“Le Corbusier. Lessons of Modernism” at Nivola Museum

For the first time in Italy, the extraordinary drawings by Le Corbusier formerly in the Nivola collection, thanks to a project by the Fondazione di Sardegna and the Fondazione Nivola in the context of AR/S – Arte condivisa in Sardegna.

 

Le Corbusier / Nature morte à la pile d’assiettes et au livre, 1920 © Le Corbusier Foundation

 

Le Corbusier was not only the greatest architect of the twentieth century, he was also an exceptional visual artist who, starting from the geometries of his Purist period (from 1918 to the second half of the 1920s), developed, through contact with the Surrealist milieu and the lesson of Picasso and Léger, a highly potent and evocative synthetic language. At the base of his work as a painter stands an extremely rich and still little known body of graphic works, within which the collection of drawings preserved by Nivola has special significance. (more…)

Lyonel Feininger retrospective at Fundación Juan March

The exhibition offers a complete survey of the career of this German-American artist, Bauhaus teacher and key figure in the context of the artistic avant-gardes.

 

Feininger, Lyonel (1951) Lunar Web  © Fundación Juan March

Feininger, Lyonel (1951) Lunar Web © Fundación Juan March

 

From February 17, the Fundación Juan March presents a retrospective on Lyonel Feininger, the German-American artist from the early twentieth century, in its gallery space in Madrid. The exhibition, named Lyonel Feininger (1871-1956), continues the Juan March’s long-established strategy of presenting insufficiently explored artists, periods and aspects of modern culture, can be described as a “concentrated retrospective” of the artist’s work.


 

Practical information 

“Lyonel Feininger (1871 – 1956)”
February 17 – May 28, 2017
Fundación Juan March. Sede Madrid
Calle de Castelló, 77 Madrid
Spain

 


Nearly 400 works from public and private collections in Europe and the United States will be used to construct a survey of Feininger’s artistic activities, articulated around the different media in which he worked (drawing, graphic work, painting, photography and toy-making) and the principal themes within his oeuvre: caricature and satirical drawings; key places that inspired him, including Paris, Deep, Halle, Gelmeroda and Manhattan; and his recurring interest in bridges, towers, sea views and urban life.

 

Andreas feininger, Gelmeroda VIII, 1921. Whitney Museum of American Art, Nueva York. © Whitney Museum, N.Y.

Andreas feininger, Gelmeroda VIII, 1921. Whitney Museum of American Art, Nueva York. © Whitney Museum, N.Y.

 

The catalogue that accompanies the exhibition will be the first monograph on Feininger in Spanish, with essays and texts by some of the most reputed experts on his work, including Wolfgang Büche, Ulrich Luckhardt, Maurizio Scudiero, Heinz Widauer, Peter Selz, Achim Moeller, Danilo Curti-Feininger, Martin Faass and Sebastian Ehlert. To complement the catalogue there will also be a semi-facsimile complementary publication La ciudad en los confines del mundo [City at the Edge of the World], originally published in 1965 in English and German, with texts by the painter T. Lux Feininger and photographs by Andreas Feininger, two of the artist’s three sons.

 

Andreas Feininger, Nude Study [solarized], 1941  ©  2017 Estate of Andreas Feininger

Andreas Feininger, Nude Study [solarized], 1941 © 2017 Estate of Andreas Feininger

ABOUT LYONEL FEININGER

Feininger was born in New York but his parents, both musicians of German origin, sent him to Hamburg at the age of sixteen to complete his musical training. This dual German-American background would leave a permanent mark on his life and work.

In Germany, Feininger decided to give up music in order to devote himself to his true passion: drawing and illustration. After attending drawing classes at the Algemeine Gewerbeschule [Public School of Arts and Crafts] in Hamburg he focused on the emerging field of comics, in which he would be a pioneering figure. Feininger’s comic strips were soon published, albeit sporadically, in American and German magazines. He became fully established when he signed contracts with the German magazine Ulk in 1895, Lustige Blätter[Funny Pages] the following year, and The Chicago Sunday Tribune in 1906. For the latter Feininger created The Kin-der-Kids and Wee Willie Winkie’s World, his most famous comic strips.
Cover from The Chicago Sunday Tribune with a satyrical image of Lyonel Feininger, 29 de abril de 1906. Colección Achim Moeller, Nueva York

Cover from The Chicago Sunday Tribune with a satyrical image of Lyonel Feininger, 29 de abril de 1906. Colección Achim Moeller, Nueva York

Having made his name as an illustrator, Feininger moved forward creatively with the aim of finding a means of expression that would allow him to fully express his abilities. In a natural, progressive manner he began to move away from comics in favour of painting.

While his earliest works maintain links with comic design, depicting street scenes and exaggerated characters, between 1906 and 1908 and following a period in Paris, he began to make use of a more abstract line, almost completely abandoning figures and adopting a language based on straight lines and fragmented planes of colour.

 

Andreas Feininger (1946) self-portrait  © LIFE

Andreas Feininger (1946) self-portrait © LIFE

Andreas Feininger (1955) The Photojournalist © MoMa /  2017 Estate of Andreas Feininger

Andreas Feininger (1955) The Photojournalist © MoMa / 2017 Estate of Andreas Feininger

 

In 1919 Walter Gropius invited Feininger to join the Bauhaus and direct the printmaking studio, where he taught until the school was closed down by the Nazis in 1932. This experience led him to fully develop his use of the technique of woodcut, allowing him to develop the interaction of spatial planes in his paintings. Following the rise to power of the Nazi regime Feininger’s work was classed as “degenerate”. In 1937 he decided to return to the United States where he spent the rest of his life.

 

News source and text: Fundación Juan March
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Norberto Gil’s “The Accurate Limit” of Kyoto’s Katsura Villa

Galería Estampa in Madrid is holding an exhibition of Gil’s latest works: a series of paintings in which the artist’s overimposed planes of colour describe the interiors of the Katsura Villa, the Japanese Imperial Family’s famous palace in Kyoto.

 

Divisiones, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

Divisiones, 2016. Acrílico sobre papel. 152 x 100 cm. © Galeria Estampa

 

The Galería Estampa gallery in Madrid is showing an exhibition of Spanish artist Norberto Gil’s latest work –  a series of paintings of the Katsura Imperial Villa in Kyoto. Gil’s work is geometrical, minimalist and colourful, transforming spaces and vistas into sophisticated overlapping planes of colour.

In this series of paintings of the Katsura Villa, the visitor can witness a sort of transfiguration of the actual spaces in the villa thanks to the artist’s personal approach, inspired by the work of Kazimir Malevich as well as other artists of the avant-garde. (more…)

“Zài Xīng Tǔ Mù: Sixteen Chinese Museums, Fifteen Chinese Architects” at AEDES

The exhibition reflects on the physical and curatorial positioning of museums as drivers of progress within the socio-political and cultural landscape in China today. Tasks and aims associated with museums and cultural spaces are examined against the backdrop of today’s global, digital, urban and demographic challenges.

 

Intangible Heritage Museum in Suzhou  © Chen Hao, Vector Architects

Intangible Heritage Museum in Suzhou © Chen Hao, Vector Architects

 

Already 15 years ago, the Aedes exhibition ‘TU-MU’ presented the first generation of independent architects from China – first in Berlin and later in Shanghai – thus bringing them to international attention and acknowledgement. When Pritzker Prize winner Wang Shu attended the opening at Aedes in Berlin in 2001, it was his first time outside of China. Ai Weiwei for whom ‘TU-MU’ was the first exhibition in Germany, is now an artist of international fame.

(more…)