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Frans MasereelUn homme tombe1964
1964
About the Item
Frans Masereel created a universal reality from the material of the present, concrete, and local. Amidst life in the big city, the streets and the fate of the masses in their historical context, and the drive for a more humane world struggle, artists became a source of inspiration. The clear picture language of his wood carvings is bound to rationalism, but it lacks the sarcasm of an Otto Dix or Georg Grosz. His work moves between subjective experiences, and objective filtered generalizations, which is concerned with portraying the bare truth. The belief that art can change something caused the artist to strive less towards a purely artistic goal. Rather he worked to serve social justice and pacifism and to supply numerous publications in magazines and journals using his symbolic vocabulary. Creation and moral responsibility went hand in hand for Frans Masereel.
In his painting emerge pictures of hopeful, positive subjects. One recognizes the technical skill of the wood-block engraver behind the work. Heavy, dark lines combined with large, luminous color areas allow clear, simple compositions to emerge. However, the characteristic style is still casual and relaxed.
In woodcarving the artist employs a strong black-white contrast. His distinct forms and compositions are impressively complex. As a master of lines and surfaces Frans Masereel understands expert everyday symbols, in order to illustrate dramatic world affairs.
Stylistically Masereel is difficult to classify. During his life he remained faithful to realism, most likely to French realism, and that remains the best description of his style.
- Creator:Frans Masereel (1889 - 1972, Belgian)
- Creation Year:1964
- Dimensions:Height: 33.27 in (84.5 cm)Width: 27.37 in (69.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Wien, AT
- Reference Number:1stDibs: LU1782210482762
Frans Masereel
In 1921 Masereel returned to Paris, where he painted his famous street scenes, the Montmartre-paintings. He lived for a time in Berlin, where his closest creative friend was George Grosz. After 1925 he lived near Boulogne-sur-Mer, where he painted predominantly coast areas, harbour views, and portraits of sailors and fishermen. During the 1930s the number of illustrated books and single woodcuts decreased. In 1940 he fled from Paris and lived in several cities in the South of France.
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