Nicolas de stael biography of donald

When Nicolas De Staël leapt to his death from an apartment balcony in , aged just 41, he left behind a body of work suggesting a stunning.

Here is what I learned from De Staël's biography by Laurent Greilsamer (): making relevant semi-abstract paintings requires 3 artistic qualities.

Born in Saint Petersburg into an age-old lineage of German nobility, he spent his childhood in the severe environment of the Peter and Paul.

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Summary of Nicolas de Staël

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Accomplishments

For de Staël, figuration near abstraction were never commonly exclusive categories: a clich‚ perhaps, but one borne out be on a par with such electrifying effects suspend his swipe that film set presents strike as finish urgent accept previously unknown truth. H

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Nicolas de Staël

In , Jeanne Bucher met the year-old Russian painter Nicolas de Staël. Shaken by history and marked by family tragedies, he had already traveled extensively before settling in Paris: he had fled the October Revolution with his family in , lost both father and mother in the years that followed, and found refuge with a Brussels family, the Friceros, who were responsible for his upbringing. His early passion for painting led him, against the advice of his adoptive father, to attend the Beaux-Arts in Brussels, then to travel in France, Spain and Morocco where, in , he met Jeanne Guillou, an artist five years his senior, who left her husband for him. The lovers then traveled to Italy, before settling in Paris, where Nicolas worked hard and destroyed almost as much, spending some time at Fernand Léger&#;s Academy. After volunteering for the Foreign Legion, he joined Jeanne in Nice. It was here that he met many artists, including the Delaunays, Arp and above all Magnelli. The couple survived thanks to Jeanne&#;s painting, and in welcomed a little girl, Anne. The following year, they returned to Paris, destitute and housed thanks to the generosity of Jeanne Bucher, who supported them and bought Staël his first drawings in

It was in that Jeanne Bucher exhibited the

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“You know, I find that nothing has yet been said about this painter&#; We struggle, we try to understand.” Anne de Staël

A visit to the exhibition quickly reveals that de Staël did not develop an excessive vocabulary, but that this vocabulary took time to establish itself, let’s say, from the s onwards. What a leap from to !

The point here is not to take every iconic index before 49 in order to compare what is post and/or ante, there are books for that, but rather to take a core sample. Here, in ’49, we are still, but not for much longer, in what de Staël calls “compositions”. In the Catalogue, Nicolas’s daughter Anne de Staël tells us that “many things are called Composition, because of Kandinsky.” However, by using the very term “Composition”, does it not seem that de Staël is trying to avoid deictic identification (landscape = necessarily a landscape, whereas “composition” designates only “it”-itself, the thing itself&#;).

A quick exegesis (and therefore a possible error) is that what appear here (in 49) as trapezoids, indeterminate geometric shapes, triangles and squares, will soon break up and be recomposed differently, with triangles as vanishing lines, and squares, which Pierre Watt, in the Catalogue, calls “tesserae”, which, to be hones