Horst Egon Kalinowski – Bourgeon


Lithograph by Horst Egon Kalinowski (1924-2013)

  • State: Excellent condition
  • Total dimensions: 42 x 31 cm (unframed)
  • Dimensions picture: 42 x 31 cm (unframed)
  • Signed: Yes, in pencil (lower right corner)
  • Numbered: 184/250 (lower left corner)

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Born in 1924 in Dusseldorf, Horst Egon Kalinowski was, from 1945 to 1948, a student of the Academy of Fine Arts in Düsseldorf. In 1949-1950, he stayed in Italy, Rome and Venice. From 1950 to 1952, in Paris, he was a student in the abstract art workshop of Jean Dewasne and Edgard Pillet, at the Académie de la Grande Chaumière. He began exhibiting at the Salon des Réalités Nouvelles in Paris, in 1953, 1954, 1956, he then participated in numerous group exhibitions, including: 1963 L’art de montage at the Museum of Modern Art in New York, and Mythologies daily at the Museum of Modern Art of the City of Paris; 1965 and 1968 at the Camegie Institute in Piltsburgh; 1967 at the Marzotto Prize in Milan, and Second Decade 1955-1965 at the Maeght Foundation in Saint-Paul-de-Vence; 1968 Living art 1965-1968 at the Maeght Foundation; 1984 II nd European Biennial of Sculpture of Normandy in Jouy-sur-Eure; etc. He also started showing sets of paintings in solo exhibitions, in Paris at the Arnaud gallery in 1953, 1954, 1955, Creuze gallery in 1956, Daniel Cordier gallery in 1958, 1963, as well as in Frankfurt am Main, Wuppertal, Brussels. In 1964 he made trips to Greece and America; in 1965 in Spain and America. In 1966 he was awarded the Carl-Einstein Prize in Essen, and made two trips to America. In 1967 he was awarded the First Prize for Sculpture, Prix Burda, from the Kunsthaus in Munich. In 1968 he taught at the Academy of Fine Arts in Karlsruhe, and was appointed member of the Prussian Academy in Berlin. After 1956, numerous solo exhibitions took place in different cities of Germany, in several European countries, in New York, etc., notably: in 1967 at the Stàdtische Kunsthalle in Mannheim, at the Lehmbruck Museum in Duisburg, at the Stadtische Kunstsammlungen in Bonn, in 1968 at the Center National d’Art Contemporain in Paris, in 1991 at the Chave de Vence gallery … From Dewasne and Pillet, he admits to having been influenced, in that he learned that the he expression of emotion could flow into your rigor of form. Until 1956, he produced non-figurative paintings, which we could say “adulterous children of Dewasne and Hartung”, also close to the purism of Ozenfant and Jeanneret. In 1956, he abandoned painting for the collage and assembly of various materials, electively all brown, which tend to imitate the material of leather or are meticulously covered, branches, stumps, planks, boxes, saddles, in the Paintings. -objets et Tables-châsses from 1958, and until the appearance of Caissons in 1960. Some of these Caissons have the appearance of doors or furniture, their stacks of various elements are then not unrelated to the kinds of altarpieces by Louise Nevelson. From 1980, the step was taken: now, he works directly with leather, instead of imitating it, assembled to a structure of wood and metal, and he executes his objects resolutely in relief, in sculpture, instead of seek to produce plane equivalences of volume and space. In 1961, he produced etchings; in 1964, etchings to illustrate Japanese poems. In 1965, the Caissons took on the appearance of stelae, and he produced etchings to illustrate the Canticle to our brother Sun of Saint Francis of Assisi; in 1967 illustrations for The Seven Days of Creation.


Kalinowski Horst Egon