Pierre Alechinsky
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Pierre Alechinsky
(b Brussels, 19 Oct 1927). Belgian painter, draughtsman, printmaker and film maker. He studied book illustration and typography at the Ecole Nationale Sup?rieure d'Architecture et des Arts D?coratifs from 1944 to 1946. In 1947 he became a member of the Jeune Peinture Belge group and had his first one-man exhibition in the Galerie Lou Cosyn in Brussels. In 1949 he became a founder-member of the COBRA movement after meeting Christian Dotremont. With a number of artist friends he set up a type of research centre and meeting-place in Brussels, the Ateliers du Marais. Towards the end of 1951 he went to Paris, moving to Japan in 1955 to study the art of calligraphy, also making a film called Calligraphie japonaise (1956). He adopted the Oriental manner of painting, whereby the paper is spread on the floor and the artist leans over the work holding the bottle of ink, allowing a greater freedom of movement. In 1957 he made his first large works on paper in Indian ink and afterwards mounted the paper on canvas.
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Pierre Alechinsky
| Pierre Alechinsky | |
|---|---|
_by_Erling_Mandelmann.jpg) Pierre Alechinsky (1965) |
|
| Born | 19 October 1927 Brussels |
| Nationality | Belgian |
| Field | Painting, Printmaking, Drawing |
| Influenced | Keith Haring Kenny Scharf |
Pierre Alechinsky (born 19 October 1927) is a Belgian artist. He has lived and worked in France since 1951. His work is related to Tachisme, Abstract expressionism, and Lyrical Abstraction.
Alechinsky was born in Brussels. In 1944 he attended the l'Ecole nationale supérieure d'Architecture et des Arts décoratifs de La Cambre, Brussels where he studied illustration techniques, printing and photography. In 1945 he discovered the work of Henri Michaux, Jean Dubuffet and developed a friendship with the art critic Jacques Putman. In 1949 he joined Christian Dotremont, Karel Appel, Constant, Jan Nieuwenhuys and Asger Jorn to form the art group Cobra. He participated both with the Cobra exhibitions and went to Paris to study engraving at Atelier 17 under the guidance of Stanley William Hayter in 1951. In 1954 he had his first exhibition in Paris and started to become interested in oriental calligraphy. In the early 1950s he was the Paris correspondent for the Japanese journal Bokubi (the joy of ink). In 1955, encouraged by Henri Storck and Luc de Heusch, he left for Japan with his wife. He exhibited Night, 1952 (Ohara Museum of Art, Kurashiki) and made a film: Japanese Calligraphy – Christian Dotremont would write the commentary with music by André Souris.
By 1960 he had exhibited in London, Bern and at the Venice Biennial, and then in Pittsburgh, New York, Amsterdam and Silkeborg as his international reputation grew.
He worked with Walasse Ting and continued to be close to Christian Dotremont. He also developed links with André Breton.
His international career continued throughout the seventies and by 1983 he became Professor of painting at the École nationale supérieure des Beaux-Arts, Paris. In 1994 he was awarded an honorary doctorate by the Free University of Brussels, and in 1995 one of his designs was used on a Belgian stamp.
His works are held in the collections of the Royal Museums of Fine Arts of Belgium, the Tate,[1] Museum Ludwig in Cologne, the New York Museum of Modern Art[2] and the Walker Art Center in Minneapolis.[3]
Bibliography
- Mueller-Yao, Marguerite: Der Einfluss der Kunst der chinesischen Kalligraphie auf die westliche informelle Malerei, Diss Bonn, Koeln Koenig 1985, ISBN 3-88375-051-4 (pbk)[4]
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