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神与色的长廊—37—Albert Bloch  

2014-06-16 07:36:24|  分类: 神与色的长廊 |  标签: |举报 |字号 订阅

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神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—37—Albert Bloch - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 美国 | United States 油画家
Albert Bloch (August 2, 1882 – March 23, 1961) was an American Expressionist artist and the only American artist associated with Der Blaue Reiter (Blue Rider), a group of early 20th-century European modernists. Born in St. Louis, Missouri, of Czechoslovakian and German-Jewish ancestry, Albert Bloch spent his formative years in the Midwest. He first studied art at the St. Louis School of Fine Arts (now part of Washington University). Like many of his contemporaries, Bloch earned a living from commercial art, and between 1905 and 1908 he worked as a caricaturist and illustrator for William Marion Reedy’s literary and political weekly The Mirror. Noticing Bloch’s artistic talent, Reedy provided him with a monthly stipend to study abroad. At the beginning of 1909, Bloch sailed for Europe. Between 1909 and 1921, Bloch lived and worked mainly in Germany, making brief visits to other countries on the Continent and to America. His decision to settle in Munich, then a thriving art center, rested largely on his language skills—he had learned German from his parents. Although Reedy pressed Bloch to attend classes at the Royal Bavarian Academy in Munich, Bloch never enrolled, preferring instead to take lessons from painters working in the academic style outside the academy. Initially Bloch displayed little interest in the revolutionary aesthetics that had been advanced in European art around the turn of the century, but a 1910 trip to Paris opened his eyes to the works of Vincent van Gogh, Pablo Picasso, and Odilon Redon. The following year, he saw a catalogue of the second exhibition of the Neue Künstlervereinigung München (the New Arts’ Union of Munich), which included reproductions of works by, among others, Pablo Picasso, Georges Braque, Georges Rouault, and Wassily Kandinsky. Bloch felt an immediate kinship with these artists. He soon met Kandinsky and Franz Marc, both of whom invited him to participate in the first exhibition of Der Blaue Reiter (The Blue Rider), a group of modernist artists who broke away from Neue Künstlervereinigung. With his contribution of six canvases, Bloch was the only American represented in the show, which was held in December 1911 at Munich’s Thannhauser Gallery. The Blaue Reiter artists had no formal manifesto, but they shared a desire to express emotional and spiritual truth through painting and, in particular, through symbolic use of color. The group, active from 1911 to 1914, represents one current in the broader expressionist impulse that spread through Germany and beyond in the first half of the twentieth century. Bloch established a successful career in Germany and remained there, exhibiting his work through World War I. In 1912, he showed at the second Blaue Reiter exhibition, and he was included in the 1912 Sonderbund Exhibition in Cologne, the most famous exhibition of modernism in Europe at that time. The only painting by Bloch accepted for this show was The Duel, a 1912 painting that recalls Edvard Munch’s haunting and mysterious figurative works. That same year, Bloch showed at Herwarth Walden’s Der Sturm Gallery in Berlin, participating in a small exhibition that featured paintings rejected from the Sonderbund exhibit. Walden, one of the foremost proponents of modernism in Europe, fashioned this 1912 exhibition as a protest against the Sonderbund show that, he believed, had not adequately represented members of the Blaue Reiter group. Bloch’s acclaim also reached the American art world. At Kandinsky’s recommendation, Arthur Jerome Eddy, the Chicago collector and tireless promoter of modernism, began buying Bloch’s paintings and eventually added more than twenty-five of them to his collection. In 1915, Eddy’s collection of paintings by Bloch comprised a one-man show at the Art Institute of Chicago; the exhibition traveled to the St. Louis Art Museum.
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