Catalogue of the exhibition at the Fondation de l'Hermitage in Lausanne from June 25 to October 31, 2021.
Hans Emmenegger (1866-1940).
Snoeck
Regular price
€42,00
| N° d'inventaire | 23921 |
| Format | 24 x 29 |
| Détails | 213 p., paperback with flaps. |
| Publication | Gent, 2021 |
| Etat | Nine |
| ISBN | 9789461616708 |
From June 25 to October 31, 2021, the Fondation de l'Hermitage will dedicate a major retrospective to the Lucerne painter Hans Emmenegger (1866-1940) – a first in French-speaking Switzerland. Through around a hundred paintings, the exhibition will reveal the work of this artist who, despite his strong commitment to the Swiss German-speaking cultural community, remains little known to the general public. A keen observer and nature lover, Emmenegger is a painter of striking originality, both in his choice of unusual subjects and in the audacity of his compositions, and is one of the most important Swiss artists of his generation.
Artistic Training Emmenegger began his training at the Lucerne School of Applied Arts (1883-1884). He continued his studies in Paris at the Académie Julian with Jules Lefèbre and Gustave Boulanger, and then in the studio of Jean-Léon Gérôme. In this artistic effervescence, he became friends with Cuno Amiet and Giovanni Giacometti. In the winter of 1885-1886, he stayed in Munich, where he met Max Buri, with whom he would travel to North Africa in 1891.
In 1893, Emmenegger inherited his father's estate in Emmen, near Lucerne, where he lived and worked until his death. In 1895-1896, he spent a second winter in Munich. There, he practiced etching with Albert Welti and learned plein-air painting with Bernhard Buttersack. Fascinated by the work of Arnold Böcklin, he stayed several times in Ticino and Italy between 1897 and 1903. A unique artist At the beginning of the 20th century, Emmenegger freed himself from Böcklin's influence and developed his own artistic language, focusing on themes of astonishing modernity – dark forest interiors, melting snow, shadows, or reflections on the surface of water.
His realistic style, which immerses the viewer in tightly framed settings, sometimes without a horizon, generates an atmosphere as strange as it is melancholic. Thanks to subtle arrangements of flat tints of color and the fragmentation of pictorial space by powerful contrasts of shadow and light, a great tension emerges from his compositions. From the 1910s, Emmenegger was passionate about the question of the representation of movement and produced canvases, inspired by chronophotography, which are reminiscent of the experiments of Futurist artists.
Involvement in the artistic community Emmenegger was notably President of the Lucerne section of the Society of Swiss Painters, Sculptors and Architects (1902 to 1913 and 1928 to 1930) and a member of the committee of the Lucerne Society of Fine Arts (1904-1926). A philatelist and knowledgeable collector, he owned, among others, works by Ferdinand Hodler, Cuno Amiet, Max Buri, Giovanni Giacometti and Albert Trachsel as well as a collection of photographs, minerals and fossils.
He regularly exhibited his paintings in Switzerland and abroad. In dialogue with other artists The breathtaking modernity of Emmenegger's work will be highlighted by an exceptional selection of around one hundred paintings, which will dialogue with paintings by his mentors, friends and contemporaries such as Cuno Amiet, Arnold Böcklin, Giovanni Giacometti, Ferdinand Hodler, Félix Vallotton and Robert Zünd.
The exhibition will also feature works by contemporary artists inspired by his work: Albrecht Schnider, Silvia Bächli, Nicolas Party, Alois Lichtsteiner, Stefan Banz, and Caroline Bachmann. The Lausanne Cantonal School of Art (ECAL) will be given carte blanche to bring Emmenegger's work into the public eye for a new generation.
Artistic Training Emmenegger began his training at the Lucerne School of Applied Arts (1883-1884). He continued his studies in Paris at the Académie Julian with Jules Lefèbre and Gustave Boulanger, and then in the studio of Jean-Léon Gérôme. In this artistic effervescence, he became friends with Cuno Amiet and Giovanni Giacometti. In the winter of 1885-1886, he stayed in Munich, where he met Max Buri, with whom he would travel to North Africa in 1891.
In 1893, Emmenegger inherited his father's estate in Emmen, near Lucerne, where he lived and worked until his death. In 1895-1896, he spent a second winter in Munich. There, he practiced etching with Albert Welti and learned plein-air painting with Bernhard Buttersack. Fascinated by the work of Arnold Böcklin, he stayed several times in Ticino and Italy between 1897 and 1903. A unique artist At the beginning of the 20th century, Emmenegger freed himself from Böcklin's influence and developed his own artistic language, focusing on themes of astonishing modernity – dark forest interiors, melting snow, shadows, or reflections on the surface of water.
His realistic style, which immerses the viewer in tightly framed settings, sometimes without a horizon, generates an atmosphere as strange as it is melancholic. Thanks to subtle arrangements of flat tints of color and the fragmentation of pictorial space by powerful contrasts of shadow and light, a great tension emerges from his compositions. From the 1910s, Emmenegger was passionate about the question of the representation of movement and produced canvases, inspired by chronophotography, which are reminiscent of the experiments of Futurist artists.
Involvement in the artistic community Emmenegger was notably President of the Lucerne section of the Society of Swiss Painters, Sculptors and Architects (1902 to 1913 and 1928 to 1930) and a member of the committee of the Lucerne Society of Fine Arts (1904-1926). A philatelist and knowledgeable collector, he owned, among others, works by Ferdinand Hodler, Cuno Amiet, Max Buri, Giovanni Giacometti and Albert Trachsel as well as a collection of photographs, minerals and fossils.
He regularly exhibited his paintings in Switzerland and abroad. In dialogue with other artists The breathtaking modernity of Emmenegger's work will be highlighted by an exceptional selection of around one hundred paintings, which will dialogue with paintings by his mentors, friends and contemporaries such as Cuno Amiet, Arnold Böcklin, Giovanni Giacometti, Ferdinand Hodler, Félix Vallotton and Robert Zünd.
The exhibition will also feature works by contemporary artists inspired by his work: Albrecht Schnider, Silvia Bächli, Nicolas Party, Alois Lichtsteiner, Stefan Banz, and Caroline Bachmann. The Lausanne Cantonal School of Art (ECAL) will be given carte blanche to bring Emmenegger's work into the public eye for a new generation.
Artistic Training Emmenegger began his training at the Lucerne School of Applied Arts (1883-1884). He continued his studies in Paris at the Académie Julian with Jules Lefèbre and Gustave Boulanger, and then in the studio of Jean-Léon Gérôme. In this artistic effervescence, he became friends with Cuno Amiet and Giovanni Giacometti. In the winter of 1885-1886, he stayed in Munich, where he met Max Buri, with whom he would travel to North Africa in 1891.
In 1893, Emmenegger inherited his father's estate in Emmen, near Lucerne, where he lived and worked until his death. In 1895-1896, he spent a second winter in Munich. There, he practiced etching with Albert Welti and learned plein-air painting with Bernhard Buttersack. Fascinated by the work of Arnold Böcklin, he stayed several times in Ticino and Italy between 1897 and 1903. A unique artist At the beginning of the 20th century, Emmenegger freed himself from Böcklin's influence and developed his own artistic language, focusing on themes of astonishing modernity – dark forest interiors, melting snow, shadows, or reflections on the surface of water.
His realistic style, which immerses the viewer in tightly framed settings, sometimes without a horizon, generates an atmosphere as strange as it is melancholic. Thanks to subtle arrangements of flat tints of color and the fragmentation of pictorial space by powerful contrasts of shadow and light, a great tension emerges from his compositions. From the 1910s, Emmenegger was passionate about the question of the representation of movement and produced canvases, inspired by chronophotography, which are reminiscent of the experiments of Futurist artists.
Involvement in the artistic community Emmenegger was notably President of the Lucerne section of the Society of Swiss Painters, Sculptors and Architects (1902 to 1913 and 1928 to 1930) and a member of the committee of the Lucerne Society of Fine Arts (1904-1926). A philatelist and knowledgeable collector, he owned, among others, works by Ferdinand Hodler, Cuno Amiet, Max Buri, Giovanni Giacometti and Albert Trachsel as well as a collection of photographs, minerals and fossils.
He regularly exhibited his paintings in Switzerland and abroad. In dialogue with other artists The breathtaking modernity of Emmenegger's work will be highlighted by an exceptional selection of around one hundred paintings, which will dialogue with paintings by his mentors, friends and contemporaries such as Cuno Amiet, Arnold Böcklin, Giovanni Giacometti, Ferdinand Hodler, Félix Vallotton and Robert Zünd.
The exhibition will also feature works by contemporary artists inspired by his work: Albrecht Schnider, Silvia Bächli, Nicolas Party, Alois Lichtsteiner, Stefan Banz, and Caroline Bachmann. The Lausanne Cantonal School of Art (ECAL) will be given carte blanche to bring Emmenegger's work into the public eye for a new generation.