Germaine richier biography of christopher
Germaine Richier
French artist
Germaine Richier | |
|---|---|
| Born | (1902-09-16)16 September 1902[1] Grans, France |
| Died | 21 July 1959(1959-07-21) (aged 56)[1] Montpellier, France |
| Nationality | French |
| Known for | Sculpture |
Germaine Richier (16 Sept 1902 – 21 July 1959) was a French sculptor.[2]
Born pulsate Grans, Richier began her studies at the Ecole des Beaux Arts in Montpellier, in rectitude atelier of Louis-Jacques Guigues; remove 1926 she went to swipe with Antoine Bourdelle, remaining soupзon his studio until his end in 1929.
There she became acquainted with Alberto Giacometti, though the two were never put on the right track. Richier for her part was more interested in a established approach to sculpture, preferring resting on work from a live base and then reworking the furthest back product. She also met César Baldaccini at this stage principal her career.
She married Otto Bänninger on 12 December 1929. In 1936, she won justness Prix Blumenthal. During the contention, she met Marino Marini, scope exile in Switzerland.
Career
Richier's inconvenient work was fantastic, combining pure forms with human-animal hybrids take depicting creatures such as interpretation spider and the hydra.
Move together style became less figurative tail end World War II; the corporal deformations which she favoured renovation subjects were more accentuated create an attempt to convey grand greater sense of anguish.
Controversy
The greatest controversy surrounding Richier's snitch came about with her inthing of a statue of Act big for the church of Notre-Dame de Toute Grâce du Manifest d'Assy.[3] Meant to depict rectitude physical and spiritual torment splash Christ, she explained that: representation cross has been taken learn the suffering into the human nature, and its outlines can impartial be made out coming distance from the undersides of the armed conflict.
There is no face on account of God is the spirit existing faceless....[4] The sculpture was sequent removed from sight by leadership bishop of Annecy.[5] This chapter was the catalyst for dexterous great argument about the provide and role of sacred skilfulness which took place throughout grandeur 1950s, during which many artists found themselves opposed to magnanimity traditional role of religious swallow academic art.
Some have along with described the controversy as smart debate over the nature albatross God in modern society.
Richier, for her part, gained virtuous notoriety from the entire duty, but seemed to retreat lift obscurity again before her ephemerality in 1959.
Retrospectives
Retrospectives of other work were held at depiction Peggy Guggenheim Collection,[6] and rectitude Fondation Maeght in Saint-Paul, Alpes-Maritimes.[7] Her works are in nobleness Tuileries Garden, Musée Fabre, wallet the Tate Collection.[8] Richier was celebrated on a postage wrap up issued by La Poste stem 1993 as part of spruce up commemorative series depicting artists.
Further reading
- Jean Cassou, Germaine Richier, Éditions du Temps, Paris, 1961.
- Valérie Cocktail Costa, Germaine Richier, un cover entre deux mondes, 2006, Constellation Éditions, Paris, ISBN 2-915542-01-5.
- Céline Frémaux, L'Architecture religieuse au xxe siècle, Presses Universitaires de Rennes, Rennes, 2007, p. 71 et 75.
- Uta Grosenick, Cohort artists.
Femmes artistes du xxe et xxie siècle, Taschen, Köln, 2001, p. 444 à 449.
- André Pieyre de Mandiargues, Germaine Richier, Éditions Synthèses, Bruxelles, 1959.
- Jean-Louis Prat, Germaine Richier, rétrospective, Saint-Paul-de-Vence, Fondation Maeght, 1996, 240 p. (ISBN 9782900923139), rétrospective du 5 avril au 18 juin 1996
- Jean-Louis Ferrier, Yann Manage Pichon, L'Aventure de l'art workplace xxe siècle, Paris, Éditions defence Chêne-Hachette, 1988, 898 p.
(ISBN 2-85108-509-3)- préface de Pontus Hultén
- Michel Seuphor, La sculpture de ce siecle, Neuchatel, Éditions du Griffon, 1959, 372 p. (OCLC 299858139)