wally findlay galleries

Transcription

and the
chagall
Circle
of
J e w i s h Painters
of the
Wally Findlay Galleries
20th Century
M a rc C h ag a l l
(1887 - 1985)
Marc Chagall was born July 7, 1887, in Vitebsk, Russia. From 1907 to 1910, he studied in St. Petersburg at the
Imperial Society for the Protection of the Arts and later with Leon Bakst. In 1910 he moved to Paris, where he was associated
with Guillaume Apollinaire and Robert Delaunay and encountered Fauvism and Cubism. He participated in the Salon des
Indépendants and the Salon d’Automne in 1912 and held his first solo show in 1914 at Der Sturm Gallery in Berlin.
Chagall visited Russia in 1914 and was prevented from returning to Paris by the outbreak of the war. He settled in Vitebsk
where he was appointed Commissar for Art in 1918. He founded the Vitebsk Popular Art School and directed it until his
resignation in 1920. He moved to Moscow and executed his first stage designs for the State Jewish Chamber Theater. He
returned to Paris in 1923 and his first retrospective took place in 1924 at the Galerie Barbazanges-Hodebert, Paris. In 1933,
the Kunsthalle Basel held a major retrospective of his work.
During World War II, Chagall fled to the United States. The Museum of Modern Art, New York, gave him a retrospective
in 1946. He settled permanently in France in 1948 and exhibited in Paris, Amsterdam and London. During 1951, he visited
Israel and executed his first sculptures. During the 1960s, Chagall continued to travel widely, often in association with largescale commissions he received. Among these were the windows for the synagogue of the Hadassah-Hebrew University
Medical Center, Jerusalem, installed in 1962, a ceiling for the Paris Opera installed in 1964, murals for the Metropolitan Opera
House, New York, installed in 1967, and windows for the Cathedral in Metz, France, installed in 1968.
An exhibition of the artist’s work from 1967 to 1977 was held at the Musée du Louvre, Paris, in 1977-78, and a major
retrospective was held at the Philadelphia Museum of Art in 1985. Chagall died March 28, 1985, in St. Paul-de-Vence, France.
WALLY FINDLAY GALL E R IE S IN T E R N AT I ON A L , IN C .
1 6 5 WO RTH AV EN U E, PA LM B EA C H F L 3 3 4 8 0 • ( 5 6 1 ) 6 5 5 2 0 9 0
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129010 ©
Le Cirque, 1942 Watercolor, gouache and pastel on paper, 15 x 19 inches
134648 ©
Deux ânes verts, 1980 Oil on canvas, 39 x 32 inches
134649 ©
Le Cirque, 1979 -1981 Oil on canvas, 36 x 28 inches
Reuven Rubin
( 1 89 3 - 1 9 7 4 )
Reuven Rubin was born in Galati to a poor Romanian Jewish Hasidic family. He first studied art at Bezalel Academy of Art
and Design in Jerusalem. However, he found that his artistic views clashed with those taught and left to pursue his studies at
the École Nationale Supérieure des Beaux-Arts.
The painters who depicted the country’s landscapes in the 1920s rebelled against Bezalel. Rubin’s modern yet naïve style portrayed the landscape and inhabitants of Israel in a sensitive fashion defined by a spiritual, translucent light. Biblical folklore
and people along with sun-bathed landscapes were reoccurring themes in Rubin’s works. And, in accordance with his integrative style, he signed his first name in Hebrew and his surname in Roman letters.
In 1924, Rubin became the first artist to have a solo exhibition at the Tower of David in Jerusalem. He was also elected chairman of the Association of Painters and Sculptors of Palestine. In addition, many theaters, including the Habima and the Ohel,
commissioned Rubin to design stage backdrops.
In October 1974 Rub died in Tel Aviv. A collection of his paintings was left to the city of Tel Aviv, and in 1983, The Rubin
Museum opened, with his daughter-in-law, Carmela Rubin as director and curator.
134662 ©
From my Window, 1924 Oil on canvas, 24 x 18 inches
134653 ©
Les Oliviers, 1958 Oil on canvas, 28 x 35 inches
©
134663
Jewish Shephard and Sheep Watercolor and pencil on paper, 13 x 10 inches
134654 ©
Springtime, 1946 Oil on canvas, 25 x 32 inches
Othon Friesz
( 1 87 9 - 1 9 4 9 )
Achille-Émile-Othon Friesz, known as Othon Friesz, was born in Le Havre in 1879. His parents encouraged him
to become a painter and as soon as 1892 he began training at the École des Beaux-Arts in Le Havre. Here he worked at
Charles-Marie Lhullier’s workshop and developed lasting friendships with Raoul Dufy and George Braque. In 1897 Friesz was
granted a scholarship and studied until 1903 under Léon Bonnat at the École Nationale Supérieure des Beaux-Arts in Paris.
During this time he met with Henri Charles Manguin, Albert Marquet, Henri Matisse and Charles Camoin, and was heavily
influenced by Camille Pissaro. In 1900 Friesz made his artistic debut at the Salon of the Société des Artistes Français, he exhibited work in 1904 at the first Salon d’Automne and again in 1906 at the Salon des Indépendants.
The artist travelled extensively, often participating in exhibitions. As he visited Portugal in 1911, Belgium in 1912, Munich
and Düsseldorf he became well known throughout Europe. Participation in the Armory Show in New York and Chicago
brought him recognition in America. In 1937 Friesz and Raoul Dufy decorated the Palais de Chaillot on the occasion of the
world fair in Paris. In addition, he taught at the Académie Moderne in Paris between 1912 and 1921, at the Académie Scandinave from 1925 and at the Académie de la Grande Chaumière from 1944 onward. Friesz’s works varied in style, ranging from
traditional, austere technique to some of the boldest examples of Fauvism.
133913 ©
Après-midi d’été, ca. 1935 Oil on canvas, 28 x 23 inches
Moise Kisling
( 1 89 1 - 1 9 5 3 )
Moise Kisling was born in Kracow, Poland. Despite that his parents wished him to be an engineer, he entered the Art
Academy of Kracow when he was fifteen. There he was introduced to French Impressionist art and was encouraged to go to
Paris. When he arrived and settled in Montparnasse in 1910 he become popular among the artists living and working there,
known as the School of Paris.
In 1914, at the outbreak of World War I, Kisling joined the Foreign Legion. Although he was seriously wounded during his
first year of service he was rewarded with French citizenship. He continued to live in France and volunteered for army service
again in 1940. When the French Army was discharged at the time of the surrender to the Germans, Kisling went to the United
States. After exhibitions in New York and Washington he lived in California until 1946. He then returned to France to live in
Sanary-sur-Mer, on the Mediterranean coast, until his death.
The School of Paris was a great influence on Kisling’s art. His works represent a synthesis of influences, combining French
characteristics with ideas from non-French painters. Under the influence of Derain, Kisling learned to control his natural
exuberance and love of color. In addition, the death of his close friend Modigliani inspired some faint melancholy tones in
later portraits. In his latest works, Kisling’s bursting Slavic color and luxurious designs are the signature of an individual style
that is both lively and exciting.
134667 ©
Bouquet de Mimosas, 1945 Oil on canvas, 15 x 10 inches
134652 ©
Bouquet de fleurs, ca. 1920 Oil on canvas, 28 x 21 inches
134666 ©
Bouquet d’Anémones dans un vase, 1916 Oil on canvas, 13 x 16 inches
M a n é -K at z
( 1 89 4 - 1 9 6 2 )
Mané-Katz was a French painter and sculptor of Ukrainian birth who came from an orthodox Jewish family. After studying at the School of Fine Arts in Kiev, he visited Paris for the first time in 1913 and enrolled in Fernand Cormon’s class at the
École des Beaux-Arts, where his fellow students included Chaïm Soutine. Here, Rembrandt, the Fauves, especially Derain,
and briefly Cubism all influenced him.
After the outbreak of World War I, Katz returned to Ukraine where he was appointed professor at the academy in Khar’kov
in 1917. He left again for Paris in 1921 with new inspirations for his work. Life in the ghettos of Eastern Europe, the rabbis
and Talmudic students, the fiddlers and drummers, comedians and beggars, landscapes and flowers all provided themes and
subjects for his art. His style became expressionist and baroque, characterized by loose brushwork and rhythmical forms.
Katz obtained French citizenship in 1927, but from 1940-1945, after the fall of France, was forced to take refuge in New York.
After the war ended, Katz’s painting became much bolder in color and patterning. He made a number of visits to Israel and
left many of his works to the town of Haifa. These works formed the basis of a museum devoted to his career.
134670 ©
Four Musicians Oil on canvas, 36 x 28 inches
134656 ©
Trombone Player Bronze with patina, 10 x 7 x 7 inches
Percussionist Bronze with patina, 10 x 6 x 6 inches
Theo Tobiasse
( 1 92 7 - 2 0 1 2 )
Theo Tobiasse was born in Israel of Lithuanian parents. During the German occupation of Paris in 1942-1944, the family
was forced to live in solitary confinement, constantly fearing being discovered. During this time Tobiasse kept sane by drawing, building up a large portfolio. Theo’s life inspired his works, and through these experiences he believed he reached a place
of perfect contentment and harmony that he expressed through color and texture. His first exhibition was held at the Palais
de la Méditerranée in 1961, where he won the grand prize and decided to devote his time entirely to art. In 1970, he moved
into his studio on Quai Rauba Capeu, overlooking the Port of Nice, and in 1976 he moved again to St. Paul-de-Vence. Here he
rediscovered both the sky of Jerusalem and that of Florence. It was in Nice that his pictorial expression came into its own.
Tobiasse’s early works were profane and close to certain bestiaries, however, with time he evolved towards reminiscences about
his childhood. Buses that he had caught sight of on his journey to France, boats with wheels on the Nieman in Lithuania, tea
kettles, the warmth of the fireside, the trains when he arrived in Paris at dawn, the smokiness of railway stations all became
subjects of his work. These symbols were combined with Biblical subjects, erotic fantasies and with the theme of exile to
create extraordinary masterpieces. The theme of exile became especially prevalent in his recent works. Tobiasse added a
dramatic dimension when this theme began to encompass not only past and present exiles, but the fear of exiles still to come.
This subject is depicted into recent paintings through women, children, crowds, and often candelabra, which represent the
glow of hope.
Since 1980, Theo Tobiasse travelled a great deal in the United States and divided his time between St. Paul-de-Vence and New York.
On a detour in Mexico, he discovered and was inspired by the sculptures and engraved stones of the Aztec sites of the Yucatan.
He has held many exhibitions and one-man shows throughout the world, and is exhibited in many international museums. He
created monumental works such as the fountain entitled “L’Enfant fou” for the Arenas Business Centre at Nice Airport, and
stained-glass windows for various institutions in Strasbourg and Nice. He also designed costumes and stage-set models for
Bernard Shaw’s “Pygmalion.” Tobiasse has created illustrated works for lovers of fine books, etchings and engravings, and has
also published many of his sketchbooks. He discovered a passion for ceramics, producing pottery and dishes, as well as a series
of small bronze sculptures. Tobiasse has also worked in etching, lithography and many more mediums.
134660 ©
L’homme de Pourim, 1974 Oil on canvas, 32 x 39 inches
134661 ©
Danseuse à la roulotte, 1969 Oil on canvas, 18 x 12 inches
Karel Appel
( 1 92 1 - 2 0 0 6 )
Karel Appel was born in Amsterdam to Jan Appel, a barbershop owner, and Johanna Chevalier, a descendant of French Huguenots. At just fourteen, Appel produced his first painting on canvas, a still life of a fruit basket. Shortly after, for his fifteenth
birthday, his wealthy uncle Karel Chevalier gave him a paint set and an easel. An avid amateur painter himself, Chevalier gave
his namesake some lessons in painting.
Appel’s first solo show was held in Groningen, Netherlands. He also participated in the Jonge Schilders exhibition at the Stedelijk Museum of Amsterdam. During this time Pablo Picasso, Henri Matisse, and Jean Dubuffet influenced Appel. In 1948,
he founded Nederlandse Experimentele Groep together with Constant, Corneille, Eugene Brands, and others. Later that year
he was one of six who signed the manifest of the CoBrA movement in Paris. Appel also created graphic works, illustrations,
sculptures, ceramic works and large decorations of buildings and rooms. Motifs of children and animals are depicted in his
paintings with strong and bright colors surrounded by black outlines. These colors and childish lines illuminate the sense
of childhood and fantasy present in his art. However, by the 1950s Appel began to replace these motifs with a more free and
emotional style. He began to use more paint, creating almost three-dimensional paintings.
After being introduced to Børge Birch, the two artists formed a partnership. This resulted in several exhibitions, also exhibiting alongside many of Appel’s CoBrA friends. Bold expressionist forms and raw, intense colors characterized the works of this
group. In 1951, Appel painted a mural for the Stedelijk Museum in Amsterdam, and in 1960 was awarded the UNSECO Prize
at the 27th International Biennale in Venice, and the first prize at the Guggenheim International Exhibition in New York. He
has exhibited in galleries worldwide and has earned an important place in the art world.
134658 ©
Wounded Horse, 1983 Oil on canvas, 71 x 95 inches
Issachar Ber Ryback
( 1 89 7 - 1 9 3 5 )
Issachar Ber Ryback was born on February 2, 1897 in Yelisavetgrad. As a child, Ryback lacked speech habits due to delayed
development and unhealthiness, causing him to enter the heder at the late age of 10. While there he secretly attended evening
drawing classes for workers at the local factory. After a year, Ryback entered the Yelisavetgrad courses for scene painters. He began working in an artel that commissioned interior paintings of public and church buildings. The money he earned here allowed
him to become independent and continue his artistic education at the Kiev School of Arts in 1911.
During the following years, Ryback worked closes with the leading painters of the Russian avant-garde movement, specifically
Alexander Bogomazov and Alexandra Exter. His works focused on Jewish themes, but with a modernistic approach. He painted a
number of works where Jewish symbols and folk art motifs were intertwined with the avant-garde techniques of image plotting.
In 1915 Ryback exhibited his paintings for the first time at the Kiev Spring Exhibition. In 1916, the Jewish Historical and Ethnographic Society commissioned Ryback and El Lisitzky to travel around Ukraine copying the paintings in synagogues and carved
gravestones. Ryback’s career was a diverse one, not only did he paint and sculpt, he was engaged in artistic criticism, theater,
and publishing. He participated in countless exhibitions, taught at the Kiev Jewish Children’s Studio, designed stamps for Jewish
publishing houses, made artistic designs for the Eygns (a literary almanac), worked for the Culture League Theater Studio and the
Moscow Jewish Chamber Theater, published The Ways of Jewish Painting paper and designed art for books by Miriam Margolin.
A chronic illness forced Ryback into the hospital for the end of his life. During this time, his friends held an exhibition of his life’s
works in a Paris gallery. Shortly after the closing of the exhibition in 1935 Ryback passed away.
134673 ©
Boy Crossing a Stream Oil on canvas, 15 x 21 inches
Ossip Lubitch
( 1 89 6 - 1 9 8 6 )
Ossip Lubitch was born into a family of blacksmiths. He studied at the Fine Art Academy in Odessa. In 1919 he moved to
Berlin with a group of Russian artists including Pavel Tchelitchev, Jean Pougny and Lazare Meerson. There the artists designed
stage and cinema sets. In 1923, a contract for the decoration of a Montmartrean cabaret gave him the opportunity to fulfill his
dream of devoting himself entirely to painting in Paris. Once there, he studied the work of Rembrandt, Goya and Degas and
understood the importance of drawing. In Montparnasse, Lubitch formed a friendship with Zygmund Schreter and the sculptors
Irene Codreano and Leon Indenbaum. In 1934 he published an album entitled Cirque, comprised of ten etchings and aquatints
with a poem preface by George Rouault.
During the war, Lubitch continued to paint in Montparnasse. In 1940 he did not declare himself as a Jew to the police; he was
denounced in 1944 and interned in Drancy, arriving there on August 18, 1944, the day after the last convoy for Auschwitz. To
commemorate the victims of the Shoah, Lubitch bequeathed his drawings produced in Drancy to the Yad Vasheim Institute in
Jerusalem. With the Liberation, he settled in rue Campagne Premier with his future wife Suzanne Boulboire, also a painter, and
their daughter.
125117 ©
Village au Bord de Mer Oil on canvas, 23 x 28 inches
D av i d D av i dov i c h B u r l i u k
( 1 88 2 - 1 9 6 7 )
David Davidovich Burliuk was born into a privileged class of Russian society. Burliuk studied at the Kazan School of
Fine Arts in 1898, and thereafter in Odessa, Moscow, Munich, and in Paris at the École des Beaux Arts. His early works were
fauve-like, “violent in color and heavy with paint” and were exhibited with the Blue Riders in Munich. In 1911 he was expelled
from the Moscow Institute as a breaker of artistic tradition. He then joined other futurists and undertook a public campaign
focused on the craziness of modern industrial life.
With the advent of World War I, Burliuk left Russia and traveled for four years to Siberia, Japan, and the South Seas. In 1922,
for a fresh start, Burliuk moved to New York, where he struggled to survive. Eventually he gained a significant following in
America and would continue to exhibit there almost until his death. The 1965 introductory note for Burliuk’s final exhibition,
Farewell Exhibition of New Paintings, held at the ACA Gallery in New York, poignantly summarizes the artist’s career:
“Through the years, Burliuk has traveled the world over, painting in many countries and returning with the fruits of his labors
to give many memorable exhibitions. Today, Burliuk evokes a glowing and vibrant recollection of his early years, as well as his
enduring love of nature. His brilliantly colored canvases are ablaze with vitality and the joy of living.”
Throughout his life, Burliuk was innovative, energetic and upbeat. His subjects ranged from portrayals of peasant life in
Russia, to futurist depictions of South Sea fishermen, to neo-primitive paintings. While in the United States, he developed his
“radio style” which involved symbolism, neo-primitivism, and expressionism. However, his pre-revolutionary experimental art
is often hailed as his most creative. He was a central figure in the history of the Russian avant-garde movement as an accomplished poet, art critic, and exhibition organizer.
134651 ©
South Seas, 1921 Oil on canvas, 13 x 18 inches
V i c to r B r au n e r
(1903 - 1966)
Victor Brauner was born on June 15, 1903, in Piatra-Neamt, Romania. His father was involved in spiritualism, and thus
sent Brauner to evangelical school in Braïla from 1916 to 1918. In 1921, Brauner briefly attended the School of Fine Arts in
Bucharest. He developed an expressionist style, and exhibited his first solo show at the Galerie Mozart in Bucharest in 1924.
Brauner was associated with the Dada movement, helping to found the Dadaist review 75 HP and being involved with the Dadaist and Surrealist review UNU. The Surrealists, departing from the realism and academicism of the nineteenth-century art,
painted unexpected juxtapositions of sharply depicted figurative images, drawing from the landscapes of dreams. Brauner’s
paintings were influenced by other Surrealists as well as by modernists such as Picasso and Klee. His works featured gruesome
depictions of distorted human figures with mutilated eyes, and he depicted scenes drawn from magic and occult. He even developed a reputation as a clairvoyant after he lost an eye during a brawl at a party.
During World War II, he fled to the South of France where he maintained contact with other Surrealists. Later, after seeking
refuge in Switzerland and unable to find suitable materials, he worked in collage and fumage, and even developed a graffito
technique from candle wax. In 1945, Brauner returned to Paris, where he was included in the Exposition Internationale du
Surréalisme. His postwar works incorporated forms and symbols based on Tarot cards, Egyptian hieroglyphics and antique
Mexican codices. On March 12, 1966 Brauner died in Paris.
134657 ©
Paysage, 1953 Oil on canvas, 7 x 9 inches
Jules Pascin
( 1 88 5 - 1 9 3 0 )
Jules Pascin was born in Vidin, Bulgaria, the eighth of eleven children; the son of an important grain merchant. In 1902
Pascin left for Vienna and studied at the Heymann Art School in Munich from 1903-1904. During the next five years he
worked as an illustrator for the German periodicals Simplicissimus and Jugend. In 1905 he moved to Paris where he became
part of the circle of artists who frequented the Café du Dome, including Walter Bondy, Rudolf Levy, Hans Purrmann, Walter
Rosam, and Eugene Spiro. In 1907 he met Hermine David, whom he married in 1918.
At the outbreak of the war in 1914, Pascin emigrated to the United States in an effort to evade conscription by the Romanian
army. He spent the war years traveling in the southern states and in Cuba until 1919. Having obtained American citizenship
in 1920, he then returned to Paris. In the early 1920’s he illustrated books by Pierre Mac Orlan, Andre Warnod, and Andre
Salmon. Pascin created watercolors, sketches, drawings and caricatures, and often sold these to newspapers and magazines.
He was inspired by his surroundings, using his friends as subjects. He also painted many works of ‘petites filles’ - prostitutes
and models. Pascin was famous as the host of numerous parties and led friends on summer picnics beside the River Marne.
Ernest Hemingway’s chapter titled “With Pascin At the Dôme,” in A Moveable Feast, recounted a night in 1923 when he had
stopped off at Le Dôme and met Pascin escorted by two models. Hemingway’s portrayal of the evening is considered one of
the defining images of Pascin at the time. Pascin struggled with alcoholism and depression, and eventually in 1930 he committed suicide in his Paris studio. WALLY FINDLAY GALL E R IE S IN T E R N AT I ON A L , IN C .
131362 ©
Scène de Figures Watercolor over pencil on paper, 7 x 11 inches
A rt h u r K o l n i k
( 1 89 0 - 1 9 7 2 )
Arthur Kolnik was a French painter and printmaker born on May 4, 1890 in Poland. Kolnik studied at the School of Fine
Arts in Cracow and worked under Professor Joseph Mehoffer. In 1921, Kolnik and Reuvin Rubin held a joint exhibition in the
United States. During the 1930s, he illustrated a number of Jewish works, was a caricaturist for newspapers and created art deco
illustrations for the fashion press.
Kolnik’s painting often depicted the Ghetto dwellers of Eastern Europe, along with traditional Jewish scenes of the Hasidic
communities in his native Galicia. His paintings were sympathetic and understanding, recalling the destruction of his culture
and people during the Holocaust. He highlighted his human forms with sharp outlines, and freely divided space into geometric
planes and patterns.
In 1968, just a few years before his death, Kolnik was honored by a major exhibition of his works at the Tel Aviv Art Museum.
In 1972, Kolnik died in Paris.
134668 ©
Purim Spiel Oil on masonite, 28 x 47 inches
Ludwig Blum
( 1 89 1 - 1 9 7 5 )
Ludwig Blum was born in the Czech Republic in 1923. Showing artistic talents at an early age, he was sent to study fine art
at the state academy in Vienna and later at the Prague Academy of Fine Arts. During these years modernism was emerging with
Eretz Yisrael artists such as Rueben Rubin and Abel Pann in the forefront. These artists created works influenced by Art Nouveau and Symbolism, not the style that Blum wished to pursue. Instead, Blum became a specialist in views of Jerusalem: panoramas, holy sites and portraits. He became known as a topographical artist who created works for tourists as souvenirs of the Holy
Land. During his lifetime, Blum was extremely popular with the public, however, critics and fellow painters were less impressed.
Blum’s works were defined by an agitated brushwork with an almost expressionistic painterly gesture. He painted with bright
colors, emphasizing natural light, with a clear-eyed optimistic feel to his art. Painting was a passion for Blum, and his works captured his belief in his country and culture. Blum served in the Austrian army in WWI and served in the civil guard in Jerusalem
throughout the War of Independence. At this time, he made a series of portraits of Jewish freedom fighters.
Blum exhibited frequently, in Israel and abroad. In 1933, one of his paintings received special mention at the Royal Academy in
London. In 1974 Blum died.
134650 ©
Market Scene, 1949 Oil on canvas, 23 x 19 inches
G u s tav B a u e r n f e i n d
( 1 84 8 - 1 9 0 4 )
Gustav Bauernfeind was born in southern Germany. His beginnings did not indicate his future success as an artist, as he
attended the Stuttgart Polytechnic Institute and worked as an architect. In the 1870s, Adolf Gnauth, an architect and a gifted
painter, employed Bauernfeind. During this time, Bauernfeind refined his artistic skills, meticulously executing drawings of
architecture and nature. However, his subject matters were rather mundane, leading to few interested buyers.
Recognizing the financial opportunities awaiting a painter of Orientalist subjects, Bauernfeind found a new source of inspiration.
His subjects became the sun, the light, characters, customs and religious attitudes of the Jewish culture. He traveled widely in
the Middle East, particularly to the Holy Land, and eventually settled in Jerusalem. Even with this shift in style, Bauernfeind
remained inept at self-promotion and struggled to make a living for most of his career. His recognition came after his death in
1904, and today he is regarded as one of the most significant and gifted Orientalist artists.
133669 ©
The Wailing Wall, Jerusalem , ca. 1904 Watercolor on paper, 23 x 18 inches
T h e odo r e J a c q u e s R a l l i
( 1 85 2 - 1 9 0 9 )
Theodore Jacques Ralli was born February 16, 1852 in Greece. He studied at the École des Beaux-Arts under Jean-Léon
Gérôme and Jean-Jules-Antoine Lecomte du Nouy, both artists known for their orientalist paintings. Ralli settled in Egypt, where
he found inspiration for the romantic mysticism and suggestive sensuality that would characterize his style. He was known for
his great attention to detail, especially in clothing and facial expressions, and his varying light sources such as rays of lights,
candles or glowing fireplaces.
In 1875 Rally first exhibited at the Salon, and then regularly at the Royal Academy in London. He was a member of the Société
des Artistes Français, exhibited paintings in Athens at the Olympic Games of 1896 and also served as a member of the competition jury in 1900 at the Exposition Universelle. In 1901 he became a Chevalier of the Légion d’Honneur.
After his death in 1909, Rally was almost forgotten. Few museums ever purchased his works, and most remain in private collections. However, his paintings have recently been rediscovered and have gained more popularity than ever before.
134664 ©
The Wailing Wall, Jerusalem Oil on panel, 10 x 15 inches
J e a n (H a n s ) A r p
( 1 88 6 - 1 9 6 6 )
Hans Arp was born September 16, 1887 in Strasbourg. During a 1904 visit to Paris the artist was deeply impressed by the
modern paintings. He was thus inspired to go to Weimar and take courses at the academy under Professor Ludwig von Hoffman
from 1905-1907. In 1908 he spent some time at the Julian Academy of Paris, and afterwards went to Switzerland to work in
solitude.
In 1911, Arp along with Gimmi, Helbig and Lüthy founded the “Moderne Bund” (The Modern Alliance). The association was
generally seen as the first artistic group to attract attention and encourage the reception of modern art in Switzerland, with the
formation marking the breakthrough of modern art in the country. Arp showcased his works at the first and second Moderne
Bund exhibitions, and at the First German Autumn Saloon in Berlin. He also contributing drawings to the Berlin periodical “Der
Sturm” and collaborated with Kandinsky on the book Der Blaue Reiter.
After the war broke out, Arp returned to Switzerland where he exhibited his first abstract works, rectangular forms, collages and
tapestries, at the Tanner Gallery, Zürich, in November 1915. In 1916, Arp was a key figure in the Dada movement. This movement primarily involved visual arts, literature, poetry, theater and graphic design that concentrated on anti-war politics through
a rejection of the prevailing standards in art through anti-art cultural works. In 1922, he collaborated with Kurt Schwitters on
the periodical “Merz.” He also participated in the first collective exhibition of surrealist at the Pierre Gallery in Paris in 1925.
Arp was considered a sculptor, painter, poet and abstract artist and was distinguished with many awards during his lifetime. In
1966, he died in Basel, Switzerland.
134655 ©
Ombre d’Orient, conceived 1961 Polished bronze, 7 inches
Arman
( 1 92 8 - 2 0 0 5 )
Arman (born Armand Pierre Fernandez) was born November 17, 1928 in Nice France. His father, an amateur artist, photographer and cellist, taught Arman oil painting and photography. He received his bachelor’s degree in philosophy and mathematics,
and continued by studying at the École Nationale des Arts Décoratifs. In 1949, he enrolled as a student at the École de Louvre in
Paris, where he focused on archaeology and oriental art.
Arman focused much of his attention on his abstract paintings. However, his concept of accumulation of vast quantities of the
same object would gain him recognition and success. In 1954, Arman began working on “Cachets,” which was inspired by German Dadaist, Kurt Schwitters. These works featured stamps on paper and fabric, were well received and sparked a change in the
artist’s career.
From 1959 to 1962, Arman developed his most recognizable style with “Accumulation,” (common objects arranged in polyester
castings or in Plexiglass cases) and “Poubelle” (collections of strewn refuse.) In 1960, Arman was a founding member of the
Nouveau réalisme group, a collection of young artists who defined themselves as bearing in common their new perspective approaches of reality and were reassessing the concept of art for the 20th-century consumer society.
In 1961, Arman made his debut in the United Sates. In 1964 he appeared in Andy Warhol’s film Dinner at Daley’s and in 1961 he
exhibited at the Cordier Warren Gallery. As his career progressed Arman began creating large public sculptures made of tools,
watches, clocks, furniture, automobile parts, jewelry and musical instruments. Arman died in New York in 2005.
134659 ©
Violin, (unique piece) 1993 Bronze with gold patina, height: 27 inches
Y a a c ov A g a m
(b. 1928)
Yaacov Agam was born on May 11, 1928 in Rishon LeZion, Israel. He was the son of an orthodox Rabbi, scholar and writer. Despite religious proscription against visual expression, Agam began drawing as a child and in 1946 he entered the Bezalel
Academy of Arts and Design in Jerusalem. Agam studied with Mordecai Ardon, a former student at the Weimar Bauhais. Agam’s Jewish origins and culture stressed the present, and the belief that life is dynamic and ever changing. Based upon these
beliefs, Agam determined that static paintings were inadequate to express the constant changes occurring in the world. This
inspired his works, allowing him to transcend traditional artistic boundaries and create unique works.
In 1950, upon Ardores’ recommendation, Agam went to Zurich to study with Johannes Itten at the Kunstgewerbeschule.
There he met Frank Lloyd Wright and Siegfried Giedion whose ideas on the element of time in art and architecture impressed him. In 1951, Agam moved to Paris where world-famous Surrealist artists discovered and encouraged him. In Paris
1953, Agam held his first one-man exhibition that invited spectator participation. The show, considered a success by critics,
brought Agam considerable attention in art circles. Agam became a creative force in the world of art where he transcended
the traditional and propelled himself into the forefront of a new art aesthetic. Critics and art historians acclaim him for his
inventive, talented genius; they have bestowed upon him numerous awards and honors and have recognized him as influential
and important in the history of art.
134671 ©
Shalom, (dyptich) 1973 - 1974 Acrylic on metal and wood, 47 x 28 inches
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