Judit riegl biography channel

Judit Reigl was still active at the age of She died on 6 August Website of the exhibition. Overview Installation Views Works Publications. She decided to flee, and finally passed through the Iron Curtain on the 10th of March , after eight failed attempts. This will be a decisive encounter for Reigl. Throughout her career, she was accompanied by literature, and above all poetry and music.

If a figure emerged unexpectedly, Reigl accepted it and began a new series, moving from abstraction to anthropomorphic figuration, then back again. The series follow one another like waves, as if I was breathing out, then breathing in [ Reigl eventually reached Paris by crossing through Austria , Switzerland , Germany and Belgium where she lived from to Reigl acquired French nationality by naturalization.

Known as the Pope of Surrealism , Breton welcomed Reigl into his circle of Surrealist artists and their influence is evident in her early work. Reigl was interested in Surrealism and Andre Breton because of her interest in automatic writing. After being introduced to one another, Riegl soon started to spend time with the surrealists.

Judit riegl biography channel

Reigi had a relatively short phase of focusing on surrealism but she would become an important bridge between surrealists and the younger generation of artists that would be associated with lyrical abstraction in the future. I wrote in the given space with gestures, beats, impulses". Georges Mathieu , one of the greatest French Lyrical Abstractionists, was one of Reigl's significant influences during this period.

Reigl exhibited her work in France beginning in Reigl's early works from her Surrealist period combine elements of photo collage with a mixture of figurative and more abstract elements Incomparable Pleasure , — She later expanded her use of collages from to using images from popular magazines and newspapers. Reigl's automatism arode from instinctive gestures of her body and showcases movement, levitation, tension and changes in processes, rhythms and roots of existence on spectacular large canvases.

Figurative- and non-figurative representation was for her a question of encoding and de-coding but may also be anthropomorphic. The Outbursts series is different from her earlier paintings with automatic writing in that they no longer used improvised metal tools to make spontaneous gestural marks. She began with throwing thick industrial pigment mixed with linseed oil onto the canvas with her hands and continued by vigorously scraping it from the center to the edges with a tool.

In a Outburst in the collection of the Solomon R. Guggenheim Museum , the relatively spare composition is punctuated by thick impastos or forceful marks. The artist later explained this time in her life as a transitional period when she severed her ties with the Surrealists. Please contact the gallery for further information on this artist.

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