埃米尔.尚邦Emile Chambon

埃米尔.尚邦Emile Chambon(1905年1月10日- 1993年10月28日)是瑞士画家和插画家.

中文名埃米尔.尚邦
外文名Emile Chambon
性别男
出生地日内瓦
出生日期1905年1月10日
逝世日期1993年10月28日
职业画家

传记

早期(1905 - 1928)

埃米尔Chambon出生在日内瓦的儿子Emile-Joseph Chambon和约瑟芬娘家姓的副本。埃米尔。三年之后,他的母亲生了一个女儿,朱莉娅•马蒂尔德Chambon他继续协助埃米尔在她的一生中,遵循和支持他,小心地注意她的日记她哥哥的日程和活动直到1993年10月去世。

1921年秋天,Chambon进入美术学院de日内瓦。第一个联邦赠款授予他,使他承办一次旅行去巴黎。这让他熟悉立体派画家画家,却没有在他的眼睛——除了找到支持罗杰de La Fresnaye——就像,在他看来,他们只是模仿非洲艺术没有能够使后者的创意。从1925年到1928年期间,他曾与画家jean - louis GampertLa Fresnaye的朋友,他帮助他的工作室和实现Corsier教堂的装饰(日内瓦)。

识别和实现(1928 - 1950)

1928年,他收到了第二的联邦拨款,允许他第二次巴黎之旅,他在那里呆了将近十周。他发现了卢浮宫他多次复制,基本上以图纸的形式,来自哪里伦布兰特,鲁本斯和Gericault。他还参观了Guimet博物馆,Petit-Palais最伟大的纪念碑和巴黎。1930年代末Chambon显著增加画布的输出。他几乎翻了一倍的生产水平与本世纪初相比,这个节奏保持稳定,直到1960年代末。Chambon的父亲死于1946年2月,他的传球严重影响埃米尔的健康;他一直保持与父亲的关系非常牢固,只会部分恢复从这个损失。

成熟(1950 - 1979)

从1950年代开始,Chambon作品越来越受欢迎的在瑞士;Chambon展出相当数量的集体展览,其中大多数是在德国瑞士的一部分。出版,1957年12月,第一次在Chambon专著,进一步导致了更全面地建立他的艺术声誉。monogrqph是由爱德华Muller-Moor和发布的版本Cailler“昨天和今天的画家和雕塑家”集合。

1961年在日内瓦,他满足,通过他们的一个共同的朋友,作家路易斯·德·Vilmorin,他立即欣赏这位艺术家的作品,喜欢上了他。1962年5月10日,在德Vilmorin的鼓动下,展览会开幕日重大Chambon展览在Galerie丛林在巴黎。De Vilmorin也写了赞美的前言随行目录展示作品。

1965年坚定画家和他的收藏,因为他参与了孔斯特勒,《赛姆勒展览阿尔高Kunsthaus,以及一个新的集体演讲题为由瑞士艺术家的作品Pittura Contemporanea别墅Olma在瑞士科莫湖.

从1977年起,Chambon输出的画作减弱,他主要致力于绘画。他也有一些健康问题和无法,他伟大的遗憾,参加展览会开幕日的专业及库尔贝回顾组织在7月Musee d 'Ornans值此画家逝世五十周年。

对子孙后代(1979 - 1993)

在他生命的后期,Chambon的思想主要是采取了他全部作品的延续。1980年2月,他遇到了未来的导演Carouge博物馆以捐款,他希望让该机构。两年后,画家向博物馆捐赠了八大画。与此同时,1981年10月,他把很大一部分集合-近八百块的非洲和海洋艺术在日内瓦的人种学博物馆。在此期间,Chambon修改或重做一些工作,他做了几十年的早些时候,认为他们未完成的。

基金会埃米尔Chambon终于来到埃米尔Chambon死后两年在1993年10月28日Collonge-Bellerive.

English Introduction

埃米尔.尚邦作品

Biography

Early years (1905-1928)

Émile Chambon was born in Geneva, the son of Émile-Joseph Chambon and Joséphine née Coppier. Three years after Émile, his mother gave birth to a daughter, Julia Mathilde Chambon, who went on to assist Émile throughout her life, following and supporting him, carefully noting in her diary the agenda and activities of her brother up until his death in October 1993.

In the autumn of 1921, Chambon entered the École des Beaux-Arts de Genève. A first federal grant was awarded to him that year and enabled him to undertake a journey to Paris. This stay allowed him to become familiar with the Cubist painters, who did not however find favour in his eyes – apart from Roger de La Fresnaye – as, in his opinion, they simply imitated African art without being able to render the latter's originality. During the period from 1925 to 1928, he worked with the painter Jean-Louis Gampert, La Fresnaye's friend; he assisted him in his atelier and also in the realisation of the decor for the Corsier church (Geneva).

Recognition and fulfilment (1928-1950)

In 1928 he received a second federal grant that allowed him a second journey to Paris; he stayed there for almost ten weeks. He discovered the Musée du Louvre where he made numerous copies, essentially in the form of drawings, from Rembrandt, Rubensand Géricault. He also visited the Musée Guimet, Petit-Palais and the great monuments of Paris. The end of the 1930s saw a remarkable increase in Chambon's output of canvases. He almost doubled his level of production compared to the beginning of the decade; this rhythm remained steady until the end of the 1960s. Chambon's father died in February 1946 and his passing severely affected Emile's health; he had always maintained a very strong relationship with his father and would only partially recover from this loss.

Maturity (1950-1979)

From the beginning of the 1950s, Chambon's oeuvre became increasingly popular in Switzerland; Chambon exhibited at a considerable number of collective exhibitions, most of which were in the German part of Switzerland. The publication, in December 1957, of a first monograph on Chambon, further contributed to more fully establishing his artistic reputation. The monogrqph was written by Edouard Muller-Moor and published by Editions Cailler in their 'Painters and Sculptors of Yesterday and Today' collection.

In 1961 in Geneva, he met, through one of their mutual friends, the writer Louise de Vilmorin, who immediately admired the artist's work and took a liking to him. On 10 May 1962, at De Vilmorin's instigation, the vernissage of a major Chambon exhibition took place at the Galerie Motte in Paris. De Vilmorin also wrote the laudatory preface in the accompanying catalogue presenting the works.

1965 firmly established the painter and his collection, for he participated in the Künstler, Sammler exhibition at Aargauer Kunsthaus, along with a new collective presentation of works by Swiss artists entitled Pittura Contemporanea Svizzera at the villa Olma on the banks of Lake Como.

From 1977 on, Chambon's output of paintings diminished and he mainly dedicated himself to drawing. He also had a few health problems and was not able, to his great regret, to attend the vernissage of the major Courbet retrospective organised in July at the Musée d'Ornans on the occasion of the fiftieth anniversary of the painter's death.

Towards posterity (1979-1993)

In the later years of his life, Chambon's thoughts were mainly taken up with the perpetuation of his oeuvre. In February 1980 he met the director of the future Carouge Museum with a view to a donation that he wished to make to the institution. Two years later, the painter donated eight large paintings to the museum. Meanwhile, in October 1981, he gave away a large part of his collections – nearly eight hundred pieces of African and Oceanic art - to the Ethnographic Museum in Geneva. During this period, Chambon retouched or reworked some works that he had done several decades earlier, deeming them unfinished.

The Foundation Emile Chambon finally came into being two years after Emile Chambon's death on 28 October 1993 at Collonge-Bellerive.