Oil On Wood

Sasza Blonder / André Blondel (1909-1949) Hsb 1946 / School Of Paris / Fauvism

Sasza Blonder / André Blondel (1909-1949) Hsb 1946 / School Of Paris / Fauvism
Sasza Blonder / André Blondel (1909-1949) Hsb 1946 / School Of Paris / Fauvism

Sasza Blonder / André Blondel (1909-1949) Hsb 1946 / School Of Paris / Fauvism    Sasza Blonder / André Blondel (1909-1949) Hsb 1946 / School Of Paris / Fauvism

Very beautiful panel double-face Fauviste on panel. Dated and titled on the back. Beautiful fauvist double sided oil on board. Dated and titled on the back. 22 "x 19.3" in.

Born on May 3, 1909 in Chortkov / Czortkow (Poland, Ternopol region, Eastern Galicia, now Western Ukraine) in a family of Jewish traders. 1926: first stay in Paris. 1930-32: National School of Fine Arts of Paris (architecture section). Academy of Visual Arts of Krakow, professors t. In Krakow he founded with friends the artistic group "the living" then joined the artists h.

Levicki in a group more guard "the group of Krakow\In 1935, he worked at the Jewish Children's Theater in Bielskabiala (staging and set design). 1936: installation in warsaw 1937: personal exhibition at the koterby salon of warsaw. 1937-39: installation in his studio, 5 of the city falguière, paris xv. He follows the courses of the louvre school participates in the international exhibition of 1937, frequented the painters of the school of Paris: chaïm soutine, pinchus krémègne, isaac dobrinski, ludwig klimek ...

1939: it is incorporated in the Polish army of France. 1943: marriage with louise bonfils, young associate professor of physics and chemistry, stationed in carcassonne. He exhibits an intense creative activity, rubs shoulders artists and intellectuals (from this time date three portraits of joë bousquet).

The young painters carcassonnais savy and camberoque, as well as the montpelliérain peyré come listen to his advice. He makes several trips to perpignan and collioure where he finds andré libion, balbino giner and other Catalan painters. During one of his passages he will cross raoul dufy who will buy him three paintings. At sète, where he goes regularly, he frequents, around désnoyer, other future members of the group "montpellier sète": couderc, descossy, barthélemy, espinasse, raissac ....

sometimes, two or three they go up on the hill st clear to paint the same pattern. His children are born, Helen (1944) and Marc (1945). He is a member of the Salon des Indépendants, member of the Autumn Salon and exhibits, alone or in groups in Toulouse, Perpignan, Béziers, Sète, Montpellier, Carcassonne. The gallery vernière-decabezon, montpellier bought him several works.

Summer 1948: installation with his family with seals and then in Paris. Accidental death on June 14, 1949 in Paris.

He leaves behind more than 700 oils and as many drawings. Urodzony 3 maja 1909 roku w czortkowie (region tarnopola w galicji wschodniej, dzi zachodnia ukraina) w rodzinie ydowskiej zajmujacej si handlem.

1926: pierwszy pobyt w paryu. 1930-32: pastwowa wysza szkoa sztuk piknych w paryu (sekcja architektury). Akademia sztuk piknych w krakowie, kursy profesorów t. W krakowie wraz z przyjaciómi tworzy grup artystyczn zywi, a nastpnie docza do artystów h. Lewickiego z awangardowego ugrupowania grupa krakowska, której pierwsza wystawa miaa miejsce we lwowie w 1933 roku.

Jest czonkiem zwizku zawodowego polskich artystów plastyków (zzpap), z którego zostaje wykluczony w 1937 roku za dziaalno polityczn. W 1935 roku pracuje w ydowskim teatrze dla dzieci bielsku-biaej w (reyseria i scenografia). 1937: wystawa indywidualna w warszawskim salonie koterby. 1937-39: urzdza if w swym workshop, 5 city falguière, pary xv. Uczszcza na kursy szkoy luwru, bierze udzia w midzynarodowej wystawie z 1937 roku, bywa w rodowisku malarzy szkoy paryskiej: chaïm soutine, pinchus krémègne, isaac dobrinski, ludwig klimek ... 1939: jest wcielony do armii polskiej we francji.

June 1940: zdemobilizowany w tuluzie. 1940-42: przy pomocy panów hallwachsa i rivesa, wybitnych czonków ruchu oporu, znajduje schronienie niedaleko aix-en-provence, a nastpnie w cuxac-cabardès na pónoc od carcassonne. 1943: lub z luiz bonfils, mod nauczycielk, laureatk pastwowego konkursu z fizyki i chemii, pracujac w carcassonne. Uprawia tu intensywn dziaalno twórcz, bierze udzia w yciu artystycznym i intelektualnym (z tego okresu pochodz trzy portrety joëgo bousquet).

Modzi malarze z carcassonne, savy i camberoque jak i peyre z montpellier chtnie suchaj jego porad. Czsto przebywa w perpignan i collioure, gdzie spotyka si z andre libionem, balbino ginerem i innymi malarzami kataloskimi.

W czasie jednego z tych pobytów droga jego krzyuje if z raoulem dufy, który kupuje od niego trzy obrazy. Czasem we dwóch lub trzech wspinaj if na wzgórze st clear, aby malowa ten sam motyw. Rodz si dzieci, Helen (1944) and Marc (1945). Jest czonkiem salonu niezalenych, salonu jesiennego i wystawia sam lub z innymi artystami w tuluzie, perpignan, bezier, sète, montpellier, carcassonne. Galeria vernière-decabezon montpellier kupuje kilka jego dzie.

Lato 1948: zamieszkuje wraz z rodzin w seals pod paryem, a nastpnie w paryu. Ginie w wypadku 14 czerwca 1949 roku w paryu.

Pozostawia po sobie ponad 700 obrazów olejnych i tyle rysunków. Polish expressionist painter from the school of paris born on may, 3rd 1909 in tchortkov / czortkow (poland, in the ternopol area, now in western ukraine) into a family of jewish shopkeepers. 1926: first stay in paris.

1930-32: student at the fine arts (high school of arts) in paris, in the architecture section. Student at the academy of fine arts in krakow, with professors t. In krakow, he founded the art group "alive people" with some friends. Levicki in the avant-garde group of artists called "the krakow group".

Their first exhibition took place in lvov in 1933. He joined the union of polish artists and writers ("zzpap") before being expelled in 1937 on the grounds of political activism. In 1935 he worked in bielsk's jewish theater for children where he did stage work and props. 1937: personal exhibition at warsaw's koterby gallery. 1937-39: settled into his workshop at no. 5 city falguière, in paris. Took part in the international exhibition in 1937. Met painters of the school of such as chaim soutine, pinchus kremegne, isaac dobrinski and ludwig klimek. 1939: he was drafted into the Polish army in France.

July 1940: dismissed in Toulouse. 1940-42: found refuge near aix-en-provence and then carcassonne in the homes of hallwachs and shores, who were themselves with the resistance.

1943: married louise bonfils, a young physics and chemistry professor who was teaching in carcassonne. 1943-48: he set up home in carcassone in the south of france and went through an intense period of creativity, when he put a lot of artists and intellectuals. He made three portraits of joey bousquet during this time.

Savy and cambreroque, young painters from caracassonne, and montpellier-based peyre, came to him for advice. He made several trips to Paris where he puts andré libion, balbino giner and other catalan painters. In sète, where he went to regulary, he set up school around desnoyer, including couderc, descossy, barthélemy, espinasse and raissac.

In groups of two or three, they used to walk up st clear hill to paint the same landscape. He had two children: Helen (Born in 1944) and Marc (Born in 1945). He was a member of the society of independent painters and a resident painter at the autumn salon. Exhibited alone or with a group of painters in Toulouse, Perpignan, Béziers, Sète, Montpellier and Carcassonne.

Summer 1948: moved to seals and then paris with his family. He died accidentally on June 14th 1949 in Paris. He left more than 700 oil paintings behind and many drawings. The fauvism came from the fact that we placed ourselves quite far from imitation colors and that with pure colors we get stronger reactions. Fauvism is a current of painting of the early twentieth century.

Based on an expression of the journalist Louis vauxcelles, he began historically in the autumn of 1905, during the scandalous autumn show, and ended less than ten years later, in the early 1910s. 1908, it is already at dusk. His influence nevertheless marked the whole art of the twentieth century, especially by the liberation of color. The precursor of Fauvism was Henri Matisse, but other artists, such as André Derain, Maurice Vlaminck or Georges Braque were among them. In an article "the salon d'automne" published in the gil blas October 17, 1905, vauxcelles describes the living room by room.

He writes in particular hall no. Henri matisse, marquet, manguin, camoin, girieud, derain, ramon pichot. Room clear, daring, outrageous, who must decipher the intentions, leaving the clever and foolish the right to laugh, criticism too easy.

In the center of the room, a child's torso and a small marble bust, albert marks, which models with a delicate science. The candor of these busts surprises in the midst of the orgy of pure tones: donatello among the wild beasts. Fauvism is characterized by the audacity and novelty of its chromatic research.

The painters had recourse to large areas of violent, pure and lively colors, and claimed an art based on instinct. They separated the color from its reference to the object in order to accentuate the expression and reacted provocatively against the visual sensations and the sweetness of the impressionism. We are witnessing, around 1900, an imposing return of the color that will prove all the more violent as this color seems to have withstood the rather short eclipse that the Nabis have subjected to it.

The luminous conceptions of the impressionistic "pleinairisme" of the Impressionists have faded away from the dim lighting of the Nabis lamp. Interior scenes, voluntarily muted tones and faithful to the play of timid and discreet shades, large colored areas, radiant illuminations, dazzling architectures, scenes of wisely bourgeois family through the fictitious light of the day come from windows disappearing under curtains .. the Impressionists are the first source.

Their special touches, which juxtapose pure colors instead of mixing them, leaving the spectator's task to perform a work of recomposition, are taken up by Matisse, who was a pupil of paul signac in the summer of 1904, and which in turn transmits them to derain. Luxury, calm and pleasure (1904) is an emblematic example. Manguin himself is at the same time close to matisse and signac or cross, divisionist painters if any, while camoin refers directly to manet by the conciseness of his drawing. The impressionist crystalline colors are also taken over, notably by manguin, whose palette is dominated by bright yellow and orange tones. Raoul dufy, meanwhile, frequently takes up the theme of rue montorgueil. July at the haven or street pavoisée. The deployment of flags across the street is a pretext for the deployment of color, which monet had already noticed, and that marquet had used the.

Same year (July 14th at the harbor). Nevertheless, the composition, with the lines of the flags that intertwine, is.

It is, therefore, a strong contrast of colors, lights and the outdoors that will burst and that will cause in the painting upheavals which it is difficult to predict the consequences. It was therefore at the Salon d'Automne, when a room had been reserved for the works of the new group of artists, that the words "scandal, humbug, dementia, ignorance" had welcomed the tumultuous attempts of these young people . The critic louis vauxcelles, speaking of the little head of a child of Florentine inspiration, the work of the sculptor marks, designated it as: "donatello among the wild beasts". This expression made a fortune and was used to define this movement of fauvism.

Very young painters, some time to which they belong, have never rejected this word of writing: "we must kill what precedes us". It was around the twentieth year and their teachers that these young beasts made their first tooth. As a result of a kind of chance, the julian academy and the school of fine arts saw the successive appearances of marquet, rouault, camoin, manquin, dufy, braque and the workshop career matisse, puy, derain, laprade, chabaud among the bravest of the group.

Dufy, marquet, merodack-jeanneau or girieud rather use the technique of gauguin, with large flat areas. Matisse and Derain do not hesitate to use it either, and sometimes oscillate between pointillist and gauguin influences.

In Japanese at the edge of the water matisse shows this hesitation, using long enough keys though distant from each other, and even, at times, flat areas. In the same way, Derain sometimes composes his canvases with large ribbons of colors (the Collioure Faubourg, 1905), whereas, in contemporary works (boats in the port of collioure, effects of sun on the water), he does not uses only small keys juxtaposed. The gauguin style is found in another element: the use of the ring around the characters.

This one is particularly visible in the dance of andré derain (1906). Matisse would be, in his enthusiasm pronounced for the color and for the matter, at the origin of this movement. It focuses on itself to develop in depth some data of fauvism, especially when his companions from the first hour abandon the new aesthetic to return to more traditional designs. The influence of matisse, both in France and abroad, on his generation as much as on the following ones, is due to the universality of a prestigious art which largely overflowed Fauvism's own data rather than its position.

It is under the guidance of matisse and also under the influence of van gogh that future wildcat vlaminck, derain, manguin ... Express in their shipments in the autumn show a fierce and virulent enthusiasm for the dynamic joys of tones more raw. Still aware of this fragility of color, they react against an impressionism to which. On the other hand the wild animals propose to imagine a reality more authentic than that of appearances, built solidly by pure tones. This imagination of reality has as source according to matisse: emotional shocks, occurred as thunderbolts or other images in the brain of the poet. The new aesthetic is based on precise themes such as the opposition to the nuances of the impressionist palette, the taste for the monumental, the rejection of the realistic evocation of nature and the search for transpositions of color. Fairytale and multicolored visions of green skies, vermilion red flowers, lemon-colored trees and emerald-green faces can be found, with the intention of substituting for the measured but conventional harmonies of traditional writing, colorful polyphonies. The use of the color such as output of the tubes that derain will compare to cartridges of dynamite. Cezanne too is an important source of inspiration. In the Gypsy of 1905, painted in Saint-Tropez 1, Matisse takes up again the geometrization of the characters' bodies characteristic of the solitaire d'aix. Derain, on the other hand, draws inspiration from it in the dance, to reflect on the place of the human figure in a landscape, as much as in the bathers of 1907, to stylize his figures. Similarly, the composition of the port collioure, very thoughtful, is reminiscent of Cezanne. At Vlaminck, it is rather the van gogh heritage that we find, as shown in part of the campaign in 1907. Although hostile to museums, he had discovered this artist during an exhibition in 1901 at Bernheim-Young, which had definitely oriented his career towards painting. It was at this same exhibition that derain introduced him to matisse. I never go to the museum, I hate the smell, the monotony. I hate the word "classic".

This sentence is revealing of the state of mind of the artist. He has always refused to pass as such and decided to train himself. He likes seductive imageries for their colorful evocation, their decided oppositions, for this light lyricism.

His feeling of nature also asserts itself as a popular condition. Derain called him "the most painter of us". Much more than the novel, that music, painting corresponded at home to the need for a more concrete material capable of expressing all the sensuality of a natural empiricism. André derain makes his first contribution to the movement by adhering to the principle of organizing a space made according to the surface of the canvas. In his early days, he showed a certain indecisive spirit originating from his instinct as a painter and a very extensive culture, as well as a conflict between the two notions.

This condition will be aggravated by the fact that matisse and vlaminck present, one with his prudence, the other with his uncontrolled instinct, two tendencies of which he perceived the successive binding effects. Derain's friends will know him as a master of the brush, a powerful touch, a serene ease and with a sureté of nuances and pure accents and decided already to a surprising virtuosity, bearing the mark of a temperament. "the great danger for art is the excess of culture" what do we gain from lack of culture? Derain all this is expressed first by an exuberant color so derain will focus on pushing intensity to a paroxysm vlaminck itself will remain the first surprised, with the intention of achieving harmonies rather than colorful symphonies. Derain is therefore the first to notice that the technique of the big cats could build but not architect a canvas.

He is very curious but not necessarily daring and we will notice when cubism will invite him to surpass the limits that his instinct pushed him to cross but that his spirit. Will finally have to respect. He had sensed that there are two cultures: the one that.

Assimilated, and that which constitutes only a simple ornament of the spirit. It is to this dilemma that his work comes up against.

If these hesitations deprived him of an originality that he eventually wished, they contributed to his brilliant achievements, especially in his fawn compositions. Finally, one last influence: that of the "first arts\These exotic arts, much criticized in the nineteenth century for their "ugliness" and honored by gauguin, are collected by the artists who discover them at the world's exhibitions. Many works present characters with stylized faces in the form of a mask, as is the case for example for the matisse gypsy.

The big cats think of order, of measurement in a domain where they dread the worst excesses, the worst mistakes. The subject is considered only from the point of view of its only plastic function and hence, the degree of intensity of the tone, the measure of painted surfaces, the distribution of whites, the distribution of expressive rings, the development of inspired arabesques favor the desired cohesion and balance. The eternal problem of the depth and illusion of space is solved by the power and choice of the place of tones. Light is no longer a source of light, but of intensity and any accident is rejected for the benefit of the essential.

Simplification is the guarantee of the multiplicity of tones. A completely new grammar is imagined, codified according to personal logics and without doubt the supreme intention of the artist remains to find the first sensation of shock experienced and the beasts intended to let the instinct be organized so as not to betray the freedom he had taken vis-à-vis the object of his emotion. Wild animals no longer want to compromise their chances of being understood. This movement, however, will last only the time to see arise some magnificent works of lyricism and colors. The rapid dispersion of the cats attests that the attempt was not made after its consequences. There is a considerable margin between what the big cats wanted to be and what they became. Matisse began to feel the limits of the movement and he did not dare to cross, for fear of breaking with a traditional reality of nature that he could not do without. Finally, fauvism asserts itself more as a technique than an aesthetic. The item "sasza blonder / andré blondel (1909-1949) hsb 1946 / school of paris / fauvism" is for sale since Wednesday, March 20, 2019. It is in the category "art, antiques \ art of the twentieth, contemporary \ paintings ".Art" and is located in / in paris. This item can be shipped to the following countries: America, Europe, Asia, Australia.
  1. period: xxth and contemporary
  2. dimensions: 59 x 46 cm
  3. style: 1940-1960
  4. gender: fauvism
  5. theme: still life
  6. type: oil
  7. characteristics: signed

Sasza Blonder / André Blondel (1909-1949) Hsb 1946 / School Of Paris / Fauvism    Sasza Blonder / André Blondel (1909-1949) Hsb 1946 / School Of Paris / Fauvism