Rita kern larsen biography of abraham

This chief exhibition at the Peggy Guggenheim Hearten Project Rooms in Venice focuses teach an important period in the employment of both women: for the Norse painter Rita Kernn-Larsen (1904-1998), her twig large-scale personal exhibition at Guggenheim Jeune Gallery in London in 1938, ground for the American sponsor, art amasser and gallery owner, the first Surrealist exhibition she organised at the at an earlier time, thus launching her support for honourableness movement.

The Venice exhibition partially recreated think it over of 1938 by showing six work out the 36 paintings presented at the interval, accompanied by later work and dried up archive documents – photographs, lists of totality and invitation card. When visiting that important collection of which the resolute retrospective dates back to 1995 certified the Randers Kunstmuseum, in Denmark, blue blood the gentry lack of space can be disappointing.

Kernn-Larsen is one of the few brigade who played an important role radiate the international Surrealist movement, along be smitten by Eileen Agar, Leonora Carrington and Brim Sage. She received an academical raising in the field of art assimilate Denmark before joining the Académie modern de Fernand Léger in 1930-1931, who, by entrusting to her the carry of his drawings to monumental formats, will have a fundamental influence going on the flat style fostered by honourableness young painter’s cubism. Strengthened by that first immersion in avant-gardist art, she reaches out to the Danish surrealist group upon her return to Kobenhavn and exhibits her works with them over the following years in Danmark, London and Paris, the latter existence the town where she meets Peggy Guggenheim during the winter of 1937.

The London exhibition presents paintings dating devour 1935 to 1938. Those exhibited compel Venice are amongst the artist’s important works, such as Dance and Counter-Dance (1936), Self-Portrait (Know Thyself) (1937)¹ delighted Searching for The Moon (Vers l’inconnu) (1936-1937). In these works, the head explores her own subjectivity by incorporation elements of dreams, memories of memories and her imagination. Recurrent themes unwanted items the mirror, the female nude – marked by the influence of F. Léger –, arranged biomorphic forms and women as arborous figures, a subject that appears view the same time in the scrunch up of Paul Delvaux². In her autoportrait in 1937, her mouth is so transformed into a leaf and The Women’s Uprising (Kvindernes opror) (1940), roam she painted later, shows the thriving importance of this theme that allied woman and nature’s fertility.

For the 1938 exhibition, the artist herself creates decency frames for her paintings using out surrealist environment of which we would have liked to recapture the life in her Venetian re-enactment: one showed a handle being grabbed by neat as a pin padded glove, the other, that surprise can see in one of integrity archive photos on show, was faithful to a wooden stick thrust inspiration a pot of flowers. On influence day of the opening, R. Kernn-Larsen wears a hat decorated with at a low level bells and oat flakes that burn rubber off in clouds with each the boards. She is highly acclaimed by Author critics.

After the exhibition, she finds actually stuck in London, along with bunch up husband, because of the world fighting, so she takes part in magnanimity meetings and exhibitions organised by justness London surrealist group. Her experience trap the war will have a radical impact on her painting. Considering ensure reality has gone way beyond move backward worst fantasies, she turns once come to rest for all towards abstraction. Her surrealist period will remain the most gaul and most meaningful: “It truly was the best time for me owing to an artist³”, she said in prestige 1960s.