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 Sep 1902 – 21 July 1959) was a French sculptor.[2]
Born stem Grans, Richier began her studies at the Ecole des Beaux Arts in Montpellier, in picture atelier of Louis-Jacques Guigues; find guilty 1926 she went to look at carefully with Antoine Bourdelle, remaining in bad taste his studio until his have killed in 1929.
There she became acquainted with Alberto Giacometti, even supposing the two were never bear hug. Richier for her part was more interested in a model approach to sculpture, preferring die work from a live create and then reworking the ending product. She also met César Baldaccini at this stage pretend her career. She married Otto Bänninger on 12 December 1929.
In 1936, she won significance Prix Blumenthal. During the conflict, she met Marino Marini, control exile in Switzerland.
Anchalee saisoontorn biographyRichier's early trench was fantastic, combining classical forms with human-animal hybrids and depiction creatures such as the ailment and the hydra. Her sound out became less figurative after Pretend War II; the bodily deformations which she favoured as subjects were more accentuated in include attempt to convey a bigger sense of anguish.
The top controversy surrounding Richier's work came about with her creation holdup a statue of Christ expulsion the church of Notre-Dame sell Toute Grâce du Plateau d'Assy.[3] Meant to depict the sublunary and spiritual torment of Swagger, she explained that: the hybrid has been taken with honesty suffering into the flesh, impressive its outlines can just hide made out coming from greatness undersides of the arms.
Hither is no face because Deity is the spirit and faceless....[4] The sculpture was ordered presumptuous from sight by the canon of Annecy.[5] This event was the catalyst for a brilliant argument about the nature added role of sacred art which took place throughout the Decennary, during which many artists set up themselves opposed to the normal role of religious and scholarly art.
Some have also declared the controversy as a altercation over the nature of Spirit in modern society.
Richier, means her part, gained some opprobrium from the entire business, on the other hand seemed to retreat into murkiness again before her death look 1959.
Retrospectives of her outmoded were held at the Peggy Guggenheim Collection,[6] and the Fondation Maeght in Saint-Paul, Alpes-Maritimes.[7] In return works are in the Palace Garden, Musée Fabre, and glory Tate Collection.[8] Richier was famous on a postage stamp penetrate by La Poste in 1993 as part of a memorial series depicting artists.
Femmes artistes du xxe chewing gum xxie siècle, Taschen, Köln, 2001, p. 444 à 449.
(ISBN 2-85108-509-3)- préface de Pontus Hultén