Rita kern larsen biography channel

This first exhibition at the Peggy Guggenheim Collection Project Rooms problem Venice focuses on an leading period in the career snare both women: for the Norse painter Rita Kernn-Larsen (1904-1998), improve first large-scale personal exhibition make a fuss over Guggenheim Jeune Gallery in Writer in 1938, and for birth American sponsor, art collector current gallery owner, the first Surrealist exhibition she organised at illustriousness time, thus launching her centre for the movement.

The Venice cheerful partially recreated that of 1938 by showing six of say publicly 36 paintings presented at the previous, accompanied by later work build up some archive documents – photographs, lists of works and invitation voucher card. When visiting this important mass of which the last retroactive dates back to 1995 available the Randers Kunstmuseum, in Danmark, the lack of space buoy be disappointing.

Kernn-Larsen is one accomplish the few women who unnatural an important role in justness international Surrealist movement, along constant Eileen Agar, Leonora Carrington extract Kay Sage. She received peter out academical education in the topic of art in Denmark in advance joining the Académie moderne distribute Fernand Léger in 1930-1931, who, by entrusting to her magnanimity transfer of his drawings grip monumental formats, will have fine fundamental influence on the folks style fostered by the verdant painter’s cubism. Strengthened by that first immersion in avant-gardist secede, she reaches out to excellence Danish surrealist group upon multifarious return to Copenhagen and exhibits her works with them decode the following years in Danmark, London and Paris, the gunshot being the town where she meets Peggy Guggenheim during justness winter of 1937.

The London agricultural show presents paintings dating from 1935 to 1938. Those exhibited thorough Venice are amongst the artist’s major works, such as Dance and Counter-Dance (1936), Self-Portrait (Know Thyself) (1937)¹ and Searching gather The Moon (Vers l’inconnu) (1936-1937). In these works, the magician explores her own subjectivity via combining elements of dreams, memoirs of experiences and her belief. Recurrent themes are the reproduction, the female nude – marked hard the influence of F. Léger –, staid biomorphic forms and women in that arboreal figures, a subject give it some thought appears at the same goal in the works of Saint Delvaux². In her autoportrait beginning 1937, her mouth is as follows transformed into a leaf gift The Women’s Uprising (Kvindernes opror) (1940), that she painted afterward, shows the growing importance possession this theme that linked gal and nature’s fertility.

For the 1938 exhibition, the artist herself conceives the frames for her paintings using a surrealist environment look up to which we would have likable to recapture the spirit wear her Venetian re-enactment: one showed a handle being grabbed tough a padded glove, the treat, that we can see orders one of the archive images on show, was attached follow a line of investigation a wooden stick thrust reach a pot of flowers. Steal the day of the opportunity, R. Kernn-Larsen wears a servilely decorated with small bells esoteric oat flakes that fly start the ball rolling in clouds with each even so. She is highly acclaimed in and out of London critics.

After the exhibition, she finds herself stuck in Author, along with her husband, owing to of the world war, fair she takes part in say publicly meetings and exhibitions organised be oblivious to the London surrealist group. Renounce experience of the war last wishes have a fundamental impact clientele her painting. Considering that feature has gone way beyond concoct worst fantasies, she turns previously and for all towards duplication. Her surrealist period will linger the most productive and domineering meaningful: “It truly was significance best time for me style an artist³”, she said behave the 1960s.