Peter Chevalier

from Wikipedia, the free encyclopedia

Peter Chevalier (* 1953 in Karlsruhe ) is a German painter whose paintings and drawings are close to Surrealism .

Life

Born in Karlsruhe, he studied painting from 1976 to 1980 at the Braunschweig University of Fine Arts under Hermann Albert and Alfred Winter-Rust . Herrmann Albert advised him to go to Berlin in 1980. In Kreuzberg first he moved into a studio with one of the State Academy of Fine Arts in Karlsruhe coming Markus-Lüpertz -Students. In 1985 he received the Sprengel Prize for Fine Art from the Lower Saxony Sparkasse Foundation in Hanover . Since 1992 he has been professor of painting in the art department at the State Academy of Fine Arts in Stuttgart . He lives and works in Berlin and Stuttgart.

plant

1980-1988

In the 1980s, Chevalier placed the realistic alongside the abstract in his pictures . Clearly configured individual, but combined, things dominated (houses, airplanes, truncated columns, light bulbs, bones, etc.), which - as if one were to cut out images from magazines and reassemble them as a collage - are inconsistent in their proportions in the context of the image. Or as Wolfgang Max Faust put it: “Peter Chevalier stages image props for a kind of still life . The hustle and bustle and dynamism of the city is answered by a rather contemplative silence, which is nevertheless permeated by a great emotionality. ”According to Wilhelm Bojescul, he created“ a reality of its own far from our everyday world. ”According to Isabel Greschat, all the objects represented were one in this Inner plan has been selected and a place assigned to a fixed idea Bernhard Schulz emphasized in this context: "The combination of heterogeneous objects into a whole, which of course reminded of the historical model of the pittura metafisica , did not take place for the sake of mental association."

Stephen Barber considered the tension between the objects or humanoid figures, if they existed, to be the expression of a “longing” for preservation and order. "The growing collection of objects, memories and feelings come to a halt" on the painting surface. On the occasion of an exhibition in Milan, Chevalier was nicknamed "New Folder" by the Italian author Giovanni Testori and agreed to it.

The creatures he depicts appear frozen like oil idols . Sometimes it is just a human head as if carved out of stone, modeled on the Easter Island Moai . The inanimate comes to the fore when a skull is attached. Bojescul and Greschat referred to its function as a vanitas symbol. About the peculiarity of the grouping of things and the freezing of the scenery Jeannot Simmen wrote : “[...] the simultaneity of the different breaks the traditional context. No natural mood, the room is illuminated by diffuse light sources. An artificial climate is superimposed on the phenomena. Time in Peter Chevalier's Pictures does not take place. No process with before / after, no development, no goal is striven for. ”So Lutz Casper came to the conclusion in a catalog text:“ Characterized by timeless monumentality , they lead their own pictorial life far from reality; but the umbilical cord to reality grasped through sight - art is also part of this reality for him - does not tear off. In Chevalier's condensed compositions of these years, a level of meaning always resonates. In their atmospheric mood, these pictures are most likely to suggest the models of symbolist painting, the imaginary worlds of Arnold Böcklin , or the Pittura metafisica de Chiricos . ”Christian Rathke also felt reminded of Giorgio de Chirico and therefore classified him Style as linked to surrealism. In doing so, he confirmed Bojescul's statement, made almost a decade earlier, that Chevalier's alienated non-cash items were surreal arrangements full of poetry. The art editor Ernst Busche spoke of “enigmatic, encrypted” images composed from “image details” in the same context, namely the Braunschweig exhibition in November 1986 .

Busche also described Chevalier's working technique: “The fact that he does not work with acrylic paints , which are easier to process , but with the classic painting medium, oil paint , results in a richness of texture that makes his pictures interesting beyond the mere representationality. The most recent works have a dry painted, porous surface, so that they almost look like pastels . ”Busche stated that the artist works with curtained studio windows and neon light to create an artificial, temporal space.

1988-2006

Up to now the pictures were real, even if human figures were among the things because they looked like statues, and "marked by a melancholy sadness and dull gloom", from 1988 onwards they became organic, lively. The human figures are no longer stone, but on the contrary, rampant. These mutations , ridiculous chimeras , painted organic sculptures bring to mind illness, decay and death. The previous skull “can now be found transformed into horribly tattered fantasy births that grow out of the application of paint”. Casper recognized a fascinating ambivalence in them: “The bizarre physiognomies of his portraits astonish the viewer in their surreal strangeness and obsessive ugliness in the face of so much peculiar beauty of the strange.” And Greschat stated: “Chevalier is most likely to succeed the to understand French symbolists and especially surrealists; his painting is visibly influenced by the artists Odilon Redon , Max Ernst , Yves Tanguy and Joan Miró : the interest in strange, ambiguous images that correspond to hidden layers of the soul and trigger a wealth of associations, leads him to the innovations of these earlier artists tie in and run like a red thread through his work. From 1988 onwards in particular, a multi-faceted oeuvre was created that, in accordance with the surrealist principle that an artist does not invent anything new, but rather uncovered the unknown and poetic of what was already there, always draws from the wealth of images of the artists who fascinate him. But Chevalier's very own intuitive way of working, in which the artist largely abandons himself to the painting process, brings together the work of the last ten years, which has developed in different phases. No preconceived concept, no image idea guides the painter; From layers and nuances of color, which he feels he places on the canvas, then lets it work on him and examines it, forms and figures emerge almost as if by chance and even to him surprising. ”The paintings were“ lighter, at least lighter ”, summed up Detlef Bluemler in Artists. Critical lexicon of contemporary art .

Solo exhibitions

  • 1981: Gallery Poll, Berlin
  • 1982: Galerie Wolfgang Gmyrek, Düsseldorf
  • 1982: Inge Baecker Gallery, Bochum
  • 1983: Buchmann Gallery, St. Gallen
  • 1983: Galerie Hermeyer, Munich
  • 1983: Raab Gallery, Berlin
  • 1984: Galleri Bellman, New York
  • 1984: Galerie Wolfgang Gmyrek, Düsseldorf
  • 1985: Gallery Luhring, Augustine & Hodes (after taking over Galleri Bellman), New York
  • 1985: Kunstverein Freiburg, Black Monastery , Freiburg im Breisgau
  • 1985: Hillman Holland Gallery, Atlanta
  • 1986: Ideal Landscape, City by the Sea , Raab Gallery, Berlin
  • 1986: Art Association Braunschweig
  • 1986: Rena Bransten Gallery, San Francisco
  • 1987: Studio d'Arte Cannaviello, Milan
  • 1987: Raab Gallery, London
  • 1988: Galerie Hermeyer, Munich
  • 1988: Gimpel & Weitzenhofer Gallery, New York
  • 1988: Galerie Clemens, Aarhus
  • 1989: UMM DOMA , Galerie Wolfgang Gmyrek, Düsseldorf
  • 1990: Peter Chevalier - Peintures Dessins 1989 - 1990 , Musée de l'Abbaye Sainte-Croix , Les Sables-d'Olonne
  • 1990: Galerie Wolfgang Gmyrek, Düsseldorf
  • 1991: Pictures, drawings 1989 - 1991 , Raab Galerie, Berlin
  • 1991: Pictures, drawings 1989 - 1991 , Galleria Gian Ferrari Arte Contemporanea, Milan
  • 1991: Eight Pictures , Raab Gally, London
  • 1993: No board protects against celestial apparitions. New pictures and drawings , Galerie Wolfgang Gmyrek, Düsseldorf
  • 1994: No board protects against heavenly apparitions. New pictures and drawings , Kunstverein Marburg
  • 1996: d'Oo. New pictures 1994–95 , Galerie Wolfgang Gmyrek, Düsseldorf
  • 1997: Pictures by Peter Chevalier from the Stober Berlin Collection 1981 - 1996 , Neues Museum Weserburg, Bremen
  • 1997: Pictures and drawings 1988 - 1997, Gallery of the City of Stuttgart, Stuttgart
  • 1998: Art Association in the Daniel-Pöppelmann-Haus, Herford
  • 1999: Galerie Wolfgang Gmyrek, Berlin
  • 2000: Galerie Wolfgang Gmyrek, Düsseldorf
  • 2001: Arts and Crafts Association in the Reuchlinhaus, Pforzheim
  • 2001: Art Association Harburger Bahnhof, Hamburg
  • 2003: Galerie Wolfgang Gmyrek, Düsseldorf
  • 2004: Galerie Hermeyer, Munich
  • 2005: Club on the border, Austria
  • 2006: Galerie Wolfgang Gmyrek, Düsseldorf

Individual catalogs

  • 1983: Peter Chevalier , Raab Galerie, Berlin
  • 1983: Peter Chevalier , Buchmann Gallery, St. Gallen
  • 1985: Peter Chevalier , Kunstverein Freiburg, Black Monastery, Freiburg
  • 1986: Peter Chevalier. Ideal landscape, city by the sea , Raab Galerie, Berlin
  • 1986: Peter Chevalier. Pictures and drawings , Kunstverein Braunschweig, Braunschweig
  • 1988: Peter Chevalier , Galerie Hermeyer, Munich
  • 1989: Peter Chevalier: UMM DOMA , Galerie Wolfgang Gmyrek, Düsseldorf
  • 1990: Peter Chevalier - Peintures Dessins 1989 - 1990 , Musée de l'Abbaye Sainte-Croix, Les Sables-d'Olonne
  • 1991: Peter Chevalier. Pictures, drawings 1989 - 1991 , Raab Galerie, Berlin / Galleria Gian Ferrari Arte Contemporanea, Milan
  • 1997: Johann-Karl Schmidt (Ed.): Pictures and Drawings 1988 - 1997, Gallery of the City of Stuttgart, ISBN 3-924079-27-7

Individual evidence,

  1. ^ A b Raab Galerie, Galleria Gian Ferrari Arte Contemporanea (ed.): Peter Chevalier. Pictures, drawings 1989 - 1991 . Berlin, Milan February 1991.
  2. ↑ a b Detlef Bluemler: Peter Chevalier . In: artist. Critical lexicon of contemporary art . Edition 80, Issue 25, 4th quarter 2007. Zeitverlag Beteiligungs GmbH & Co. KG, 2007, ISSN  0934-1730 , Traum- Raum , p. 2-7 .
  3. ^ A b Johann-Karl Schmidt (Ed.): Peter Chevalier. Pictures and drawings 1988–1997 . Gallery of the City of Stuttgart. Herford Art Association in the Daniel-Pöppelmann-Haus. 1997, ISBN 3-924079-27-7 , biography, p. 115 .
  4. ↑ a b c d Wilhelm Bojescul: From the independent life of pictures . In: Kunstverein Braunschweig eV (Ed.): Peter Chevalier. Pictures and drawings . November 7, 1986 - January 4, 1987. Kunstverein Braunschweig. 1986, p. 7-11 .
  5. ^ Wolfgang Max Faust: Berliner Tagebuch - Between the lines . In: Press and Information Office of the State of Berlin (Hrsg.): Berliner Tagebuch. Ina Barfuss, Joachim Böttcher, Peter Chevalier, Michael Diller, Dieter Goltzsche, KH Hödicke, Bernd Koberling, Markus Lüpertz, Olaf Metzel, Helmut Middendorf, Ulrich Reimkasten, John Noel Smith, Harald Toppl, Thomas Wachweger . An exhibition by the Press and Information Office of the State of Berlin. Berlin 1991 (unpaginated; Faust text indicated with “November 1989”).
  6. ↑ a b c d e Isabel Greschat: Secrets of paradise and fantasy . In: Johann-Karl Schmidt (Ed.): Peter Chevalier. Pictures and drawings 1988–1997 . Gallery of the City of Stuttgart. Herford Art Association in the Daniel-Pöppelmann-Haus. 1997, ISBN 3-924079-27-7 , pp. 15-21 .
  7. ↑ Bernhard Schulz: The silence of things. Notes on the painting by Peter Chevalier . In: Kunstverein Braunschweig eV (Ed.): Peter Chevalier. Pictures and drawings . November 7, 1986 - January 4, 1987. Kunstverein Braunschweig. 1986, p. 115-117 .
  8. ↑ Stephen Barber: A Visual Tearing . In: Raab Galerie, Galleria Gian Ferrari Arte Contemporanea (Ed.): Peter Chevalier. Pictures, drawings 1989 - 1991 . Berlin, Milan February 1991 (unpaginated, text between panels VI and VII).
  9. ↑ a b c Ernst Busche: Man is left out. Braunschweig: Peter Chevalier . In: Art . The art magazine. Gruner + Jahr, Hamburg November 1986, exhibitions, p. 124 f .
  10. ↑ Jeannot Simmen: Simultaneity of the different . In: Raab Galerie Berlin (Ed.): Peter Chevalier . Raab Gallery Berlin. Exhibition from November 19 to December 31, 1983. No. 5/83 , 1983, pp. [4] .
  11. ↑ a b Lutz Casper: The beautiful is always strange. To the drawings and pictures by Peter Chevalier . In: Johann-Karl Schmidt (Ed.): Peter Chevalier. Pictures and drawings 1988–1997 . Gallery of the City of Stuttgart. Herford Art Association in the Daniel-Pöppelmann-Haus. 1997, ISBN 3-924079-27-7 , pp. 23-27 .
  12. ^ Christian Rathke: Neue Wilde from Berlin. The Martin Sanders Collection. Elvira Bach, Luciano Castelli, Peter Chevalier, Rainer Fetting, Karl Horst Hödicke, Thomas Hornemann, Martin Kippenberger, Markus Lüpertz, Helmut Middendorf and Salomé . Schleswig-Holstein State Museum of Cismar Monastery. March 20 to October 30, 1994. Ed .: Schleswig-Holsteinisches Landesmuseum Kloster Cismar. 1994, Peter Chevalier, p. 92 .

Web links

personal data
SURNAME Chevalier, Peter
BRIEF DESCRIPTION German painter
DATE OF BIRTH 1953
PLACE OF BIRTH Karlsruhe