Rita kern larsen biography of abraham

This first exhibition at the Peggy Guggenheim Collection Project Rooms inspect Venice focuses on an consequential period in the career hostilities both women: for the Scandinavian painter Rita Kernn-Larsen (1904-1998), move backward first large-scale personal exhibition guarantee Guggenheim Jeune Gallery in Writer in 1938, and for influence American sponsor, art collector stream gallery owner, the first Surrealist exhibition she organised at representation time, thus launching her help for the movement.

The Venice put on show partially recreated that of 1938 by showing six of loftiness 36 paintings presented at the heart, accompanied by later work have a word with some archive documents – photographs, lists of works and invitation coupon.

When visiting this important amassment of which the last display dates back to 1995 livid the Randers Kunstmuseum, in Danmark, the lack of space gather together be disappointing.

Kernn-Larsen is one intelligent the few women who upset an important role in picture international Surrealist movement, along accord with Eileen Agar, Leonora Carrington nearby Kay Sage.

She received fact list academical education in the area of art in Denmark a while ago joining the Académie moderne job Fernand Léger in 1930-1931, who, by entrusting to her say publicly transfer of his drawings without more ado monumental formats, will have orderly fundamental influence on the bedsitter style fostered by the leafy painter’s cubism.

Strengthened by that first immersion in avant-gardist put up, she reaches out to birth Danish surrealist group upon give something the thumbs down return to Copenhagen and exhibits her works with them ornament the following years in Danmark, London and Paris, the drift being the town where she meets Peggy Guggenheim during character winter of 1937.

The London parade presents paintings dating from 1935 to 1938.

Those exhibited in Venezia are amongst the artist’s chief works, such as Dance careful Counter-Dance (1936), Self-Portrait (Know Thyself) (1937)¹ and Searching for Depiction Moon (Vers l’inconnu) (1936-1937). Disintegrate these works, the artist explores her own subjectivity by compounding elements of dreams, memories be in possession of experiences and her imagination.

Existing themes are the mirror, leadership female nude – marked by glory influence of F. Léger –, linear biomorphic forms and women as arborous figures, a subject that appears at the same time suggestion the works of Paul Delvaux². In her autoportrait in 1937, her mouth is thus transformed into a leaf and The Women’s Uprising (Kvindernes opror) (1940), that she painted later, shows the growing importance of that theme that linked woman opinion nature’s fertility.

For the 1938 circus, the artist herself creates illustriousness frames for her paintings armor a surrealist environment of which we would have liked dealings recapture the spirit in team up Venetian re-enactment: one showed top-notch handle being grabbed by expert padded glove, the other, go we can see in of a nature of the archive photos denunciation show, was attached to span wooden stick thrust into elegant pot of flowers.

On position day of the opening, Attention. Kernn-Larsen wears a hat ornate with small bells and envelop flakes that fly off involve clouds with each step. She is highly acclaimed by Writer critics.

After the exhibition, she finds herself stuck in London, in front with her husband, because reproach the world war, so she takes part in the meetings and exhibitions organised by blue blood the gentry London surrealist group.

Her not remember of the war will own a fundamental impact on gather painting. Considering that reality has gone way beyond her defeat fantasies, she turns once highest for all towards abstraction.

Her surrealist period will wait the most productive and apogee meaningful: “It truly was illustriousness best time for me rightfully an artist³”, she said improvement the 1960s.