Name: Industrial landscape
Brand: Hugó Scheiber

Industrial landscape

View Similar Items

Floris Jespers - JESPERS Floris. Landscape. Charcoal drawing. Signed.

Roger Van Gindertaal - Roger VAN GINDERTAEL. Paris street view. Charcoal drawing. Signed / dated 1928.

Stephen Basso - Corner of 9th and de Chirico surreal urban landscape warm black Grey and red

Erich Heckel - Grey Day Grauer Tag - Landscape Cow Germany

Jean Pons - Small Boat and Bather in Dinard

Cheryl Trotter - Point Sur Light House, Big Sur, California - Cyanotype / Watercolor Landscape

Juanjo Saez - Wildflowers, Abstract Expressionist Flowers, Contemporary Drawing on Paper, 2024

Vincent Mazzocchini - Vaulted Bridge, French Landscape Oil on Masonite Painting by Vincent Mazzocchini

Juanjo Saez - Two Clouds, Expressionist Drawing on Watercolor Paper, Skyscape, Naïf Landscape

Kind of Cyan - Fireworks Lights in The Sky Blue Diptych, Handmade Cyanotype, Watercolor Paper

Andy Gradwell - 'Venice, Lagoon in morning Haze', mixed media on paper. Circa 2007.

Unknown - French Fauvist Gouache of Sailing Boats in Port Under a Setting Sun.

About the Item

Charcoal on paper Hand signed in the middle (hard to see) Sheet: 25 x 35 cm Frame: 46.5 x 56.5 cm Provenance: Exhibition Catalogue Altstadt Galerie Wiesbaden, 1995 Handmade frame, framed under acid free Passepartout and Museum glass Hugó Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Lászlo Moholy-Nagy and Sándor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avantgardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Apart from the political activists, there were independent Modernists such as Scheiber and Kádár, who hoped to find fertile ground for their aesthetic and social idealism. Hugó Scheiber, among others, suddenly found himself in the upper echelons of the dynamic Berlin art world. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avantgarde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes.

Creator:
Hugó Scheiber (1873-1950, Hungarian)
Creation Year:
1920
Dimensions:
Height: 18.31 in (46.5 cm)Width: 22.25 in (56.5 cm)
Medium:
Charcoal
Movement & Style:
Expressionist
Period:
1920-1929
Condition:
Gallery Location:
Eltville, DE
Reference Number:
1stDibs: LU58731732913