.jpg?w=1)
拍品專文
Oskar Schlemmer aura suivi un parcours artistique multidisciplinaire et complémentaire : il fut à la fois peintre, sculpteur, chorégraphe et homme de théâtre. Après une formation en arts appliqués, beaux-arts et marqueterie, et à la demande de Walter Gropius, il rejoint l’équipe enseignante du Bauhaus en 1921. Cette opportunité va lui permettre de tisser des liens avec d’autres professeurs-artistes de qualité : Lyonel Feininger, Paul Klee et Josef Albers. Ses recherches l’amènent à publier en 1925 son manifeste Mensch und Kunstfigur (L’homme et la figure d’art), où il développe une réflexion autour de l’homme dans l’espace et la géométrie spatiale. A la fin des années 1920, une période difficile commence. Schlemmer quitte le Bauhaus et part pour Breslau puis Berlin. Mais sa blessure la plus profonde viendra sans nul doute des attaques violentes dirigées contre son art: lors de sa participation à la Sécession de Berlin en 1933 et lorsque certaines de ses œuvres seront incluses dans l’exposition de l’«Art dégénéré» en 1937. L’artiste reste néanmoins soutenu à l’étranger et notamment en Suisse et en Angleterre. Oskar Schlemmer finira sa vie en Allemagne, pays qu’il ne put se résoudre à quitter.
Oskar Schlemmer was to have a multidisciplinary and complementary artistic career: he was a painter, sculptor, choreographer, and man of the theatre. After training in applied arts, fine art and marquetry, and at the request of Walter Gropius, he joined the teaching staff of the Bauhaus in 1921. This opportunity would enable him to form relationships with other high calibre artist-teachers: Lyonel Feininger, Paul Klee and Josef Albers. In 1925 his research led him to publish his manifesto Mensch und Kunstfigur (Man and the art figure), in which he develops a whole range of ideas about the human body in space and spatial geometry. The late 1920s saw the start of a difficult period; Schlemmer resigned from the Bauhaus and went first to Breslau then Berlin. But the deepest wound undoubtedly came from the violent attacks directed against his art: at the time of his participation in the Berlin Secession in 1933 and when some of his works were included in the exhibition of “degenerate art” in 1937. Nonetheless, the artist continued to enjoy international support, especially in Switzerland and England. Oskar Schlemmer would spend the last days of his life in Germany, a country he could not resolve to leave.
Oskar Schlemmer was to have a multidisciplinary and complementary artistic career: he was a painter, sculptor, choreographer, and man of the theatre. After training in applied arts, fine art and marquetry, and at the request of Walter Gropius, he joined the teaching staff of the Bauhaus in 1921. This opportunity would enable him to form relationships with other high calibre artist-teachers: Lyonel Feininger, Paul Klee and Josef Albers. In 1925 his research led him to publish his manifesto Mensch und Kunstfigur (Man and the art figure), in which he develops a whole range of ideas about the human body in space and spatial geometry. The late 1920s saw the start of a difficult period; Schlemmer resigned from the Bauhaus and went first to Breslau then Berlin. But the deepest wound undoubtedly came from the violent attacks directed against his art: at the time of his participation in the Berlin Secession in 1933 and when some of his works were included in the exhibition of “degenerate art” in 1937. Nonetheless, the artist continued to enjoy international support, especially in Switzerland and England. Oskar Schlemmer would spend the last days of his life in Germany, a country he could not resolve to leave.