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Jean Chauvelin |
Les expositions |
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Jean Chauvelin
Art Expert Specialist in Russian Avant-Garde |
Exhibitions |
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The Alexandra Exter place in the history of art of the twentieth century is just beginning to appear.
The tribute critics, museums, galleries and collectors to his work is increasing for several decades. The insights offered by shots projectors partial or biased it is not possible to fully
appreciate the originality of his work. Only a global perspective guaranteed.
Alexandra Exter appears immediately as inhabited by the prescience of what is modern art. By 1907, as it traveled between Russia and France. She had twenty-five years. Student of Fernand Léger, she reported to her Russian friends the first photos of Cubist works by Picasso, and admiring an admiring the eclectic artists as dissimilar as the Ukrainian and Italian Archipenko Medardo Rosso. A circle of friends where there were apollinaire, Gide, Robert and Sonia Delaunay, Bergson, lent special attention to its creation. The art tissa even his inner life, it was the companion of futuristic Italian Ardengo Soffici. The European before that time, who knew Rimbaud verses by heart, was also a painter who exhibited at the association Jack of Diamonds its cities and sumptuous dancing.
He, however, it has been an unconditional believer: for having exposed the Section d'Or in 1912, with Leger, Picabia, Marcel Duchamp, Gleizes and Le Fauconnier, it does not interpreted less french cubism in a very personal way, as evidenced by his versions of the Pont de Sèvres of 1911 and Towns in 1912.
Living in the heart of Montparnasse, familiar Italian futurism through Soffici, she exhibited in Rome in 1914 with futuristic Italians. Cosmopolitan impénitente, she participated in the following year to myhtique exhibition of Russian Futurism in Petrograd Tramway V and signed in 1921 in Moscow, with Popova, Stépanova, Vesnine and Rodtchenko the manifesto of another historical exhibit: 5 x 5 = 25 . Now emblematic figure of cubofuturisme Russian, it does not stayed less sensitive to escapes suprématistes and constructivist of Malevitch and Tatlin, and we know that Lissitzky attended his workshop in Kiev.
The creative energy of Alexandra Exter s'étandit to héâtre, where she upset the staging by the use of light as a material and the introduction of mobile plateaus and flamboyant costumes, especially for Salomé d ' Oscar Wilde and Romeo and Juliet by Shakespeare, historic moments of the performing art. She applied his genius in innovative large urban theater, participating since 1923 in exhibitions of Commerce and Industry in Moscow and flags decorating dse Izvestia and Krasnaïa Niva. She designed for Aelita, the film, directed by Protozanov, costumes and sets exceptional and won a gold medal in 1925 in Paris at the expo Decorative Arts.
Expatriate in France in 1924, that was the compagnpn drive from Malevitch, Kandisky, Lissitzky, Chagall and Zadkine, died in his adopted in 1949.
(Alexandra Exter, anonymous photography, ca. 1914. Text from the monograph published by Alexandra Exter at Max Milo Editions, 2003)
The Alexandra Exter place in the history of art of the twentieth century is just beginning to appear.
The tribute critics, museums, galleries and collectors to his work is increasing for several decades. The insights offered by shots projectors partial or biased it is not possible to fully
appreciate the originality of his work. Only a global perspective guaranteed.Alexandra Exter appears immediately as inhabited by the prescience of what is modern art. By 1907, as it traveled between Russia and France. She had twenty-five years. Student of Fernand Léger, she reported to her Russian friends the first photos of Cubist works by Picasso, and admiring an admiring the eclectic artists as dissimilar as the Ukrainian and Italian Archipenko Medardo Rosso. A circle of friends where there were apollinaire, Gide, Robert and Sonia Delaunay, Bergson, lent special attention to its creation. The art tissa even his inner life, it was the companion of futuristic Italian Ardengo Soffici. The European before that time, who knew Rimbaud verses by heart, was also a painter who exhibited at the association Jack of Diamonds its cities and sumptuous dancing.
He, however, it has been an unconditional believer: for having exposed the Section d'Or in 1912, with Leger, Picabia, Marcel Duchamp, Gleizes and Le Fauconnier, it does not interpreted less french cubism in a very personal way, as evidenced by his versions of the Pont de Sèvres of 1911 and Towns in 1912.
Living in the heart of Montparnasse, familiar Italian futurism through Soffici, she exhibited in Rome in 1914 with futuristic Italians. Cosmopolitan impénitente, she participated in the following year to myhtique exhibition of Russian Futurism in Petrograd Tramway V and signed in 1921 in Moscow, with Popova, Stépanova, Vesnine and Rodtchenko the manifesto of another historical exhibit: 5 x 5 = 25 . Now emblematic figure of cubofuturisme Russian, it does not stayed less sensitive to escapes suprématistes and constructivist of Malevitch and Tatlin, and we know that Lissitzky attended his workshop in Kiev.
The creative energy of Alexandra Exter s'étandit to héâtre, where she upset the staging by the use of light as a material and the introduction of mobile plateaus and flamboyant costumes, especially for Salomé d ' Oscar Wilde and Romeo and Juliet by Shakespeare, historic moments of the performing art. She applied his genius in innovative large urban theater, participating since 1923 in exhibitions of Commerce and Industry in Moscow and flags decorating dse Izvestia and Krasnaïa Niva. She designed for Aelita, the film, directed by Protozanov, costumes and sets exceptional and won a gold medal in 1925 in Paris at the expo Decorative Arts.
Expatriate in France in 1924, that was the compagnpn drive from Malevitch, Kandisky, Lissitzky, Chagall and Zadkine, died in his adopted in 1949.
(Alexandra Exter, anonymous photography, ca. 1914. Text from the monograph published by Alexandra Exter at Max Milo Editions, 2003)