Antoine de Vinck

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Antoine de Vinck (born April 16, 1924 in Kortenaken , Belgium , † May 13, 1992 in Auxerre , France ) was a Belgian ceramicist .

A sculpture by Antoine de Vincks from the “Atlantes” series - 1987

Life

Antoine de Vinck studied philosophy and theology for 6 years and then began his artistic career as a draftsman, book illustrator, carver and sculptor in 1948.

Reading the Potter's book by Bernard Leach led him to begin de Sauvage with his friend Guy a ceramist training, and the two together constructed a wood stove. In 1951/52 Antoine de Vinck took courses at the 'École nationale supérieure des arts visuels' (La Cambre) in Brussels , where he worked with the ceramicist Pierre Caille and the sculptor Oscar Jespers .

Finally he went to France and met the ceramists Jean and Jacqueline Lerat in La Borne, with Norbert and Jeannette Pierlot in Ratilly and with Daniel de Montmollin in Taizé . In 1954 he opened his own studio in Kraainem , near Brussels , and built his second wood stove. He meets Bernard Leach and begins translating his book into French.

On the occasion of the world exhibition ( Exposition Universelle ) in Brussels in 1958, he created a huge ceramic wall for the pavilion of the “Syndicat Congo Mines”, in collaboration with his friend and sculptor Jean-Paul Emonds-Alt.

In addition to his work as a sculptor and ceramist, Vinck also worked from 1960 to 1975 in conjunction with the World Crafts Council (WCC) with industrial design and in particular with the design of wooden toys.

When producing some of his ceramic works (dishes, vases, sinks, ashtrays etc.) he clearly expressed his personal view of design. For the sculpture L'arbre (The Tree) he was awarded one of the prizes at the Faenza International Ceramic Competition in 1970.

In 1977 he became a member of the Académie internationale de céramique.

In 1984 he moved to Treigny ( Burgundy , France ).

plant

Antoine de Vinck is regarded as one of the masters of modern ceramic art of the post-war period in Europe. His work consists not only of the usual pottery, such as tableware, vases, bowls and bowls, but also of sculptures. He was known for high quality standards and was considered to be the originator of the rigor and accuracy in pottery. His work, viewed through the eyes of a designer, was characterized by strong principles.

“The object must meet the expected requirements to the greatest possible extent. It must satisfy the physical well-being of the user and clearly express its basic function. "

As for his sculptures, Antoine de Vinck has developed his own working technique. He joined clay plates together, like a couturier joining pieces of fabric. He also used shapes, the inside of which served to develop new motifs and textures. This way of working applies particularly to his Stèles ( steles ) and Bétyles . Most of his work is made of earthenware, but he has also made objects from porcelain and raku .

Antoine De Vinck, a great draftsman, carefully considered the development phase and wrote numerous drafts, which he subjected to a strict, almost never-ending selection.

His inspiration has its origins in the ancient African, South American, Asian and European cultures (Celts). In his work there is a constant interest in everything spiritual that goes beyond the religious framework. This polarity is also evident in the names of the sculpture families : idols (late 1970), atlases , cippes (grave pillars ), trophies and mirrors of the soul .

literature

  • Ludovic Recchia, Aude de Vinck, Antoine de Vinck. L'esprit des formes , Revue de la céramique et du verre, 2015, 183 pp. ISBN 978-2-908988-85-7
  • Modern ceramics from France: 1970 to 2000. From the Kermer collection . Exhibition cat. Theodor-Zink-Museum / Wadgasserhof, Kaiserslautern , October 11, 2014 to February 15, 2015. Series of publications by the Theodor-Zink-Museum, ed. on behalf of the Department of Culture of the City of Kaiserslautern by Jens Stöcker, issue 29 [Texts: Jens Stöcker; Marlene Jochem; France Kermer ; Wolfgang Kermer ] Kaiserslautern 2014 ISBN 978-3-936036-38-1 Cat.-No. 139, color illus. P. 66
  • Ludovic Recchia, Antoine de Vinck, passeur d'esprit , in: La Revue de la céramique et du verre , 186, September – October 2012, pp. 30–39.
  • Three ceramists from Belgium. Your work, your collection. Carmen Dionyse, Antoine de Vinck, Pierre Culot . Museum Bellerive , Zurich 1981 (exhibition 9 September - 1 November 1981)
  • Antoine de Vinck. Œuvre céramique . Musée royal de Mariemont , Mariemont 1986. (Exhibition June 22 - August 31, 1986)
  • Antoine de Vinck . Center culturel de l'Yonne 1993 (Avallon exhibition, June 12 - September 12, 1993)
  • Robert Deblander: Antoine de Vinck, méditation sur le monde , in: La Revue de la céramique et du verre , May 28 / June 1986, pp. 28–32
  • Nicole Crestou: Antoine de Vinck. La terre au service de l'art , in: La Revue de la céramique et du verre , 56, January / February 1991, pp. 28-33
  • Anne-Marie Mariën-Dugardin, Claire Dumortier: Céramique contemporaine / Hedendaagse Ceramiek . Musées royaux d'Art et d'Histoire, Bruxelles 2004, pp. 60–71 and color plates 12–14

Web links

Individual evidence

  1. ↑ Biography ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Musée Liège @1@ 2Template: Webachiv / IABot / www.museepla.ulg.ac.be
  2. ^ Biographies of contemporary French ceramists , Réunion des musées nationaux
  3. ^ Antoine de Vinck, Le Design du potier , Musée de Louvain-la-Neuve, 1985, [np], [p.5].
personal data
SURNAME De Vinck, Antoine
BRIEF DESCRIPTION Belgian ceramist
DATE OF BIRTH April 16, 1924
PLACE OF BIRTH Kortenaken , Belgium
DATE OF DEATH May 13, 1992
Place of death Auxerre , France