HENDRIK GRISE GIANT LISTED VINTAGE MID CENTURY ABSTRACT EXPRESSIONISM MODERN ART
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HENDRIK GRISE GIANT LISTED VINTAGE MID CENTURY ABSTRACT EXPRESSIONISM MODERN ART:
$299.99
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Hendrik Grise (1914-1982)
Original Watercolor and Gouache
Abstract 40\"x26\"
He trained in commercial art at the School of the Art Institute of Chicago, Chicago Professional Art School, and Dallas Museum of Art. He concurrently taught commercial art at Chaffey College in Rancho Cucamonga from 1950 to 1980 and worked in Advertising Art Departments at many large retail department stores in the Southland.Other than participating in a 1970\'s exhibition titled Three Artists/Three Points of View at the Museum of History and Art in Ontario, Ca., Grise apparently had little interest in selling or exhibiting his art to the public. He was most active in the 70s up to his death. He specialized in abstracts and human figures. In both genres, the process of painting was on an equal footing with content.In abstract painting he was primarily influenced by Mark Tobey (whom he knew) and his concept of \"white writing,\" which blended occidental and oriental motifs in a mystical, calligraphic art. In paintings of figures he was profoundly influenced by German artist Hans Bellmer, who was both his contemporary and a commercial artist like Grise.Grise\'s abstractions are designs of strong colors executed in poster paint on paper. Rejecting the dominant abstract rends of the 1960s, he used an extensive array of amorphous shapes, daubs, sinuous lines and squiggles, arabesques, circles, arcs, and triangles in a freewheeling, fluid style, where a sense of spontaneity is a conspicuous hallmark. Sometimes Grise inserted objective elements, such as planetary bodies, into his abstractions to stimulate a closer visual relationship between his work and the viewer.Grise\'s figure paintings, which were executed on paper in poster paint and/or watercolor, almost always depict nudes to explore multi-layered sexual themes. Grise\'s work has a special connection between him and his proxy \"mentor and hero\" Hans Bellmer. Bellmer manipulated the female body for the purpose of a complexly motivated male imagery, explored the notion of perversity inherent in sexuality, and believed in sexual liberation, regardless of price. Although their imagery is dissimilar, they share many basic notions which underlie their images. His nudes are highly expressive, sexually evocative, usually racy, and often very graphic. His exaggerated and distorted anatomical features have Freudian implications. There are no \"innocent\" figures in his visual narratives; all in some way are complicit figures.In his approach to exploring sex, Grise had no counterpart, either in Bellmer or his contemporaries in Los Angeles. Singularly, Grise extensively experimented with the concept of \"self-reflexivity,\" a historical device that gained popularity among writers in the 1970s but untried to any meaningful extent by other artists of the period. In literature and art, self-reflexivity refers to the inclusion of the writer or artist himself into the context of the work. Grise applied the device by inserting himself in the guise of a wide range of sexual personas. At times, Grise appears as a relatively conventional-looking artist, gazing and peering at this model, and at other times he portrays himself as fantastical, lusting for his model. Sometimes his presence is known through insertion of his paint brush or body features, such as his hands or lips. His personas revolve around sexual desires. They take the viewer deep into the lioffero, which is manifested through anatomical exaggerations of the models and the artist. It is likely that Grise\'s personas are beyond self-revealing; they may be a de facto representation for the lioffero of Everyman and Everywoman.
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HENDRIK GRISE GIANT LISTED VINTAGE MID CENTURY ABSTRACT EXPRESSIONISM MODERN ART:
$299.99