Henry Campendonk (1889-1957)
 

Campendonk was born in Krefeld. He first joined the Textile Institute, at inzherenroe department. But then he decided to become an artist, and from 1905 to 1909. He studied at the School of Fine Arts in his hometown of Johan Thorn-Prikkera, hudzhozhnika symbolist niderladnskogo origin.

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In 1909 he participated in the restoration of the frescoes of the cathedral of Osnabrück. Back in Krefeld, he rented a studio with two other artists - Valtterom Giskesom and Helmut Macke. The latter introduced him to his brother, Augustus, and he showed his work, Franz Marc and Wassily Kandinsky.

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In 1911 at the invitation of August Macke, he joined the group "Blue Rider". At the same time he became acquainted with Franz Marc, who invited him to Sindelsdorf, there Campendonk worked with Marc and Kandinsky. Campendonk took part in exhibitions organized by the "Blue rider", in particular, in the gallery "Tanheyzer" and Hervarta Walden Berlin gallery Der Sturm.

In 1909 he participated in the restoration of the frescoes of the cathedral of Osnabrück. Back in Krefeld, he rented a studio with two other artists - Valtterom Giskesom and Helmut Macke. The latter introduced him to his brother, Augustus, and he showed his work, Franz Marc and Wassily Kandinsky.

In 1911 at the invitation of August Macke, he joined the group "Blue Rider". At the same time he became acquainted with Franz Marc, who invited him to Sindelsdorf, there Campendonk worked with Marc and Kandinsky. Campendonk took part in exhibitions organized by the "Blue rider", in particular, in the gallery "Tanheyzer" and Hervarta Walden Berlin gallery Der Sturm.

In 1912 Campendonk created his first Cubist work. In addition to Cubism, in works Campendonk chuvstvuetsyaya influence Bavarian lubok and Marc Chagall, and Mark Macke and Kandinsky.

In 1920-1922 gg. He traveled to Italy, Frasca Giotto and Ravenna mosaics made a tremendous impression on him. Returning to Germany, he began teaching at the School of Fine Arts, Krefeld, which he himself had graduated. Four years later, in 1926, he joined the Academy of Arts Dbsseldorfa. In 1920. Campendonk became very famous for his work with glass. He - by stained glass windows for churches and office buildings.

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Past the Nazis to power it, of course, kicked out, and in 1937 he emigrated to the Netherlands, where he lived until his death in 1957

Page prices: http://www.findartinfo.com/search/li...ich_Campendonk

You probably understand: I am very enthusiastic to work Campendonk not feel, though, and I understand that he is a good artist - a matter of taste, without any doubt (that's me in the fact that this is my problem, not Campendonk) - not that Mac, for example, or Mark, or Nolde, which is very, very much. But since I came to this crazy idea - to do, so to speak, "group portrait of the" Blue Rider "- it would be unfair to ignore the unloved Campendonk, let them hang :)

Past the Nazis to power it, of course, kicked out, and in 1937 he emigrated to the Netherlands, where he lived until his death in 1957

Page with the prices: http://www.findartinfo.com/search/li...ich_Campendonk

You probably understand: I am very enthusiastic to work Campendonk not feel, though, and I understand that he is a good artist - a matter of taste, without any doubt (that's me in the fact that this is my problem, not Campendonk) - not that Mac, for example, or Mark, or Nolde, which is very, very much. But since I came to this crazy idea - to do, so to speak, "group portrait of the" Blue Rider "- it would be unfair to ignore the unloved Campendonk, let them hang :)

difference, IMHO, is small. Again, as with Mac, a palette of Vasily Kandinsky. This Vasily they picked, or they have it? or was somebody else, who they picked? Or there was an agreement, once the Blue Rider, all write in one, approved palette?
in that they are all their own way, have come to absolutely the same palette, I do not believe ...
a great artist! Thank you very much ..

Generally, if you look at the different factions beginning of the twentieth century, you will see that members of their very similar palette - whether it divizionnisty (all Signac, Cross and other van Risselberge) Fauvism (Derain, Vlaminck and Matisse, even 1906 times by color simply indistinguishable) or the Cubists with their typical rather dull gray-brown color. A Russian sezannizm? simply scream - black, green and brown again)! Hence, our riders are no exception :p
But Kandinsky in color, in my opinion, just different.

It's not only in the palette. These hodozhniki very different in spirit and mood. Personally, I am very sensitive to the amiable and dreamy contemplation Mac, to a romantic rebelliousness Nolde, the pathos of pantheism Mark. Campendonk attracts me less, but you, of course, quite right, he's a great artist.

Below - a short visual confirmation of what I say above :D

Three Fauvist and three Cubist.

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I do not understand why when you preview all right, that is, as I wanted the picture are three in number, and the final version of all the spoils?

Admins, to cyber-pen, tell me what am I doing wrong?

Allow me not to agree .. that's Kandinsky-3 than they differ from your first post in this topic?

What do you think, how it all happened? T e will simply be taken to resound in one palette? type sign of good form ... or a palette treated as a fashion? why the same palette yet?

Differ :)
Not by the color and location of spots of color layers.

From Fauvism and cavalry, all more or less clear - was to see if write clean, unmixed colors, so we can see on their canvas, pure colors - but in the tubes, they are all the same.
Besides Mark, for example, has developed a system of symbolism of flowers.

As for the Russian, and not only Russian, sezannizma, the explanation lies in the peculiarities of the palette of Cezanne, which they exaggerated.

Now Cubists (analytical, OK? Later, they returned to the color). Why they had a weakness (criminal) for such a meager and dull color? I think that this "poor" palette was caused by a reaction to the light-color effects of the Impressionists, in which the size and structure have been "drowned" in the color-air-magma, and helped them focus on what interested them in the first place - make your own Space pictures out of a single point of view of the artist depicted, etc.

A? You think a plausible explanation? :)

I know, people lazy and so intuitive - I do not like to analyze :D

LCR, I do not know .. You are in our forum historian of art of the 20 th century. Maybe there is someone else, but while in an ambush.
I'm just struck by the similarity of work within the Blue rider. I used to think that the style and palette of Kandinsky's unique, and you now have opened my eyes, not at all, he just became the most popular of them. And the most advanced in analytical terms, he invented and developed further.

Excellent explanation! Thanks, Liana! I have so much of these explanations iskustvovedcheskih've been listening to a hundred times ears faded. And here shortly and once in the root.
There is much to learn ... :shy:

That's strange, a different perception - I always Cubist flavor seemed very exquisite - a pearl. And Russian sezannisty not everything's so awful - Falk, for example.

Seema, as well as you think, where the egg and the chicken where the Blue Horseman? why the same palette?

Yes I Russian sezannistov not hulyu. "Óìîðà" - is not curse, just a palette in all of them at the beginning was the same, but some people have not changed. This applies to foreign first Cubists - not for nothing that the first period of Cubism called sezannovskim.

Of course, Falk good artist, from bubnovovaletchikov (so to speak 40 years ago one of our fellow student-iskusstvovedma, I really like) I'm still very fond of Shevchenko.

As analytical Cubist, no, it's not for me. Do not want to talk to not to offend anyone (but rather hinted about his attitude to this art against in the past), but it seems to me this dull monochrome, and yet due to the fact that Picasso had no sense of color. Here you are, now you know :D

Seriy, Oh and a question! The answer really should be very long. Briefly: in each group had its own aesthetic doctrine (it is often philosophical). Kandinsky was anthroposophy. And the color of his anthroposophical - mystical, the spiritual vision. More "Blue Riders" (funny - and now "blue noses"), I think, belonged to the same unorthodox "religion". They (anthroposophists) did a whole system of symbolic colors. Is related to spiritual insights and knowledge.
In Kandinsky's book is "On the Spiritual in Art", there is an explanation. As for chicken and eggs - the case. when the hen is sitting in the egg. And the egg - a doctrine. T.e.nikto of them, I believe, did not affect their color (RGB) - it is their world view in light of anthroposophical doctrine. This does not negate the difference of temperaments and characters.