Feininger Sailing Boat Regatta

Feininger Sailing Boat Regatta
Feininger Sailing Boat Regatta

The American painter Lyonel Feininger (1871 – 1956) is a good example of how avant-garde artists at the beginning of the 20th century were less concerned with the subjects to be represented in his paintings, but to ask essentially questions of form.

Feininger traveled in 1912 to Paris and there he discoveredCubist art. He analyzed the works of this style and came to the conclusion thatCubismprovided intelligent pictorial solutions. For example, thanks to cubist theories, the representation of three dimensions on the flat surface represented by the painting became possible. From this, in his creations he conceived a composition based on superimposed triangles, which can even appear transparent. Somehow in works like this one fromSailboat Regattafrom 1929, he poses us as a kind of succession of layers

Feininger Sailing Ship Regatta

Feininger Sailing Boat Regatta

It's as if he used translucent curtains to assemble them one after the other to give the final result the sensation of depth. At the same time, this base of triangular shapes serves to simplify the contours of the represented objects as much as possible, but at the same time they do not look like flat elements.

Obviously for this technique, a theme like sailboats was ideal, given the shape of these boats. And with them he creates images in which not onlyconveys its idea of ​​space through those superimposed geometric shapes, but even manages to give the sensation of movement.

Feininger is not a painter who is one of the greatest masters of avant-garde painting. However, it is a very interesting case, not only because of his creations and the evolutions that he proposed to painting from cubist forms, but it is also a good example of how the American paintersthey were to become increasingly influential in the history of 20th century art.

Lyonel Feininger was born inNew York, but traveled to Europe, initially toGermany,BrusselsandParisto complete his musical lineup. A facet that he never abandoned. But in addition to that, he was already working as an illustrator, in fact since 1906 he made comic strips for various magazines. Some comics to which he applied a non-naturalistic color and created non-human characters who instead were given anthropomorphic shapes.

That was the basis for him, however he was greatly impacted by the knowledge of Cubism, and later theexpressionist art. In fact, he joined the German group Der Blaue Reiter and participated in some of their exhibitions. Later and also in Germany he joined theBauhausofW alter Gropius. Although the arrival of Nazism affected him as much as the rest of the artists who were members of the Bauhaus, and this made him decide to return to the United States, where he was like starting over, since he was not known in the circlesartists from his native country. Where however, little by little he was gaining a place in the cultural panorama and was influencing the artistic forms learned during his European years.

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