Format 43 x 32 cm. For any information contact us tel: 06 81 01 49 19.This work is visible by appointment. Galerie montfort 64 passage jouffroy 75009 paris. In 1920, Germaine Richier entered the School of Fine Arts in Montpellier in the studio of. She learns the technique of direct carving and essentially makes busts.
She won the first prize of sculpture with. In 1926, on the recommendation of the architect henri favier.
Welcomes him in his private workshop, avenue du Maine. Bourdelle is surrounded by two practitioners, the Swiss sculptors arnold geissbuhler. She married otto bänninger on December 12, 1929 and, in 1933, they settled in a workshop avenue de châtillon today avenue jean-moulin in the 14th. In 1936, the max kaganovitch gallery, in paris, organizes its first special exhibition .
Germaine Richier shows busts, now destroyed, and a masculine nude loretto i. She receives the blumenthal prize. At the declaration of war, in September 1939, germaine richier and otto bänninger are in Switzerland. She begins to take an interest in the theme of the hybrid figure: the toad (1940), the grasshopper (1944) and the man-forest (1945).It does not abandon the creation of more realistic works (the Chinese, 1939) and male or female nudes (pomona, 1945). She meets the Italian sculptor marino marini. Between them is born a great friendship: "to meet germaine richier was like meeting a volcano of fantasy and vitality. There was a reciprocal need, a manifestation of thought: two Mediterranean elements that found themselves in a part of Europe that was not affected by the war. Then, when peace returned, everyone returned to his country, and Germaine returned to France. I saw her again later, she did not speak anymore, she was worried. In 1945, he made a head of richier germain kept at the galleria d'arte moderna of Milan. In April 1946, Germaine Richier returns to Paris, without otto bänninger. With the latter, she corresponds very regularly. "Basically, it is bänni who introduced me to art and it is to him that I owe the emancipation of my bourgeois life.
She finds her studio in the avenue de châtillon and continues her hybrid figures spider i, the mantis, the bat. In November 1946, she meets the writer and poet rené de solier. Admiring his work, he manages to stimulate in her creative effervescence. He communicates his admiration to his friend Jean Paul.
As well as to the poet francis ponge. And to the writer andré pieyre de mandiargues. Who does not spare his enthusiasm: "for my taste, it is almost only a few women who save the painting today, and it is rich that saves the sculpture. In 1947, she made the storm for which she had an old model of auguste rodin installed.
This work is presented at the Biennale XXI of Venice. That same year she exhibited at the Anglo-French art center in London. The text of the catalog is rené de solier. In 1948, it's the maeght gallery. Who exposes it (from October 22 to November 10).At the same time, an issue of the magazine behind the mirror is dedicated to him with texts by george limbour. In 1949, she accepted an order for the decoration of the new church built on the assy plateau. She makes the crucifix placed behind the altar. A few months after the inauguration of the church on August 4, 1950, a group of Catholic fundamentalists managed to obtain the withdrawal of the sculpture. She will not be put back in place until 1969. She exhibits at the XXIV biennale of venice in the French pavilion and at the first biennale of são paulo. Where she receives the first prize of sculpture. From 1951, germaine Richier adds color to his bronzes. Thus for the city (1951), the background is painted by vieira da silva. And the spinning top (1952) by hans hartung.
She also has the idea of inserting colored glasses. It illustrates the works of Arthur Rimbaud.Illuminations and a season in hell by etchings. In 1954, Germaine Richier exhibited for the first time in the United States. At the Allan Frumkin Gallery in Chicago. Then she participates in the new decade's collective exhibition: 22 european painters and sculptors at the museum of modern art (moma). In 1956 she completed a monumental work over. From length the mountain for the retrospective which is organized at the museum of modern art of paris. She is one of the few artists to see a retrospective during her lifetime in mnam. In 1957, for health reasons, she moved to Antibes. With her husband, rené de solier, of which she illustrates the collection of poems against the earth. The last exhibition organized during her lifetime took place at the Grimaldi-Château d'Antibes museum in July 1959. She died on the 31st and was buried in the Mudaison communal cemetery. She learns the technique of triangulation, which consists of working on the living model by marking each of the bone points.
From these landmarks that indicate the structure of the skeleton, lines crisscross the body. This division of the body by a dense linear network makes it possible to analyze the shape and to proceed with the help of compass (height and thickness) and plumb line, to its report on the model in earth without intermediate studies. The exhibition catalog of the 1996 maeght foundation reproduces a photograph of the nardone model, entirely painted with features. One day he will say, "You know how to hook a nose to a forehead.
This setting is not a way of copying nature, but rather of interpreting the form, of distorting it by "lying the compass" according to its frequently used expression. "In my opinion, what characterizes a sculpture is the way in which we give up solid and solid form. The holes, the perforations illuminate the matter that becomes organic and open, they are everywhere, and that is where the light passes. A form can not exist without a lack of expression.
And we can not deny human expression as part of the drama of our time. Germaine Richier conceives his full and complete works. It stretches the earth, layers it, kneads it and then rends it with sharp-edged tools that it calls swords with which it cuts a plane, accentuates a hollow, draws a line affirming the direction of a leg or an arm. She incises the surface of the material to include fragments and trace scarifications. She wants the jagged forms to have a changing and living aspect.From the toad (1940), it represents the human body by integrating it with the reigns of nature. It pushes the experiment to graft into the plaster of tree branches and leaves (man-forest, 1945).
She sees life in everything and this animist dimension becomes central in the development of her sculpture. It associates the body of a man or a woman with a natural element or a worn object without fear of giving birth to strange figures. A piece of brick and cement polished by the sea, picked up on the beach of Varengeville. Became the head of the hedgehog (1951), a fragment of amphora is the top of the bust of water (1954).It is rené de solier, in 1953, which uses the first word hybrid to evoke the sculptures of germain richier: "the difficulty conquered, after some adventurous exploration, we surprise the hybrid and the power to forget" the origins " . The repertory of hybrid forms inaugurated by the toad is, at first, only an encounter between an animal name and its human transposition before opening to the mixture of human, plant and animal kingdoms. The choice among animals (toads, bats, Tarascans, grasshoppers, mantes, spiders) drawn from an essentially female register, constructs a universe where the woman "is sovereign". And with the exception of the toad, they are beings with long slender limbs, capable of leaping or stealing.
Note the "black windows, dusty, along the walls, boxes of fabulous insects which will be seen to play a role in the sculpture of germain richier. The item "germaine richier litho original sculptrice marino marini usa paris" is on sale since Thursday, December 3, 2015. It is in the category "art, antiquities \ art of the twentieth, contemporary \ prints, etchings".
The seller is "jcjc8" and is located in / in paris. This item can be delivered anywhere in the world.