Annelies Nelck

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Annelies Nelck (Anatole), in the Régina, Nice, 1953
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Le Moustachu , tapestry, around 1960, 75 × 55 cm
Porte Rouge , 1981, bas-relief, painted wood, H: 192 cm
Croque Mitaine , 2006, assemblage, 34 × 35 × 30 cm

Annelies Nelck (born July 25, 1925 in Nice , † August 22, 2014 in Nexon ; artist name : Anatole ) was a French painter and sculptor of modernism , who was a model and student of Henri Matisse in the early 1940s . Her pictures and objects are in public and private collections in France, Switzerland , Sweden , the USA and Russia, among others .

biography

Born in Nice in 1925, Annelies Nelck grew up in the small town of Vence in the Alpes-Maritimes . Her parents from Holland bought the wooded piece of land "Le Pioulier" here.

Annelies Nelck's childhood was in harmony with the wild region and the modest living conditions of the family. In addition to the nature and the unconventional way of life of her parents, Annelies was influenced by the educational reform at the École Freinet , where her mother taught.

In 1938, Annelie's parents sent her to Amsterdam . During the next five years in Holland she discovered painting, attended the art academy and met the future CoBrA artists Karel Appel , Corneille and Lucebert . In Amsterdam Annelies married the music student Ernst Katan, who was killed by the German occupiers in 1944.

Pregnant with her son Serge Katan, Annelies Nelck traveled back to her parents in France in 1943, became a model and student of Henri Matisse , who lived in the villa “Le Rêve” in Vence during the war . During the regular sessions, Matisse realized sketches, drawings and paintings such as Tulipes jaunes, fond de violet (1944), Annelies, tulipes et anémones (1944) and Liseuse à la table jaune (1944).

After the war, Annelies Nelck remained in contact with Henri Matisse until his death, she visited him regularly at the Hotel Régina in Nice, where there was a lively exchange. After his death, the artist had a difficult transition period in which she wanted to break away from his dominant creative ideas. In 1954 she designed a 10.5 × 2.7 m stained glass window for the Anne Frank Secondary School in Düsseldorf, which was recently restored. Even then, her style had changed a lot and broke away from Matisse's influence.

The friendship with Matisse's secretary Lydia Delectorskaya also lasted until her death (1996). Nelck, who later gave herself the artist name “Anatole”, was now part of the “Galerie Les Mages” founded by Alphonse Chave in Vence and associated with artists such as Jean Dubuffet , Henri Laurens and Pierre Bonnard .

In 1947 she married the sculptor and painter Jean Vincent de Crozals . Both supported Henri Matisse in the work on the gouaches and windows for the Chapelle du Rosaire de Vence, completed in 1951 .

In 1966 Annelies Nelck had an exhibition in the Pushkin Museum , Moscow, through the mediation of Lydia Delectorskaya . The museum bought 13 works.

Although Nelck and de Crozals divorced in 1967, a lifelong artistic partnership remained.

In the early 1980s Annelies Nelck sold Le Pioulier . A creative period of artistic freedom began. In 1998 L'Olivier du Rêve , her homage to Henri Matisse, was published, an autobiographical book on which she had worked intensively for several years. From 1998 to 2010 the artist devoted herself to the creation of sculptures and assemblages from weathered pieces of wood that she found on her walks.

She moved to Nexon ( Haute-Vienne ) in 2011 , where she spent the last three years of her life. Annelies Nelck / Anatole died on August 22, 2014 in the presence of her friend Andrée Sabkowsky.

Artistic development

"It is always chance that guides me."

- Annelies Nelck / Anatole

After the portrait drawings of her beginnings and the experiments with oil painting , Annelies Nelck discovered tapestry ( patchwork ) for herself, which enabled her to use an archaic, almost primitive form of abstraction.

After the war she developed her own figurative style and participated actively in exhibitions. Imagination, vision and humor became increasingly poetic but also more ironic. The contrast between poetry and irony seems to be typical of Anatole's work in this phase. It is precisely because of this contrast that your style loses its lightness and lightheartedness. Annelies Nelck / Anatole summed up their development as follows: “In order to escape the influence of Matisse, I had started to do simpler things, figurative, almost a little naive; that suited me more, so I could develop my sense of color more freely. "

In 2015 Dominique von Burg wrote in the Neue Zürcher Zeitung : “With the pictures from the fifties and sixties, which are based on Art brut , through the tapestries and wooden reliefs of the seventies to the later assemblages and the photo-realistic ink drawings, a versatile one was created A work that, despite all its isms, maintains enormous independence. ”Although the Musée de l'art brut (officially“ Collection de l'art brut ”) in Lausanne has six works by Anatole in its“ Collection annexe ”, the artist is not a representative this art form the outsider.

Annelies Nelcks / Anatoles work, which in the late seventies and eighties dramatized itself “from the familiar world to the infinite, quiet and lonely”, opened up to a certain extent with the assemblages at the turn of the millennium: here a playful element arises and the context of the Sculptures something of his loneliness and threat. In recent years the artist has again devoted herself to the Lavis manner, with which she had experimented in the sixties and with which she found this time to express great ease.

Works

The following works represent a selection.

  • Le Moustachu , tapestry, around 1960, 75 × 55 cm
  • La Tatoueuse , 1965, sewn fabric, 298 × 163 cm
  • Moïse , 1953, sewn fabric, h: 235 cm, Pierre Chave collection (son of Alphonse Chave), Vence
  • Cage Fenêtre Verte , 1967, vinyl, 102 × 67 cm
  • Cosmonaute , 1970, oil painting, 73 × 60 cm (private collection)
  • Fillette , 1961, oil painting, 71 × 52 cm
  • Capi-Tambour , 1973, oil painting, 164 × 115 cm
  • Porte Rouge , 1981, bas-relief, painted wood, H: 192 cm
  • Porte du Courage , 2000, Encre de Chine, 75 × 50 cm
  • Porte du Rêve , 2000, Encre de Chine, 50 × 35 cm
  • Usine à Farine , 2005, assemblage, 86 × 55 cm
  • L'Enfer , 2006, bas-relief, wood / bone, painted, 86 × 55 cm
  • Croque Mitaine , 2006, assemblage, 34 × 35 × 30 cm

Exhibitions

The following exhibitions, group exhibitions and collections represent a selection.

Solo exhibitions
  • 1948–1951 Alphonse Chave Gallery, Vence, France
  • 1952 Center des Relations Internationales, Paris, France
  • 1961 Thibaut Gallery, Madison Avenue, New York, USA
  • 1962 Ripagärden Gallery, Böstad, Sweden
  • 1963 Fragonard Museum, Grasse, France
  • 1963 Musée Düsseldorf, Germany
  • 1973 Maison des Artistes, Cagnes sur Mer, France
  • 1976 Galerie Norbert, Dunkerque, France
  • 1978 Chapelle des Pénitents Blancs, Vence, France
  • 1979 Murs Ouverts Gallery, Vence, France
  • 1981 IBM, La Gaude, France
  • 1985 Chapelle des Pénitents Blancs, Vence, France
  • 1987 Galerie Municipale Mossa, Nice, France
  • 2010 Chapelle des Pénitents Blancs, Vence, France
  • 2014 cigarette factory, Zurich, Switzerland
Group exhibitions
  • 1946 Chave Gallery, Vence, France
  • 1949 Concours "Jeune Peinture Méditerranéenne", Prix de la "Chèvre d'Or"
  • 1950/1969 Salon d'Automne, Paris, France
  • 1950 «Les mains éblouies», Galerie Maeght, Paris, France
  • 1954/1955/1963/1981 Galerie Chave, Vence, Lyon (ENAC), France
  • 1964 Galerie Franskt Falk Kloos Expo “Art Français”, Rathüs Halle, Malmö, Sweden
  • 1965 Musée Municipal St Paul de Vence, France
  • 1965 Peintres et Sculpteurs du Soleil, Paris, France
  • 1966 Group exhibition in the Pushkin Museum, Moscow, Russia
  • 1971 Musée de la Marine, Nice, France
  • 1971 Gymnase de Vallauris, Vallauris, France
  • 1973 Salon des Réalités Nouvelles, Paris, France
  • 1973 Salon International de Toulon, France
  • 1974 Biennale de Menton, France
  • 1978/1980/1981/1984/1986/1987/1988 Maison des Artistes, Cagnes sur Mer, France
  • 1979 Gallery «Murs Ouverts», Vence, France
  • 1979 “Perspectives”, Aix-en-Provence, France
  • 1979/1986/1987 Académie du Vernet, Vichy, France
  • 1980 MJC Corbella, Nice, France
  • 1980/1985/1987 Acropolis, Nice, France
  • 1980/1981/1983/1984/1987/1988/1999 Maison des Artistes, Cagnes sur Mer, France
  • 1980/1986/1988/1989 Kunstverein Passau, Galerie Pocking, Germany
  • 1981/1983/1984 Groupe "L'Atelier", Chapelle des Pénitents Blancs, Vence - Fondation Emile Hugues, Vence - IBM, La Gaude, France
  • 1985 Abbaye de Fréjus, France
  • 1986 “Rencontre des Arts Contemporains”, Palais de la Croisette, Cannes, France
  • 1989 "Castel des Arts", Vallauris, France
  • 1990 Festival des Arts, Beaulieu, France
  • 1991 Biennale de Brignoles, France
Collections
  • Henri Matisse - Henri Laurens
  • L. Delectoskaya, Paris, France
  • Ripa, Böstad, Sweden
  • Ulman, New York, USA
  • J. Dubuffet, Paris, France
  • Pierre Chave, Vence, France
  • Feldmann, London, England
  • S. Aubert, Vence, France
  • W. de Guébriant, Paris, France
  • G. Berenger, Gattières, France
  • G. Berthelot, Le Mans, France
  • J. Zivy, Paris, France
  • Fillman, Boston, USA
  • C. Barrière, Limoges, France
  • Pushkin Museum, Moscow: "Nouvelles Tendances" 1981
  • Musée de l'Art Brut, Lausanne, Switzerland - Collection Annexe 1970

bibliography

Web links

Individual evidence

  1. ↑ Jean Dubuffet, Alexandre Vialatte: Correspondance (s): lettres, dessins et autres cocasseries, 1947–1975 . Au signe de la licorne, 2004, p. 158.
  2. ↑ L'Olivier du Rêve. Matisse à Vence, Nice 1998
  3. ↑ Colorful glass windows are on the timetable , rp-online.de, accessed on February 11, 2016
  4. ↑ In “Lydia D” ( ISBN 978-2-7118-5732-6 ) a homage to Lydia because of her decades of work for Matisse there is a detailed biography of Lydia. The trips together by Lydia and Anatole to Sweden (1964: Anatole exhibition in Malmö) and Russia (1965: Anatole exhibition in the Pushkin Museum) are mentioned. Both exhibitions of Anatole's works were mediated through Lydia's relationships with the artistic directors. Informally (oral transmission to her son Serge Katan) Anatole's book "L'Olivier du Rève" was also to be understood as a homage to Lydia, who was very much appreciated by Anatole.
  5. ↑ Zia Mirabdolbaghi: De Dada à Demain, L'esprit Chave , Skira, Milan 2009, ISBN 978-88-572-0255-6
  6. ^ A b Dominique von Burg: Presentation of the work of the artist Annelies Anatole Nelck. A permanent riddle , Neue Zürcher Zeitung, January 25, 2014; accessed on January 20, 2016.
  7. ↑ Annelies Nelck in a video interview with Edda and Serge Katan, 2014. (translated from French)
  8. ↑ Serge Katan: The artistic work of Annelies / Anatole Nelck, 2014
  9. ↑ ibid
personal data
SURNAME Nelck, Annelies
ALTERNATIVE NAMES Anatole (stage name)
BRIEF DESCRIPTION French painter and sculptor
DATE OF BIRTH July 25, 1925
PLACE OF BIRTH Nice
DATE OF DEATH 22nd August 2014
Place of death Nexon