Ivan Grohar

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Ivan Grohar, 1911

Ivan Grohar (born June 15, 1867 in Unterzarz / Spodnja Sorica near Eisnern ; † April 19, 1911 in Laibach ) was a Slovenian painter .

Life

Artistic beginnings 1892–1897

Grohar was born into a farming family of Tyrolean origin. Between 1892 and 1895 he attended the regional drawing school in Graz . From the autumn of 1895 until the spring of 1896 he stayed in Munich to self-taught by copying old masters in the Alte Pinakothek in painting. In the summer of 1896 he returned to Slovenia and set up a studio in Škofja Loka . In 1897 he met the Slovenian painter Rihard Jakopič , who advised him to continue his further training in Munich. At first he lived alternately in Sorica and Ljubljana and earned money through devotional pictures in order to be able to study in Munich.

Studied at the Ažbe School from 1897–1899

Ivan Grohar: Brna (animal mask), 1899

It was Jakopič who recommended Grohar to attend the Ažbe school . Under his mastery, Grohar simplified the painting style prescribed by Ažbe. He was even able to increase his impressionistic brushstrokes, which were dissolving into tatters, and achieved theatrical light effects. Grohar's last study visit to Ažbe is documented with certainty in 1899. In November 1899 he returned to Ljubljana. Later he lived in Škofja Loka and Sorica. In 1902 he painted in Duino .

In Vienna 1903–1904

In 1903 Grohar rented a studio in Vienna . He had contacts with the writer Ivan Cankar and the two architects Max Fabiani and Jože Plečnik . In 1904 he organized an exhibition a. a. with the Slovenian painters Jakopič, Sternen , Jama and VeseI .

Ivan Grohar - Snow Flurry, 1905

Neo-impressionist models

Returning to Ljubljana, Grohar worked in the area of ​​Škofja Loka. There he too, like many other Ažbe students, was drawn under the spell of French painting and achieved considerable achievements. He experimented with the color strength of Neo-Impressionism without giving up perspective . This is particularly evident in several of his wintry cityscapes. An impressive example is the painting "Snow Flurry" from 1905, which is in the National Gallery of Ljubljana. In this picture he "interwoven dancing snowflakes into a transparent veil of color."

Van Gogh templates

Ivan Grohar: Sower (Sejalec) , 1907. The subject is also on the Slovenian 5 cent coin shown

The high level of awareness and the intensive study of van Gogh's art in the eastern countries of Europe are shown by several paintings by Grohar. B. Depicted farmers sowing. This is a motif that was minted on the Slovenian 5 cent coin . A particularly striking example of Grohar's reception of Van Gogh's painting is the painting “The Sower” from 1907, which houses the National Gallery in Ljubljana. Beyond stylistic dependencies, Grohar refers in an easily identifiable way to several pictures by van Gogh with the same thematic content. In terms of motif, however, Grohar's “The Sower” is primarily derived from van Gogh's painting “The Sower (after Millet)” from 1889, which Grohar has taken over in mirror image. For the frame, Grohar chose a slim vertical format with a top closure in a three-pass shape , which was very unusual for the 20th century , as is known from Gothic sacred architecture. Grohar had this frame made especially for his picture. However, evidence of this is only discovered when the painting is framed. Only then can the artist's will be recognized. His intention was, as one only understands with closer knowledge of his work, that he, like van Gogh, tried to find a sophisticated expression for the creative and thus religious dimension of sowing.

Japan bonds

Like Jawlensky , whom he knew from the Ažbe school, Grohar worshiped Japonism at that time . This is illustrated by his painting “The Larch” from 1904. He also used the foreign “post motif” as a picture divider, which comes from Japanese woodcut art and influenced European painting as a “vertical turning point”. Grohar's painting in the National Gallery in Ljubljana is only apparently a traditional, perspective painting. Even the vertical format proves to be a Japanese stylistic device, because Western art traditionally uses the wide format for a landscape representation. Grohar blocked the view into the depths of the landscape with a tree trunk that was slightly off axis. In the Japanese style, the treetop is cut off from the edge of the picture.

In Slovenia 1904–1911

Lacking financial means, Grohar returned from Vienna to Zarz / Sorica in April 1904 and then settled in Bischoflack , where he often painted together with Jakopić and Sternen between 1904 and 1906/07 and where he worked with short breaks until April 1911 lived. He died sick and exhausted in the hospital in Ljubljana.

Appreciation

The Slovenian € 0.05 coin refers to his painting “Sejalec” (“Sower”).

literature

  • Emilijan Cevc, Slovenian Impressionists and their predecessors, in exh. Cat .: Slovenian Impressionists and their predecessors from the National Gallery in Ljubljana, Upper Belvedere, Vienna 1979
  • Emilijan Cevc, Slovenian Impressionists, in exh. Cat .: Slovenian impressionists from the National Gallery in Ljubljana, Institute for Foreign Relations, Stuttgart 1984
  • Tomaž Brejc, Slovenski impresionisti in Evropsko slikarstvo. Barbara Jaki, et al., Ivan Grohar: Bodočnost mora biti Lepsa. Ljubljana, 1997

Individual evidence

  1. ↑ Anica Cevc, Ivan Grohar, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 135
  2. ↑ Anica Cevc, Ivan Grohar, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 135
  3. ↑ Tomaz Brejc, Slovenski Impresionisti eropsko slikarstvo, Ljubljana 1982, pp. 83 ff
  4. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 66
  5. ↑ Emilijan Cevc, Slovenian Impressionists, in exh. Cat .: Slovenian Impressionists from the National Gallery in Ljubljana, Institute for Foreign Relations, Stuttgart 1984, p. 17
  6. ↑ Anica Cevc, Ivan Grohar, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 135
  7. ↑ Emilijan Cevc, Slovenian Impressionists and their precursors, in exh. Cat .: Slovenian Impressionists and their predecessors from the National Gallery in Ljubljana, Oberes Belvedere, Vienna 1979, p. 41
  8. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, Fig. 82, p. 82
  9. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 83
  10. ↑ Bernd Fäthke, In the Vorfeld des Expressionismus, Anton Ažbe and painting in Munich and Paris, Wiesbaden 1988, p. 13 f
  11. ↑ Bernd Fäthke, In the Vorfeld des Expressionismus, Anton Ažbe and painting in Munich and Paris, Wiesbaden 1988, p. 28, note 10
  12. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 84
  13. ↑ Bernd Fäthke, Von Werefkins and Jawlensky's soft spot for Japanese art, in exh. Cat .: "... the tender, spirited fantasies ...", The painters of the "Blue Rider" and Japan, Murnau Castle Museum 2011, p. 123 f
  14. ^ Siegfried Wichmann, Japonism, East Asia-Europe, Encounters in the Art of the 19th and 20th Centuries, Herrsching 1980, p. 255
  15. ↑ Anica Cevc, Ivan Grohar, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 135

Web links

Commons : Ivan Grohar  - collection of images, videos and audio files
personal data
SURNAME Grohar, Ivan
BRIEF DESCRIPTION Slovenian painter
DATE OF BIRTH June 15, 1867
PLACE OF BIRTH SpodnjaSorica near Železniki
DATE OF DEATH April 19, 1911
Place of death Ljubljana