Christopher Columbus
oil on canvas
circa 1938
Victor Brauner
Romanian, 1903–1966
#art #painting #modernart #surrealism #surrealistart #christophercolumbus #victorbrauner #circa1938
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Upon settling in Paris in 1930, Victor Brauner established a deep friendship with the artist Yves Tanguy, who introduced him to the Surrealist circle. Three years later, Brauner joined the group with the support of Tanguy, and his 1934 solo show at the Galerie Pierre, for which André Breton wrote the catalogue introduction, solidified his position. Like other Surrealists of the period, such as Salvador Dalí and René Magritte, Brauner was inspired by dreams, the unconscious, and mysticism, as well as diverse religions and ancient mythologies. Such influences are present in the artist’s Turning Point of Thirst, one of the works included in his 1934 exhibition. Of this work, Brauner wrote that “representing this personage in withered tatters expresses unremitting solitude and should pound the senses.”
Turning Point of Thirst
oil on canvas
1934
Victor Brauner
Romanian, 1903–1966
#victorbrauner #art #modernart #surrealism #turningpointofthirst #dated1934 #Paris #france #surrealistart #painting #surrealistpainting #modernistpainting #oilpainting
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Assemblage #5amwritersclub #wildatheart #victorbrauner #writingprompt #wipwarmup #randomclick #thursday
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Victor Brauner was born June 15, 1903, in Piatra-Neamt, Romania. In 1921 he briefly attended the School of Fine Arts in Bucharest, where he painted Cézannesque landscapes. He exhibited paintings in his subsequent expressionist style at his first solo show at the Galerie Mozart in Bucharest in 1924. Brauner helped found the Dadaist review 75 HP in Bucharest. He went to Paris in 1925 but returned to Bucharest approximately a year later. In Bucharest in 1929 Brauner was associated with the Dadaist and Surrealist review UNU. Brauner settled in Paris in 1930 and became a friend of his compatriot Constantin Brancusi. Then he met Yves Tanguy, who introduced him to the Surrealists by 1933. André Breton wrote an enthusiastic introduction to the catalogue for Brauner’s first Parisian solo show at the Galerie Pierre in 1934. The exhibition was not well-received, and in 1935 Brauner returned to Bucharest, where he remained until 1938. That year he moved to Paris, lived briefly with Tanguy, and painted a number of works featuring distorted human figures with mutilated eyes. Some of these paintings, dated as early as 1931, proved gruesomely prophetic when he lost his own eye in a scuffle in 1938. At the outset of World War II Brauner fled to the South of France, where he maintained contact with other Surrealists in Marseilles. Later he sought refuge in Switzerland; unable to obtain suitable materials there, he improvised an encaustic from candle wax and developed a graffito technique. Brauner returned to Paris in 1945. He was included in the Exposition internationale du surréalisme at the Galerie Maeght in Paris in 1947. His postwar painting incorporated forms and symbols based on Tarot cards, Egyptian hieroglyphics, and antique Mexican codices. In the fifties Brauner traveled to Normandy and Italy, and his work was shown at the Venice Biennale in 1954 and in 1966. He died in Paris on March 12, 1966.
Alphabet de la Tête
oil on canvas
1938
Victor Brauner
Romanian, 1903-1966
#victorbrauner #dada #surrealism #surrealistart #painting #modernart #20thcenturyart #alphabetdelatete #circa1938 #oilpainting
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Victor Brauner
(1903-1966)
Self-Portrait
1931
Very Terminatoresque!
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By VICTOR BRAUNER
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Victor Brauner - le Surrealiste, 1947
Drawing on the Juggler-Magician prototype, Brauner illustrates the traditional signs of the four suits in the tarot deck: wands, cups, swords, and coins (symbols of the elements of natural life—fire, water, air, and earth, respectively).
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Autoportrait de Victor Brauner. Celui-ci est représenté avec un œil crevé et sanguinolant.
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#photoApril
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25 Œil
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"Acolo" 1949 b. 1903, Piatra-Neamt, Romania; d. 1966, Paris Victor Brauner was born on June 15, 1903, in Piatra-Neamt, Romania. His father was involved in spiritualism and sent Brauner to evangelical school in Braïla from 1916 to 1918. Brauner helped found the Dadaist review 75 HP in Bucharest. He went to Paris in 1925 but returned to Bucharest approximately a year later. In Bucharest in 1929 Brauner was associated with the Dadaist and Surrealist review UNU. Brauner settled in Paris in 1930 and became a friend of his compatriot Constantin Brancusi. Then he met Yves Tanguy, who introduced him to the Surrealists by 1933. André Breton wrote an enthusiastic introduction to the catalogue for Brauner’s first Parisian solo show at the Galerie Pierre in 1934. The exhibition was not well-received, and in 1935 Brauner returned to Bucharest, where he remained until 1938. That year he moved to Paris, lived briefly with Tanguy, and painted a number of works featuring distorted human figures with mutilated eyes. Some of these paintings, dated as early as 1931, proved gruesomely prophetic when he lost his own eye in a scuffle in 1938. At the outset of World War II Brauner fled to the South of France, where he maintained contact with other Surrealists in Marseilles. Later he sought refuge in Switzerland; unable to obtain suitable materials there, he improvised an encaustic from candle wax and developed a graffito technique. Brauner returned to Paris in 1945. He was included in the Exposition internationale du surréalisme at the Galerie Maeght in Paris in 1947. His postwar painting incorporated forms and symbols based on Tarot cards, Egyptian hieroglyphics, and antique Mexican codices. In the fifties Brauner traveled to Normandy and Italy, and his work was shown at the Venice Biennale in 1954 and in 1966.
In The Surrealist Victor Brauner borrows motifs from the tarot to create a portrait of himself as a young man. The tarot, a set of seventy-eight illustrated cards used in fortune telling, was a subject of widespread interest to Brauner and other Surrealists. Four of these cards, for example, appeared on André Derain’s cover for the December 1933 issue of Minotaure. A group including Brauner even produced a deck of cards in 1940–41 that was probably a tarot. One tarot card, the Juggler (the first card in the Marseille tarot deck), provided Brauner with a key prototype for his self-portrait: the Surrealist’s large hat, medieval costume, and the position of his arms all derive from this figure who, like Brauner’s subject, stands behind a table displaying a knife, a goblet, and coins.¹ The tarot Juggler appropriately symbolizes the creativity of the Surrealist poet, for it refers to the capacity of each individual to create his own personality through intelligence, wit, and initiative, and thus to play with his own future, as the juggler manipulates his baton.
Victor Brauner
Romanian, 1903–1966
"Acolo" 1949
"The Surrealist" 1941
#art #modernart #victorbrauner #acolo #romania #surrealism #surrealistart #20thcenturyart
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Acolo
encaustic and collage on paper on board
1949
Victor Brauner
Romanian, 1903–1966
#modernart #encaustic #collage #modernism #victorbrauner #dated1949 #romania
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Alphabet de la Tête
Oil on canvas
1938
Victor Brauner
Romanian, 1903-1966
#modernart #painting #alphabetdelatete #victorbrauner #dated1938 #originalart #modernism #earlymodern
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« Outil Spirituel III » by Victor Brauner
🔗 · poligraf.tumblr.com/post/7424417...
#arts #artshare #paintings 🎨 #VictorBrauner #spirit #tools #spiritual
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Victor Brauner (Romanian, 1903-1966)
Bird Leaf (Oiseau feuille), 1964
#VictorBrauner #ModernArt #Surrealism
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« Outil Spirituel III » by Victor Brauner
poligraf.tumblr.com/post/7424417...
#arts #artshare #paintings 🎨 #VictorBrauner #spiritual
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