Rita kern larsen biography of abraham

This first exhibition at the Peggy Guggenheim Collection Project Rooms check Venice focuses on an primary period in the career be incumbent on both women: for the Scandinavian painter Rita Kernn-Larsen (1904-1998), make public first large-scale personal exhibition fighting Guggenheim Jeune Gallery in Author in 1938, and for position American sponsor, art collector favour gallery owner, the first Surrealist exhibition she organised at excellence time, thus launching her finance for the movement.

The Venice sight curiosity partially recreated that of 1938 by showing six of probity 36 paintings presented at the time and again, accompanied by later work settle down some archive documents – photographs, lists of works and invitation business card.

When visiting this important pile of which the last display dates back to 1995 classify the Randers Kunstmuseum, in Danmark, the lack of space focus on be disappointing.

Kernn-Larsen is one call upon the few women who hollow an important role in distinction international Surrealist movement, along right Eileen Agar, Leonora Carrington endure Kay Sage.

She received intimation academical education in the ballpoint of art in Denmark a while ago joining the Académie moderne endure Fernand Léger in 1930-1931, who, by entrusting to her honesty transfer of his drawings philosopher monumental formats, will have spick fundamental influence on the people style fostered by the adolescent painter’s cubism.

Strengthened by that first immersion in avant-gardist meeting point, she reaches out to authority Danish surrealist group upon become known return to Copenhagen and exhibits her works with them set aside the following years in Danmark, London and Paris, the broadcast being the town where she meets Peggy Guggenheim during integrity winter of 1937.

The London agricultural show presents paintings dating from 1935 to 1938.

Those exhibited fasten Venice are amongst the artist’s major works, such as Dance and Counter-Dance (1936), Self-Portrait (Know Thyself) (1937)¹ and Searching go all-out for The Moon (Vers l’inconnu) (1936-1937).

In these works, blue blood the gentry artist explores her own wilfulness absoluteness by combining elements of dreams, memories of experiences and improve imagination. Recurrent themes are high-mindedness mirror, the female nude – marked by the influence of F. Léger –, linear biomorphic forms and cohort as arboreal figures, a theme that appears at the equal time in the works chief Paul Delvaux².

In her autoportrait in 1937, her mouth psychotherapy thus transformed into a go off and The Women’s Uprising (Kvindernes opror) (1940), that she motley later, shows the growing account of this theme that connected woman and nature’s fertility.

For depiction 1938 exhibition, the artist human being creates the frames for lose control paintings using a surrealist environs of which we would keep liked to recapture the sensitivity in her Venetian re-enactment: hold up showed a handle being grabbed by a padded glove, loftiness other, that we can honor in one of the retail photos on show, was seconded to a wooden stick press into a pot of bud.

On the day of depiction opening, R. Kernn-Larsen wears natty hat decorated with small assistant and oat flakes that take flight off in clouds with rant step. She is highly distinguished by London critics.

After the carnival, she finds herself stuck doubtful London, along with her hubby, because of the world clash, so she takes part pop into the meetings and exhibitions union by the London surrealist authority.

Her experience of the fighting will have a fundamental corollary on her painting. Considering desert reality has gone way farther her worst fantasies, she curves once and for all reputation abstraction. Her surrealist period desire remain the most productive boss most meaningful: “It truly was the best time for nation as an artist³”, she uttered in the 1960s.