오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

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오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

 

오스카 플로리아누스 블루므너(Oscar Florianus Bluemner), 미국, 화가, 1867-1938

1892년 독일에서 미국으로 건너와  건축 경력을 이어갔다. 모더니즘 미술의 영향을 받아 점차 드로잉과 회화로 눈을 돌렸고 건축을 포기했다.

 

유럽  여행은  스타일의 극적인 변화에 박차를 가했다. 미국으로 돌아와 첫 번째 휘트니 비엔날레에 참여했으며 개인전을 가졌다.

 

비평가들로부터 호평을 받았지만 판매량은 저조했고, 가난하게 살았다. 제1차 세계대전으로 인해 형성된반독 감정으로 뉴욕에서 뉴저지로 이주했고, 그곳에서 값싼 숙소를 찾아 가족과 반복적으로 이사했다. 1926년 아내가 사망하자  아들과 함께 WPA 예술 프로젝트의 도움으로 생계를 꾸려 나갔다. 1935년에 자동차 사고로 심각한 부상을 입었고, 이후 다시 그림을 그리지 못했다. 시력이 나빠지고 깊은 우울증에 빠진 그는 3년 후 자살했다.

 

Bluemner는 농장, 공장, 깔끔한 교외 지역의 독특한 지형을 그렸다.  "우리 공통 환경의 친밀한 풍경, 즉 삶의 발전과 가장 밀접하게 얽혀 있는 사물과 장면"이라고 묘사했다. 뉴저지와 매사추세츠의 산업 배후지에 대한 그의 묘사는 그곳에서 수고한 노동자들에 대한 정치적, 사회적 동정심을 가장 현대적인 예술 언어와 결합했다. 그의 그림에서 빛나는 붉은색의 특징적인 터치와 색채 이론에 대한 관심은 그에게 "버밀리어네어(The Vermillionaire)"라는 별명을 주었다. 신인상파의 강한 영향을 받은 그는 색상에 대한 보다 감정적이고 영적인 아이디어를 선호하여 그들의 과학적인 아이디어를 거부했다.

 

지난 25년 동안 Bluemner의 중요성은 여러 중요한 전시회와 새로운 출판물에서 인정받았으며 그의 작품은 꾸준히 계속해서 주요 박물관 컬렉션에 포함되었다. 그는 이제 조지아 오키프(Georgia O'Keeffe), 존 마린(John Marin)과 같은 더 잘 알려진 동료들과 함께 판테온에서 자신의 자리를 차지하면서 미국 모더니즘을 창조한 핵심 인물로 널리 인정받고 있다.

 

                                                                                                   About Him

 

Julius Oskar Blümner (Oscar Bluemner) was born June 21, 1867, in Prenzlau, Prussia (now Germany). His family moved due to his father’s work as a master mason, so his early exposure to art occurred in various locales. Bluemner had his first formal training at age nine, soon after began sketching from nature, and by 1883 was an accomplished watercolorist. At age 18 he was given a solo exhibition at his secondary school, but he changed his major from art to architecture just before graduating.

 

From 1886 to 1892 Bluemner studied at Berlin’s prestigious Königliche Technische Hochschule (Royal Technical Academy). After earning his architecture degree, he became dissatisfied with the conservative climate in Germany and what he perceived as the neglect of his work. He decided to forego the military draft and immigrate to America. He worked briefly in New York and then as a draftsman at the World’s Columbian Exposition in Chicago, and continued to travel between the two cities periodically looking for work. Bluemner married Lina Schumm in Chicago in 1896, and the couple had their first of two children that year.

 

In 1900 Bluemner was once again in New York and still struggling to establish himself. Four years later his designs for the Bronx Borough Courthouse for architect Michael J. Garvin were approved. Garvin, however, did not honor his promise to split fees and credit, leading to multiple lawsuits that would not be settled until 1911. In 1907, a frustrated Bluemner resolved to design country houses—echoing his longtime interest in sketching freestanding buildings and the landscape—while preparing to shift his career to painting. He frequented New York’s museums and galleries, studied art history, theory (particularly color theory), and painting techniques, and summarized his experiences in a journal titled “My Own Principles of Painting.” He met the influential dealer Alfred Stieglitz (American, 1864 - 1946) and began rendering landscapes in a neoimpressionist style. In 1912, Bluemner, having arranged an exhibition of his oils and watercolors at a gallery in Berlin, embarked on an intensive seven-month trip to Europe. He absorbed the new trends in German art, particularly expressionism and futurism, through exhibitions and publications, while closely studying the old masters and sketching outdoors in Germany, Italy, France, the Netherlands, and England.

 

Upon his return to New York Bluemner began to publish articles and actively exhibit his work, most notably in the 1913 Armory Show, in a one-artist exhibition at Stieglitz’s 291 gallery in 1915, and in the Forum Exhibition at Anderson Gallery in 1916. However, he continued to clash with dealers, preferring to promote his work himself. Sales were nonexistent, and for the next ten years he and his family relocated nearly every six months within New Jersey, unable to meet their rent. Despite these financial hardships, Bluemner remained productive and looked to Asian and Old Master art as new sources of inspiration.

 

When Bluemner’s wife died in 1926, he and his daughter moved to South Braintree, Massachusetts, to live with his son. Grief-stricken, Bluemner explored the associations between emotions and color in a series of watercolors on board depicting suns and moons that were shown at Stieglitz’s Intimate Gallery in 1928. Bluemner also continued to write prolifically—his passion for red and its many meanings led him to adopt the pseudonym of “The Vermillionaire” in 1929, the year he privately published “What and When is Painting? Today.” Also that year he had a one-person show at the Whitney Studio Galleries, which strained his relationship with Stieglitz.

 

Bluemner’s only critically acclaimed one-person exhibition took place in 1935 at the Marie Harriman Gallery in New York. With the country still in the midst of the Great Depression, it did not yield a single sale. In 1938, after becoming increasingly ill and losing his eyesight, the artist took his own life.

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카를 슈미트 로틀루프(Karl Schmidt Rottluff), 독일, 미술가, 1884-1976

 

사울 레이터(Saul Leiter), 미국, 사진가, 1923-2013