Tag: rouault

Hans Robert Pippal – Vienna – Austria

Hans Robert Pippal Vienna, 8th district. Theater in der Josefstadt in Winter, ca. 1975 Pastel on Ingres paper Albertina, Vienna © Bildrecht, Vienna, 2016

Hans Robert Pippal
Vienna, 8th district. Theater in der Josefstadt in Winter, ca. 1975
Pastel on Ingres paper
Albertina, Vienna © Bildrecht, Vienna, 2016

From 22 January to 28 March 2016 – Albertina
Many people know Hans Robert Pippal (1915–1998) above all for his charming views of Vienna. And indeed, it was with great passion that this perhaps “most Viennese” of 20th-century Austrian painters devoted himself to his hometown. Pippal painted representative streets and buildings like the Ringstrasse, the State Opera, St. Stephen’s Cathedral, and the Graben, as well as atmospheric scenes from Vienna’s outer districts. He was virtually unexcelled at capturing the city’s atmosphere as it changed over the course of the day and the seasons.
The artist’s entire oeuvre is characterised by the desire to catch up to international figurative modernism following the war, as well as by his struggle to arrive at an appropriate style for his respective motifs or themes.

Hans Robert Pippal Young Girl in Front of Flower Cart, 1957 Pastel Albertina, Vienna © Bildrecht, Vienna, 2016

Hans Robert Pippal
Young Girl in Front of Flower Cart, 1957
Albertina, Vienna © Bildrecht, Vienna, 2016

While Pippal’s paintingsof cities are oriented toward late impressionism, his early illustrations take after those of Alfred Kubin. And the small number of his works that deal with Christian content follow the example of Georges Rouault, a central figure of modern religious painting. The stylistic diversity employed by Pippal is by no means random eclecticism, but rather bears witness to the artists’ constant quest to find an adequate form of artistic expression for the motif at hand.This makes his artistic output a highly individual contribution to the history of modern fine art in Austria.


From Degas to Picasso – Jean Planque Collection – St. Louis – Alsace

From 30 May to 24 October 2010 – Espace d’Art Contemporain Fernet Branca
The Espace d’Art Contemporain Fernet Branca invites us on a very special artistic journey. The idea is to step right into an extraordinary collection in which the works of art weave subtle links with one another. The collection is the result of a passion, of curiosity and of a perceptive look on modern painting, brought together by Jean Planque (1910-1998).

Remarkable coherence

In the 40s Jean Planque bought for himself or for friends, a few paintings by great masters of the XIXth and XXth centuries. This was the beginning of a long quest which neither his education nor his studies had predisposed him to. This fortuitous encounter with art led him to collect masterpieces by Picasso, Klee, Dubuffet or de Staël. The specific character of this collection is not only due to the fact that it is made up of works by the most important artists of the century, but above all it reveals a rare coherence between the pieces conserved. It is the fruit of an enthusiastic eye on modern painting; an eye that wished to understand an art that tried for numerous decades to change the way people looked, to break the standards set by tradition; it is in some sorts a perceptive eye, the one of an amateur who confided he had a passion, that «burnt for the paintings. »

The eye for Beyeler

Once Jean Planque was remarked by gallery owners for his instinct to recognize a real work among the run-of-the-mill productions, he became the courtier for Beyeler, and bought for him in Paris. He did not choose unknown painters but rather those already famous. His curiosity and his enthusiasm allowed him to approach the greatest artists of his time, in particular Picasso, Giacometti and Dubuffet, who treated him as an equal. From Cézanne to Picasso, from Degas to Bonnard, from Van Gogh to Rouault, Dubuffet and Kosta Alex, he was lead by one single concern: he would make no concessions to imagery nor to prettiness; on the contrary, he solely pursued efficiency, depth and the solitude of the pictorial language. Behind each painting in the collection there is a story, an anecdote. When one covers the whole itinerary, one is struck by the sort of tension between the first place granted to Dubuffet and, in a certain way, to Picasso and then the mo re intimate choices that go from Bonnard to Nicolas de Staël.

The exhibition is organized in collaboration with the Fondation Jean et Suzanne Planque. Jean Planque himself, with his friends, created it in 1997 with the aim of protecting the paintings he had collected, and to ensure them a venue in coherence with the spirit that presided over their being brought together and to have that richness be known through exhibitions and publications. The collection includes some 130 paintings and works on paper by 50 different artists, and has a rare coherence. It reflects this man’s double demand, he who was also a painter. On the one side it translates his respect for the rigorous construction of a painting (Cézanne and his heirs, the Cubists such as Gris, Braque, Léger, Delaunay), for the poets of form (such as Klee and Bissière). On the other side, it marks his deep attachment for earthly values (Rouault, Tapiès, de Staël) or his irresistible attraction towards the inventive liberty of a Dubuffet whose confide nt he was for a long time, but also of his Vaudois friends Auberjonois, Soutter or even Aloïse.

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