Exposition Art Blog: June 2019

Marek Oberlander - Polish Painting & Culture

Born 1922 in Szczerzec near Lvov, died 1978 in Nice, France.
Oberländer - along with Jan Dziedziora, Jacek Sienicki, and Elżbieta Grabska - was an initiator and among the most active organizers of the "Against War, Against Fascism" Polish National Exhibition of Young Visual Arts, held in July of 1955 at Warsaw's Arsenal just before the political "thaw" of 1956. The idea for the exhibition was first put forward at a social gathering held at his small apartment in the Okolnik district of Warsaw. Stalin had died two years earlier and hopes were high for ideological change. It was in this atmosphere that a group of young painters, supported by an equally young art historian and critic, decided to organize an exhibition made up of works created during outside of the official art world during the Socialist Realist period and subsequently hidden away in private studios for years. Once assembled, the exhibition was viewed as a protest against both Socialist Realism and Colorism - a movement that had ruled Polish art after World War II, reigning especially strong in academic circles (.....) Throughout this time he was also painting and drawing, creating numerous works in which he gradually cast off his original brutality and focused on creating a more intimate mood. These were largely portraits that emphasized the psyche of his models, though he also painted genre scenes and still lifes and at times turned towards abstraction. In general, his works of this period were more variegated than previously. With time he began to deform the human figure more and more radically, though he retained it as a clear symbol of individual experience (evident in his ink and gouache portraits of 1957-58, among them, the Garbate / Hunchbacks series). Through constant modification of the human silhouette, he consistently and (what is more important) successfully strived towards a maximal synthesis of form. He drew inspiration from the world of nature; the unreal, sometimes stylized, elongated shapes of insects became a model for his approximately drawn, over-simplified, highly condensed, vertically oriented female figures (Sylwetki / Silhouettes, 1961-63). The vibrating, unsettled components of these compositions (a spider web-like tangle of thin lines, unrestrained splashes and drippings of semi-translucent paint) strengthened their disquieting, angst-ridden aura. Oberländer's "torsos" and "skeletons" were often compared to Jan Lebenstein's Figury hieratyczne / Hieratic Figures and Figury osiowe / Axial Figures, though this seems somewhat unjustified. Lebenstein's compositions seem more ostentatiously and tangibly aggressive, while the drama in Oberländer's figures derives from their hidden, inner life. In spite of this, the works of both artists evoke associations with Wols's Tachiste drawings of seemingly anatomical assemblages.(Author: Małgorzata Kitowska-Łysiak, Art History Institute of the Catholic University of Lublin, Faculty of Art Theory and the History of Artistic Doctrines, December 2001. culture.p )

Gerard Ernest Schneider - Abstract Expressionism - Action Painting

Gerard Ernest Schneider (1896–1986) was a Swiss painter.
A major pioneer of Lyrical Abstraction, a gestural and personal form of abstraction, along with Hans Hartung and Pierre Soulages, Gérard Schneider was shown in Paris at the Galerie Louis Carré as early as 1950.From 1955 to 1960, Schneider’s work was exhibited at the famous Kootz Gallery in New York where an exclusivity contract connected the artist and the major American dealer Samuel Kootz.From gesture, “the shape is born, whether lyrical or dramatic, with its colour and technical means, without any reference to external nature” according to Schneider.
Eugène Ionesco even spoke of “the original, eruptive, richness” of his work.
From nervous gesture and volcanic composition, full of tension, of the 1950s followed “the light years” from Michel Ragon’s expression, which were marked by the balance of forms reflecting each other and the explosion of colour. “Painting should be looked in the same way as music is listened to” as Schneider enjoyed saying.Wikipedia


Karl Stirner - Abstract Metal Sculptures

Karl Stirner (November 14, 1923 – February 18, 2016) American sculptor known internationally for his metalwork
"Karl Stirner brings new life to metal that has been discarded, whether from Bethlehem Steel, shipwrecks, or from his favorite scrapyard. He fuses natural materials with manmade, and juxtaposes smooth surfaces with rough and pitted ones to form organic shapes. Stirner creates a drama of contradiction, playing thick against thin, flexible against inflexible.
The German-born Stirner, who grew up in Philadelphia, was fascinated by frogs, birds, insects, crystals and shells. Watching his father work as a fine jeweler got him interested in metal, and he started his art career at age 23. An industrial designer who served in World War II, Stirner held teaching positions at Tyler School of Art at Temple University and at Moore and Swarthmore colleges, although he himself is self-taught. He operated a metal arts studio, designing and making contemporary metal furniture and ecclesiastical items, such as lighting fixtures, altar railings, architectural sculpture, ornamental panels, screens, and lamps."(karlstirner.com)
Much of Karl Stirner's work is considered to embody an abstract style. Stirner used his metalwork and steel sculptures to translate and express many of his inner feelings and thoughts. Stirner's sculptures typically fall into two subcategories of the abstract: expressionism and constructivist. His expressionist sculptures have been described as "anxiety-ridden" while his constructivist sculptures have been described as "depressive". This is because they appear to elicit depressive emotions and feelings of internal conflict. The "dream-like" aspect of his work is supposedly inspired by Stirner's unconscious state.