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SöLrusier Paul

( Artist)

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Biography SöLrusier Paul
Paul SöLrusier (1864-1927). Creative Fields SöLrusier determined the fate of several hours he spent with Gauguin in autumn 1888 in PONT AVEN. In those few hours Gauguin taught a lesson to the young artist painting SöLrusier remembered for a lifetime. Essence of the lesson Gauguin formulated in a few words: "Instead of copying nature, . passing it a, . what you see, . must transform its, . become a game of bright colors, . emphasize simple, . original expressive arabesques and delight those eyes ",
. SöLrusier was one of the most active fans and promoters of art Gauguin, . He introduced me to artistic discoveries of the great masters of a whole generation of young French painters, and especially his friends, . subsequently formed the group along with him "Nabi",
. This mediating role SöLrusier led to a special place occupied by the artist in the history of world art.
Paul SöLrusier was born in a respectable bourgeois family. He received an excellent education in one of the best high school French. SöLrusier have many talents, great physical strength and a beautiful appearance, beautiful voice and a philosophical turn of mind. He wrote plays in verse, was interested in theater and culture of the East, studying Arabic and Hebraic languages. Parents long resisted ensure that their gifted son devoted himself very prosperous occupation painter. But in the end they were forced to yield, and SöLrusier began to attend the Julien Academy, where he studied under the guidance of teachers from the School of Fine Arts, as a rule, following the traditions of painting klassitsiziruyuschey. SöLrusier very quickly achieved success in the Academy. Allocated extraordinary erudition and personal charm, he was a true leader among the artists of his generation. SöLrusier unwelcome and a teacher at one of the salons of his painting even earned "honorable withdrawal". However, the young artist did not appeal to the academic career of the painter, he vividly felt the need for change in the art.

Finding a new lead artist in Pont-Aven in Brittany, where he first met Gauguin. SöLrusier Gauguin decided to approach only the day before departure, and as the time for lengthy interviews to do but took the young painter Paul Gauguin in Pont-avensky forest and offered to write under the guidance of a small landscape. SöLrusier thus described his conversation with Gauguin: "How do you see those trees? - Asked Gauguin. - They are yellow? So put yellow. And this shadow rather blue. Write to her pure ultramarine. But these leaves red. Indulge in vermilon ". This landscape, painted on a wooden box from the bottom of a cigar, SöLrusier kept as a sacred life, and called her "talisman".

. Back in Paris, . SöLrusier acquainted with the ideas of Gauguin, his friends at the Academy Julien and among them Maurice Denis, . Bonnard, . Vuillard, . Vallotton, . Ransona, . which, although not entirely accepted the new artistic principles, . but under their influence changed his painting style,
. SöLrusier several trips to Gauguin in Brittany, and in 1889 a long time lived with him at Le Puldyu. SöLrusier like a sponge absorbing the lessons of Gauguin, in a short time he has done a very long way from the academic student to the modern painter. SöLrusier tried to philosophically understand the opening Gauguin, . he asked himself questions, . which are painfully sought an answer: "How much should take nature into works of art?" What should be the boundary? Do I need to in terms of practice to work directly with in-kind or merely to contemplate and to fill it? "Too much freedom frightens me, . poor imitator, . and still my head is full of images, . born to those, . I always see around them, . so nature seems insignificant and banal.,

. Initially work SöLrusier almost indistinguishable from the works of Gauguin, but gradually he develops his own style, characteristics which are clearly visible in the picture "Pont-avensky triptych"
. SöLrusier learn from Gauguin method Cloisonnism "based on the use of conventional drawing and well-defined color planes. This method, . emerged from a creative rethinking of the formal techniques of Japanese prints, . medieval stained glass and cloisonne, . allows artists to make entirely new synthesis of line and color patches, . not reflect the nature, . but to transform its force of artistic imagination,
. However, if Gauguin "Cloisonnism" - this is only a means to achieve maximum expression, then for SöLrusier - a decorative welcome you to submit curlicue forms and the beauty of the location of local colors. In addition, SöLrusier sought to equip an additional picture of intellectual content, to put into it the whole literary program. In the "Pont-avenskom triptych, proceeding from a particular story of harvest, the artist creates a myth-poetic composition, enclosing almost all the major symbols of human existence. A woman with a baby in her lap and a woman, . fruit detachment, . only their robes reminiscent of Breton peasant, . These images are a kind of archetypal images, . which should cause the viewer with a wide range of historical and artistic associations.,

. Intelligent Home in creativity SöLrusier often overwhelm the actual art
. It is no accident that the theoretical work of the master enjoyed almost better known than his practical work as a painter. SöLrusier was one of the ideologists of the "Nabi", which received its unusual name from the ancient Hebrews, the words "prophet". The basis of "Nabi" SöLrusier were classmates at the Academy Julien. The group declared a broad program of pictorial symbolism, they argued that the emotions and characters can be sent via the ratio form. In his theoretical pronouncements SöLrusier represented Gauguin as a destroyer of traditional canons, a painting of "Nabi" - as the new art, synthesizing the best artistic achievements of various cultures and eras.

. In the French artistic life in the early nineties SöLrusier grows almost in the central figure
. He directs the whole area, he attributed many of the opening had gone to Oceania Gauguin.

Critic Ore in the programmatic article "Symbolism" calls him the first among the young artists and the master promises a great future. In 1895 SöLrusier and Maurice Denis, traveling to Italy and Germany, among the first European artists offer special beauty of the Italian and German primitives, finding in them the expressive force and originality of the decorative solutions. In Paris SöLrusier actively participates in the literary circles of the Symbolists, he is interested in Neo-Platonism, Eastern philosophy and mystical rituals. Gradually his outlook increases the impact of Catholicism. He tries to combine the theory with the ideas of the Symbolists Desiderius the father, the founder of the school of religious art in the Veyron. The reflection of this spiritual quest can be found in the decoration of the church in Chateauneuf-du-Foe. In 1907 SöLrusier became a professor of the Academy Ransome, and some time later began work on his main theoretical work - the book "ABC of Painting", which has had influence on many artists of the XX century. After this book SöLrusier not create anything significant. His works can greatly interfere with a serious illness of his wife, had blighted the last years of his life.

. Although the history of painting Paul SöLrusier took the more modest than some of Gauguin and other artists of this time, his work is now keen interest
. The artist was lucky to live in that era, which flashed brightly human personality, he was an active figure of the artistic process, which for years has determined the fate of world art.


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