stage a fantastical universe where Eros and Thanatos rub shoulders. His numerous trips to Africa, Oceania, India, Mexico and Egypt nourish his passion for vanished civilizations and in turn feed his work.
In 1963, with his wife, the author and visual artist Monique Apple, he settled in Stigny in the Yonne region, where he continued his work until 2006. He will carry on his literary work, his drawings and his high reliefs at the same time.
For a long time, Pierre Bettencourt's works remained confidential and voluntarily withdrawn from the artistic circuits, but they were notably exhibited at the Daniel Cordier gallery in Paris.
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
Pierre Bettencourt
John Brack
1920 – 1999
John Brack
(10 May 1920 – 11 February 1999) was an Australian painter, and a member of the Antipodeans group. According to one critic, Brack's early works captured the idiosyncrasies of their time "more powerfully and succinctly than any Australian artist before or since. Brack forged the iconography of a decade on canvas as sharply as Barry Humphries did on stage."
During World War 2 (1940–1946) Lieutenant John Brack served with the Field Artillery. Brack was Art Master at Melbourne Grammar School (1952–1962). His art first achieved prominence in the 1950s. He also joined the Antipodeans Group in the 1950s which protested against abstract expressionism. He was appointed Head of National Gallery of Victoria Art School (1962–1968), where he was an influence on many artists and the creation of the expanded school attached to the new gallery building.
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
John Brack
Karel Appel
1921 - 2006
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Karel Appel
b. 1921, Amsterdam; d. 2006, Zurich
was born on April 25, 1921, in Amsterdam. From 1940 to 1943 he studied at the Rijksakademie van Beeldende Kunsten in Amsterdam. In 1946 his first solo show was held at Het Beerenhuis in Groningen, the Netherlands, and he participated in the Jonge Schilders exhibition at the Stedelijk Museum of Amsterdam. About this time Appel was influenced first by Pablo Picasso and Henri Matisse, then by Jean Dubuffet. He was a member of the Nederlandse Experimentele Groep and established the COBRA movement in 1948 with Constant, Corneille, and others. In 1949 Appel completed a fresco for the cafeteria of the city hall in Amsterdam, which created such controversy that it was covered for ten years.
In 1950 the artist moved to Paris; there the writer Hugo Claus introduced him to Michel Tapié, who organized various exhibitions of his work. Appel was given a solo show at the Palais des Beaux-Arts in Brussels in 1953. He received the UNESCO Prize at the Venice Biennale of 1954, and was commissioned to execute a mural for the restaurant of the Stedelijk Museum in 1956. The following year Appel traveled to Mexico and the United States and won a graphics prize at the Ljubljana Biennial in Yugoslavia. He was awarded an International Prize for Painting at the Sao Paulo Bienal in 1959. The first major monograph on Appel, written by Claus, was published in 1962. In the late 1960s the artist moved to the Château de Molesmes, near Auxerre, southeast of Paris. Solo exhibitions of his work were held at the Centre National d’Art Contemporain in Paris and the Stedelijk Museum in Amsterdam in 1968, and at the Kunsthalle Basel and the Palais des Beaux-Arts in Brussels in 1969. During the 1950s and 1960s he executed numerous murals for public buildings. A major Appel show opened at the Centraal Museum in Utrecht in 1970, and a retrospective of his work toured Canada and the United States in 1972.
Karel Appel. Questioning Children
Karel Appel. Hip, Hip, Hoorah!
Karel Appel. People, Birds and Sun
Karel Appel. Personages, suite of four
Karel Appel. PERSONAGE
Karel Appel. Heads in Space
Karel Appel. Caballos Salvajes
Corneille
1922 - 2010
Corneille
Corneille van Beverloo was born in 1922 in Liège, Belgium, by Dutch parents. After his school years he studied drawing at the Arts Academy in Amsterdam during the years 1940-43. As a painter he is autodidact.
The first exhibition was shown 1946 in the Dutch city of Groningen together with artists from the Dutch Experimental group Reflex.
Corneille came to Paris for the first time in 1946, and immediately he felt at home in the pulsating art metropolis. Together with Karel Appel, Asger Jorn, Dotremont and Constant, Corneille founded the COBRA-group in Paris 1948. Many other artists, poets and architects joined the group; among them the Swedish artists C-O Hultén, Max Walter Svanberg and Anders Osterlin.
During his travels around the world Corneille has got impulses and inspiration to new works of art. Especially the African culture has influenced and enriched his work, and during his journeys to Africa the interest for African art aroused and made him a devoted collector of African sculptures and masks.
Corneille.
Corneille. El pintor y su modelo
Corneille.
Corneille.
Corneille.
Corneille.
Corneille.
Corneille.
Corneille.
Corneille.
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Corneille.
Corneille.
