Jozsef Rippl-Ronai

József Rippl-Rónai is a Hungarian painter born in 1861 with Kaposvár and deceased in 1927.

Biography

Groin of four wire with a father teacher then headmaster, impassioned painting, it leaves for Munich in 1884 and studies three years with the Academy of the Visual arts. It goes then to Paris where it produces fabrics for the painter in vogue Mihály Munkácsy that this one signs. It leaves it in 1890, after having spent the summer with Pont Swallow-hole in 1889 and having discovered a painting which fills with enthusiasm it. He lives from now on with his model Lazarine Baudrion which will become his wife. A first personal exposure to the Galliéra palate in 1892 sits of the Austro-Hungarian embassy brings criticisms eulogistic and many sales to him. In 1893 it exposes at the Barc de Boutteville with the Nabis. The following year it becomes the Hungarian Nabi meets Cézanne, Gauguin, Toulouse-Lautrec. It exposes from now on with Nabis in particular at Bing in 1895, in 1899 it will have the honor of a personal exposure of 130 works. In Hungary where it exposes, it meets the Count Andrássy which will be its patron. It tries to develop modern decorative Art in Hungary but without much success, of return to Paris, it exposes with Nabis and at Durand-Ruel of the tables which are not innovations, with Banyuls at Maillol it becomes aware of nature major and sensual, it wants to paint sharp and according to nature. Its return in Hungary, a great exposure is devoted to him of more than 200 works to the Royal Hotel of Budapest, some voyages, of the sendings in Paris, it paints in its native village with Kaspovár. In 1911, it publishes its memories, settles with Budapest in 1921, recognized artist, his health is degraded, it accomplishes long stays in sanatorium, it dies on November 25th, 1927.

Its work

Of a natural reserve to the theories, it was not locked up in any. The discovery of Bridge Swallow-hole and Gauguin especially, made him become aware of a different art possible and necessary. By his friend James Pitcairn-Knowles it had contacts with the Préraphaélites English and the art of Wistler. It was one period when its pallet was retained, its black period . It painted sublimated women, hurled silhouettes, with pictorial means restrict which expressed much. Of Nabis it immediately did not take the colors, but the prospect absent or distorts, the ring, the flat tints, simplification, not the esotericism. The autumn 1899 in Banyuls at Maillol gave him the taste to paint merrier: " I live all colors but not yet out of sun ". Of return in Hungary it painted interiors with the bright colors, glowing, contours disappeared, the pure colors and without mixture appeared posed by spots. It definite a technique which he called grain of corn of which the decorative effect is obvious, in encircled flat tints then filled with thick bright color, autaunomists who weave a kind of fabric and from now on far away from the Nabies theories if not in the taste from research from new forms and who confers on his work a new modernity.

Sources

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