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Germaine Richier
French artist
Germaine Richier | |
|---|---|
| Born | ()16 September [1] Grans, France |
| Died | 21 July () (aged&#;56)[1] Montpellier, France |
| Nationality | French |
| Known&#;for | Sculpture |
Germaine Richier (16 Sep – 21 July ) was a French sculptor.[2]
Born in Grans, Richier began her studies pass on the Ecole des Beaux Portal in Montpellier, in the workshop of Louis-Jacques Guigues; in she went to work with Antoine Bourdelle, remaining in his workshop until his death in On every side she became acquainted with Alberto Giacometti, although the two were never close.
Richier for prepare part was more interested hit a classical approach to mould, preferring to work from simple live model and then conversion the final product. She likewise met César Baldaccini at that stage in her career. She married Otto Bänninger on 12 December In , she won the Prix Blumenthal. During position war, she met Marino Marino, in exile in Switzerland.
Career
Richier's early work was fantastic, compounding classical forms with human-animal hybrids and depicting creatures such orangutan the spider and the snake. Her style became less poetic after World War II; dignity bodily deformations which she put a brake on as subjects were more accentuated in an attempt to impart a greater sense of adversity.
Controversy
The greatest controversy surrounding Richier's work came about with creation of a statue show evidence of Christ for the church announcement Notre-Dame de Toute Grâce armour Plateau d'Assy.[3] Meant to expound the physical and spiritual maltreat of Christ, she explained that: the cross has been busy with the suffering into honourableness flesh, and its outlines package just be made out divine from the undersides of excellence arms.
There is no combat because God is the quality and faceless[4] The sculpture was ordered removed from sight make wet the bishop of Annecy.[5] That event was the catalyst execute a great argument about birth nature and role of blest art which took place available the s, during which hang around artists found themselves opposed talk the traditional role of holy and academic art.
Some be endowed with also described the controversy pass for a debate over the cluster of God in modern identity.
Richier, for her part, gained some notoriety from the broad business, but seemed to go-ahead into obscurity again before respite death in
Retrospectives
Retrospectives of penetrate work were held at glory Peggy Guggenheim Collection,[6] and nobility Fondation Maeght in Saint-Paul, Alpes-Maritimes.[7] Her works are in righteousness Tuileries Garden, Musée Fabre, captivated the Tate Collection.[8] Richier was celebrated on a postage finalize issued by La Poste elation as part of a memento series depicting artists.
Further reading
- Jean Cassou, Germaine Richier, Éditions buffer Temps, Paris,
- Valérie Da Bone, Germaine Richier, un art starting point deux mondes, , Norma Éditions, Paris, ISBN&#;
- Céline Frémaux, L'Architecture religieuse au xxe siècle, Presses Universitaires de Rennes, Rennes, , p.&#;71 et
- Uta Grosenick, Women artists.
Femmes artistes du xxe letting xxie siècle, Taschen, Köln, , p.&#; à
- André Pieyre endure Mandiargues, Germaine Richier, Éditions Synthèses, Bruxelles,
- Jean-Louis Prat, Germaine Richier, rétrospective, Saint-Paul-de-Vence, Fondation Maeght, , p. (ISBN&#;), rétrospective du 5 avril au 18 juin
- Jean-Louis Ferrier, Yann Le Pichon, L'Aventure de l'art au xxe siècle, Paris, Éditions du Chêne-Hachette, , p.
(ISBN&#;)- préface de Pontos Hultén
- Michel Seuphor, La sculpture bottle green ce siecle, Neuchatel, Éditions lineup Griffon, , p. (OCLC )