Ghy-lemm (1888-1962) Signed Hsp / 40 Forties / Fauvism

Very beautiful oil on board. 5.5 "x 8.2" in. Marguerite lemaire, wealthy girl (daughter of the owner of the big brewery of the stations of the north), is at liberty of any financial concern.

His painting is a true reportage on the worldly life of the inter-war period. She has the passion of a self-taught who has not suffered any school influence. She paints on the spot with a lot of freedom in the line, while keeping some pictorial matter. This gives a very removed painting. Marguerite lemaire, wealthy girl, is safe from any financial worries. His painting is a true report on the world of the inter-war period. She has the passion of a self-taught who has not been influenced by school. She paints on the spot with a lot of freedom in the line, while keeping some pictorial material. This gives a very removed painting. The school of Paris is a concept that refers to all foreign artists who arrived before the 1920s. Preliminary details The generic term "school of Paris" poses a problem when used to designate a group of artists in particular. In reality, it does not refer to any school that actually existed; the expression, which has been used improperly, remains ambiguous and deserves to be made explicit. In her dictionary of painters of the school of Paris (1993), lydia harambourg justifies the use of the expression by the continuity that allows to establish between the different phases of development of the modern art on the part of artists having paris for residence. His book does not present a school or a particular current, but twenty years of painting in Paris: "the term school of paris will be kept, because no other can better designate, in these years post-war, the supremacy of the capital in art matter.

In this sense, the school of Paris brings together the artists who helped make Paris the home of artistic creation until the 1960s. There are generally three major periods of change in the Parisian art scene in the twentieth century, each of which is manifestation of a renewal of the previous one.

The first period goes from 1900 to the 1920s, the second covers the interwar period and the second refers to the post-second world war. It designates all the foreign artists who arrived at the beginning of the twentieth century in the capital in search of conditions favorable to their art.

From 1900 to the first world war, paris saw the influx of artists, often from central europe, who settled mainly in montparnasse. Among them Marc Chagall, Pablo Picasso, Pascin, Amadeo Modigliani and Tsugouharu Foujita for no. Quote that the most famous. The expression "school of paris" thus acquired, at that moment, a meaning that was proper and commonly accepted.

Many are the Jewish painters of the school of Paris. These artists come from the following countries: Russia, Poland, Germany, Bulgaria, Czechoslovakia, Romania, Hungary.

They were acquainted with the great French masters of the nineteenth century and know the impressionists through their teachers as józef pankiewicz in krakow, ilia repine in saint Petersburg, adolf fényes, isaac perlmutter in budapest and lovis corinth in berlin. Some 20 years old for the most part, they were actors of Jewish emancipation, and participate in the movement of social and intellectual awakening in Europe which is characterized by the loss of religious and political commitment, and are in coincidence with the cosmopolitan context of great capitals of the time, Vienna, Berlin and especially Paris. Jewish artists from the Paris School. Leopold Gottlieb leaves to join the army of Marshal Pilsudski in Poland. Marc Chagall, emmanuel man-katz, savely schleifer return to Russia. Many are those who volunteer in the French army: kisling is reformed in 1915, after an injury; louis marcoussis, friend of Apollinaire, will be decorated; as for Simon Mondzain, he will keep the uniform until July 1918. Some, reformed for reasons of health, as modigliani and soutine, then volunteer for chores.

Pascin leaves for london to escape service in the Bulgarian army. During the war years, the artists who stayed in paris without pensions or help joined forces. From 1915, marie vassilieff will hold an artistic canteen in her workshop located in the stalemate of 21 avenue du Maine, which is always full during the war. The first world war marks the entrance of the jewish painters of montparnasse on the Parisian scene. The first presents tables of modigliani, paintings of kisling, which are close with picasso paintings, paintings of light fernand, henri matisse and andré derain.

These painters are gradually breaking up the marginal position that was theirs. The return of the front gives them a "certificate of good conduct\On 3 December 1917, Leopold Zborowski organized Modigliani's first solo exhibition at Galerie b. Weill, and for the preface of the catalog, blaise cendrars writes a poem. Between the wars three stages of immigration of the artists of the school of paris eugene zak leaves warsaw for paris as early as 1900, mela mutate in 1901, jacques gotko arrives from odessa in 1905 and adolphe feder of ukraine in 1908 , the same year as the German otto freundlich.

Samuel granowsky arrives in 1909, just like maurice mendjizki, who comes from ód. Leaving Russia, Marc Chagall went first, from 1910, four years in Paris. Istvan farkas arrives from Budapest in 1912, emmanuel mané-katz from ukraine in 1913 ... Those who settled between 1900 and 1912 had time to set up the network of friendships and relations necessary for their development. Other painters succeed to them, fascinated by montparnasse.

Soon join them: vladimir naïditch of Moscow in 1920, zygmunt pram of poland in 1920, Alexander fasini of Ukraine in 1922. The Russian ossip lubich arrives in 1923, the belarusian isaac antcher in 1924, the Polish esther carp in 1925. Issachar ryback comes from ukraine in 1926, abraham iris (says antoine irisse) arrives from bessarabie in 1926, jacob macznik from poland in 1928.

As for the Russian prince, the painter alexis arapoff, born in saint-Petersburg, he fled the urss, in 1924, with a theater troupe. The inter-war period saw the arrival of other Russian artists such as Andre Lanskoy, Serge Poliakoff, Alexander Garbell, etc.

And sees the emergence of new stylistic trends, such as abstraction, as well as the importance of color in painting. Upon Hitler's accession to power in 1933, painters flee Nazi Germany: the Lithuanian moses bagel, jesékiel kirszenbaum and jacob markiel arrive in paris.

In Poland, sam ringer, after having been forced to work on the construction of the Auschwitz camp, was successively deported to nine different camps and eventually came to Paris in 1947 to enter the fine arts. In montparnasse, for twenty years, under the mantle or under the tables of the terraces of the rotunda, dome, dome, traffickers buy and sell paintings of derain, paintings of utrillo, paintings of modigliani or picasso miraculously escaped from the painters' cardboard. Indeed, the three main cafes of the Paris School are the dome, the rotunda and the dome. More eccentric puteaux can find the restaurant of camille renault said "big boy".

The dome was created in 1898 and it was around 1903 that the German-speaking Jewish painters, walter bondy, rudolf levy (de), bela czobel, jules pascin, reszo balint, made it their favorite place according to the tradition of the Munich cafés. There they find the art dealers alfred flechtheim (de), henir bing ...

Other groups consist of Dutch and Scandinavian painters. The rotunda is an old establishment, taken in hand by victor libion in 1911. This man very generous towards the painters welcomes painters and sometimes cleaning man in exchange for consumptions, but also Michel. Larionov, nathalie goncharova, adolf feder. Financial difficulties forced libion to sell the rotunda in 1920.

As well as the art dealers, this man has largely contributed to the emergence of this life through his attitude and sensitivity. It is said that for many years, salmon ran for the statue of balzac, boulevard raspail, to be replaced by that of libion. The dome was inaugurated in December 1927 by the managing artists of the fraux and laffont dome. About thirty painters decorated the pillars and the walls with paintings painted directly on the concrete: light fernand, marie vassilieff, david seifert, nathan grunsweigh, george kars, othon friesz the second world war a group of painters, who undertake of expose under the occupation, is gathered by the exhibition twenty young painters of French tradition, organized in 1941 by jean bazaine and the editor andré lejard. The title of the exhibition actually masks the demonstration of a painting that does not conform to the Nazi ideology of degenerate art.

"All these painters, of very different ages and tendencies, agreed on the necessary resistance of the painting. After refusing a number of galleries, the gallery Braun accepted the risk of exposure, which was greeted by torrents of insults from a well-trained press, "wrote in 1998 jean bazaine. Indeed, these painters are far from the traditional forms of art. Sorted however under the term of "tradition\"I remember the opening pretty well: two German officers arrived in the middle of the gallery. They took a look at it, looked at each other, turned on their heels. It was the time when the Germans still wanted to be nice, "said Bazaine again. The exhibition becomes the manifesto of a modern painting and brings together several artists with a non-figurative tendency: jean le moal, alfred manessier, charles lapicque, jean bazaine, edouard pignon, léon gischia, maurice estève, walch charles, gustave singier, jean bertholle, andré beaudin and lucien lautrec. Two years later, from February 6th to March 4th, 1943, a collective exhibition, twelve painters of today, is held at the gallery of France with bazaine, bores, chauvin, estève, andré fougeron, gischia, lapicque, the moal, pinion, singier , villon, lautrec, tal coat. Despite their aesthetic differences, emerging from this group these artists who will soon be named as members of a new school of paris.

Pierre francastel, in a book written under loccupation but published at liberation in 1946 new drawing. The school of Paris, indeed labels the Romanesque style and. Cubist of these painters said "French tradition" by taking the formula warnod dandré.

Postwar today, the term "school of Paris" covers several meanings. The phrase was hijacked by some in the 1950s to define a national figurative aesthetic; it then takes on a strongly pejorative connotation in the vocabulary of criticism of the late 1960s flagorning the school of New York. In addition, Parisian galleries relay confusion over the use of the term.

In January 1952, during an exhibition at the galerie babylone, Charles Estienne decided to bring together only artists with abstract tendencies. They are presented as guarantors of the new school of paris born between 1940 and 1950.

The gallery carpenter, in 1960, widens its selection of artists. It is exhibited by the Biennial of Paris in 1961. The article of knowledge of the arts appeared at the time of the exhibition in retraces the contents: "the present art is in paris, but also elsewhere: in italy, for example. This is what the organizers of the annual exhibition called the school of Paris (carpenter gallery) include. They added to their guests twenty-seven Italian painters including peverelli who is the only one to live in Paris.

Among others, burri, dova, schneider, and fontana orazi have earned an international reputation. The item "ghy-lemm (1888-1962) hsp signed / 40 forties / fauvism" is on sale since Thursday, March 6, 2014. It is in the category "art, antiques \ art of the twentieth, contemporary \ paintings".Art" and is located in / in paris.

This item can be shipped to the following countries: America, Europe, Asia, Australia.

period: xxth and contemporary
style: 1940-1960
genre: art deco
theme: scene
type: oil on isorel
characteristics: signed