It is well documented that Oskar Kokoschka travelled to Africa from January to April 1928 to Tunis. It is also described that he was accompanied by Helmuth Lüthjens (1893-1986) from his gallery Cassirer. At this time Lüthjens made lots of photos which were also exhibited at the exhibition „Kokoschka-Das Ich im Brennpunkt“ at the Leopold Museum in Vienna in 2013 (the catalogue of this exhibition is as well the source of information)
On this journey, Kokoschka made his famous painting of the market in Tunis, what he finished later in 1929 according to Lüthjens.
Anna Kallin, his girlfriend at that time was in London and mentions in her letter to Mr. Schmitt „ …Kokoschka and myself have been to Paris several weeks, one week ago he has travelled to Tunis , again a hard landscape journey under the custody of a Cassirerian Dragon“ – I am sure she meant the above mentioned Helmuth Lüthjens. She further writes „…in autumn he will have exhibitions in London and Paris- ultimately!“
Hermann Schmitt (https://de.wikipedia.org/wiki/Hermann_Schmitt) was Director in the ministery of interior in Dresden and had as well a close relationship to Kokoschka since the beginning of Kokoschkas time in Dresden at the academy of arts.
I think a nice inside to this history seen from Anna Samoylovna (Niouta) Kallin (1896-1984)
( Drawings by Oskar Kokoschka, all rights reserved)
It has been a long time i did not write and I am happy to be able to do it again. I hope you like what you see and read here.
I recently akquired a photograph signed by Marc Chagall in Kokoschka´s garden in the Villa Delphin in Villneuve in Switzerland. For a long long time I was looking for something like this. As you might know there are so many forged signatures from Chagall on the market I was simply not able to find one for my collection which attired my attention. Now this one comes from the estate of Dr. Edgar Horstmann , a very good friend from Kokoschka and art collector.
Horstmann moved to Hamburg in 1946, where he got a chair at the university der Bildenden Künste. He intensively studied life and work from Kokoschka and also wrote a book called “Oskar Kokoschka in Hamburg” . Oskar Kokoschka liked to work with students and did that as well in Horstmann’s classes. He dedicates the photo ” at your school dear Edgar- it was good and lively”. It is so nice to find such witnesses of time showing the inner enthusiasm of Kokoschka to talk with young students how they can find their way to express themselves .
I did not find too much information yet about the relation between Kokoschka and Chagall but as we can see, they also privately kept contact. On the photo Chagall seems so happy to watch the things in the garden. I like the sphere in this unusual and private scene ..
Stay safe and keep happiness about the little things in life! As Chagall seems to do it in Kokoschka’ s garden.
After some time I am able to present a little photobook from early works of Miklós Németh. In my opinion it is still a lot to learn about this artist and especially his circumstances he had to work.
Hans Knoll (an austro-hungarain gallerist) edited a book about the different political circumstances in Hungary and its impact for the art world at that times (“Die zweite Öffentlichkeit” Kunst in Ungarn im 20.Jahrhundert – hungarian edition: a második nyilvánosság” http://budapest.knollgalerie.at/570.html) As well Miklós Németh had to fight in those times – and not having an official diploma made his life not easier in the 60íes after the socialist regime came to power and streamlined hungarian art.
The more interesting is the fact how independent Németh developed his own style reflecting the joy of live with his enormous colorful paintings where nature, love and the beauty of live are in the centre of his artistic focus which he captured like in a time capsule.
A little step towards to work out of this part of art history and the role of Miklós Németh might be to get to know more about the artworks of Németh during this time starting with the Marffy school in 1950 and continuing with the collaboration with Ilosvai Istvan Varga and Toth Menyhért.
again a post about the great hungarian painter Miklós Németh who really catches me even if I am not looking at his paintings. I am actually exploring some of his diaries which are partly colorfully designed and which describe e.g. his daily work at painting and other thoughts.
Just examples which I am proud of to be able to show: a fantastic self portrait by the 22 year old Miklos Németh and a sample page of one of his diaries.
I want the spectators of his art to focus on the real and right works because they are so fascinating and show his development as a painter. As long it is not yet really open to add works in the work directory (which partly is done by the austrian private trust Lengersdorff) I will continue to document and publish my own, which should be – I hope – a great addition to the public once in future.
Anyone who might want to help on this endeavor is greatly invited to join. I am keen to discuss ways how to help to give Miklós Németh the place in the art world he deserves for.
All rights reserved. Copyright Miklós Németh. Private collection Szalay
All rights reserved. Copyright: Miklós Németh. Courtesy of Péter Perina
Schon öfters dachte ich, dass meine geistige Fähigkeiten sehr beschränkt wären, vor allem wenn ich Kunstkataloge lese. Oft verstehe ich nicht, was der Kurator bzw. der Kunsthistoriker sagen möchte.
Dieses “Problem” beichtete ich meinem Bekannten Rudolf Schramm in Wien, um auch zu testen, ob ich der einzige bin, dem dies wiederfährt.
Witzigerweise -und das wusste ich vorher nicht- sagte er mir, dass er sich auch schon mit dieser Thematik auseinandergesetzt und dies auf seiner Webseite http://www.kunst-kauderwelsch.at dokumentiert hätte.
Dies wollte ich meinern followern nicht vorenthalten.
The combination of paintings and texts or messages is something, which can be seen in the art world frequently: René Magritte, Joseph Beuys, Jean-Michel Basquiat, Mario Dalpra or Franz West use that technique to express their “inner world” and transport messages to the observer of their work.
I follow up that topic (“autographs are art”) in my blog with the topic of ARTURES which were invented by the turkish artist YÜKSEL ARSLAN. ARTURES is an expression which combines “ART” and “peintURES” ore “litterartURES”.
In 1964, Arslan’s “artures” were included in the exhibition entitled “The Origins, History and Relationships of Surrealism” organized by the Galerie Charpentier, and viewed today as one of the most important exhibitions of the history of Surrealism.
Yüksel Arslan lives since 1962 in Paris and had long lasting contacts to the known surrealists at that time – In 1964, Arslan’s “artures” were included in the exhibition entitled “The Origins, History and Relationships of Surrealism” organized by the Galerie Charpentier, and viewed today as one of the most important exhibitions of the history of Surrealism ( see as well http://www.galerinev.com/en/sanatcilar/detay/33/yuksel-arslan )