Berlinde De Bruyckere
editBerlinde De Bruyckere is a contemporary artist who paints[1] and specializes in sculptures.[1] Most of her sculptures use body-like forms without heads and are in a deformed shape.[2] Her work is influenced by religious imagery, mythology, and the Flemish Renaissance.[3] Themes in her artwork display human experience, existence, and raw emotion.[4]
Biography
editBerlinde De Bruyckere was born in Ghent, Belgium in 1964.[5] She grew up with her dad working as a butcher and would see him working, it didn’t influence her art, but it did help her not be afraid to see dead corpses.[6] De Bruyckere has a studio in Ghent that was once a Catholic school, and what used to be the headmaster's home is where she and her family live.[6] At the beginning of her artistic life, she had to convince her parents to let her go to the academy, and in order to receive income, she would work by giving drawing lessons. [7]
Education
editIn her early years of education, Berlinde De Bruyckere was sent to a Catholic boarding school that would influence her artwork. Later on in her life, Bruyckere graduated from the LUCA School of Arts in Ghent in 1986. [3] She did her residency at the In Flanders Field Museum.[3]
Art Making
editDe Bruyckere uses a variety of mediums, such as animal skin, wood, metal, watercolor, and gouache.[5] Before working on the life-size sculptures for her exhibitions, De Brucyckere would make a scale model of the artwork rather than sketching it out.[1] Throughout the '90s and 2000s, De Bruyckere would make large cast wax sculptures of human figures, and in 2013, she visited a skin trader workshop in Anderlecht, Belgium, that expanded her methods of her artworks and began working with wax casts of animal hides.[1] As De Bruyckere works on her piece, she pays attention to the details, such as the surfaces of her work, to express the meaning of her art. [8] Additionally, she tends to use props that connect with her story's artwork.[1]
Artworks
editArcangelo I,[9] 2022-2023, is part of De Bruyckere A Simple Prophecy exhibition.The sculpture is made out of bronze, lead, and chrome steel.[9] It was made during the COVID-19 pandemic and is a tribute to healthcare workers and how they had a major role during the pandemic as they were taking care of many patients during that time.[10] In her previous works, the body figures either do not have a head or their head is covered.[2] Arcangelo I is an example of this method. The angel's body is in a still position, covered with a cloth-like texture, making the face hidden from the viewer and their wings faintly extending.[9] The Angel is slightly hovered yet weighted down as it represents it being burden, by the weight it is carrying. [9] It's mysterious yet comforting and inviting to the viewer. [9] The cloth-like texture is an influence from De Bruyckere's past works, as she would use blankets as an element in her art as they symbolize intimacy and protection.[1] Furthermore, Bruyckere got inspiration from Christianity and how she connects it with blankets, as she believes religion should give comfort and hope. [10]
The K36 (The Black Horse, 2003)[11] is made from horse skin, wood, iron, and polyurethane foam.[12] It is a mutilated horse that has no facial futures, and its upper body and front legs are crouching down and touching the surface of the table that it is on top of. Horses have been a subject that Bruyckere has used repeatedly. It was first introduced in her exhibition In Flanders Fields.[13] When Bruyckere was doing her residency at the In Flanders Field Museum, she found photos of war horses that were dead on the battlefield, which inspired her to use horses as her subject.[3] At that time, when she discovered the photos, the horses became a metaphor for death.[8] When De Bruyckere uses horses, it becomes something else as she puts them in different positions and changes their figures.[14] Bruyckere uses animals to share physical vulnerability with animals,[12] as horses are traditionally seen as strong and powerful.[3]
Lost V[15] (2021-2022) is a sculpture of a young horse laying on its side on the marble table and covered with a blanket. The material that was used for it was horse skin, marble, textile, iron, and epoxy.[13] Besides being influenced by her past exhibition of In Flanders Field of war horse, she was also influenced by Francisco de Zurbarán's Agnus Dei.[13] The sculpture gives the illusion that the body of the horse is either dead, alive, or between life and death, and the blanket around it is used as a self-protection.[13] Its a reminder of death and how humans feel about death and mortality.[8]
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Collections
editBruyckere artwork is owned by private or institutional collections, such as The Museum of Modern Art, New York; Fondazione Sandretto Re Rebaudengo, Turin; Collezione Gori Fattoria di Cella, Pistoia: and La Fondation Antoine de Galbert, Paris.[3]
Honor and awards
editPublications
editBruyckere collaborates with writers who would discuss and give a comprehensive look at her artworks. To name a few are Berlinde de Bruyckere (2014)[4], Cripplewood/ Kreupelhout (2013), We are All Flesh (2013), Berlinde de Bruyckere Romeu My Deer (2012), Berlinde De Bruyckere Pel/ Becoming the figure (2022), Berlinde De Bruckere The Embalmer (2015), and Berlinde De Bruyckere: Angel’s Throat (2021).
See Also
edit[17]Bruyckere, Berlinde De, and J.M Coetzee. Cripplewood/ Kreupelhout. Mercatorfonds,2013
[18]Bruyckere, Berlinde de, and Coetzee, J. M.. We are All Flesh. Belgium, Merz, 2013.
[19]Bruyckere, Berlinde de, and Lamarche, Caroline. Berlinde de Bruyckere: Romeu My Deer. Italy, Skira, 2012.
[20] Mattern Jutta, et al. Berlinde de Bruyckere: Pel/ Becoming the Figure. Koenig Walther. 2022
[21]Moriter, Erwin, et al. Berlinde de Bruyckere: Angel's Throat. Mercatorfonds, 2021
External Links
editHere are links of websites that show images of her work:
[9] Berlinde de Bruyckere, "Arcangelo I, 2022-2023", Hauser & Wirth.
[22] Berlinde de Bruyckere, "The Embalmer, 2015", Kunstramdornbirn.
[23]Berlinde de Bruyckere, "Spreken [To Speak] ", 1999, Awarewomenartist.com
[11] Berlinde de Bruyckere, "K36 (The Black Horse)", 2003, CharlesSaatchi.com
[15]Berlinde De Bruyckere, "Lost V," 2021-2022, Pedro Cera.com
[24]Berlinde De Bruyckere "In Flanders Fields 2000". www.artnet.com. Retrieved 2023-11-01.
References
edit- ^ a b c d e f Fullerton, Elizabeth (2019-12-20). "Suffering and Desire: A Conversation with Berlinde De Bruyckere". Sculpture. Retrieved 2023-10-29.
- ^ a b Alexandrova, Alena (2017-05-01). "The Body Recast: The Sculpture of Berlinde de Bruyckere". Breaking Resemblance. Fordham University Press. ISBN 978-0-8232-7447-5.
- ^ a b c d e f g Moldan, Tessa (2023). "Berlinde De Bruyckere". OCULA. Retrieved October 29, 2023.
{{cite web}}: Check|archive-url=value (help)CS1 maint: url-status (link) - ^ a b c Bruyckere, Berlinde de; Alloa, Emmanuel; Carrion-Murayari, Gary; Coetzee, J.M.; Lamarche, Caroline; Cauteren, Philippe Van (2014). Mengoni, Angela (ed.). Berlinde De Bruyckere. Brussels: Mercatorfonds. ISBN 9780300204452.
- ^ a b c d "Berlinde De Bruyckere". Hauser & Wirth. Retrieved 2023-10-29.
- ^ a b AnOther (2012-12-04). "Berlinde De Bruyckere: Three Sculptures". AnOther. Retrieved 2023-12-01.
- ^ Gnyp, Marta. "Berlinde de Bruyckere". Gnyp Art Advisory. Retrieved 2023-12-01.
- ^ a b c Wanger, Marc Chistoph (April 8, 2018). "Berlinde De Bruyckere: Surfaces are Containers of the Souls". Hauser & Wirth. Retrieved 2023-10-29.
- ^ a b c d e f "Berlinde De Bruyckere - A simple prophecy". Hauser & Wirth. Retrieved 2023-10-29.
- ^ a b Moldan, Tessa (February 15, 2023). "Berlinde De Bruyckere: What's Divine Is Never Simple". OCULA. Retrieved October 29, 2023.
{{cite web}}: Check|archive-url=value (help)CS1 maint: url-status (link) - ^ a b "K36 (The Black Horse) (and details)". Charles Saatchi. Retrieved 2023-11-01.
- ^ a b Aloi, Giovanni (2018). "The Allure of the Veneer: Aesthetics of Speculative Taxidermy". Speculative Taxidermy: Natural History, Animal Surfaces, and Art in the Anthropocene. New York: Columbia University Press. pp. 214–20. doi:10.7312/aloi18070.12. ISBN 9780231543217.
- ^ a b c d bloginfo('name'); ?>, <?php. "Berlinde De Bruyckere No Life Lost- After Humanity". Galeria Pedro Cera. Retrieved 2023-10-29.
{{cite web}}: Check|archive-url=value (help)CS1 maint: multiple names: authors list (link) CS1 maint: url-status (link) - ^ Adjania, Nancy (2009). Vitamin 3-D: New Perspectives in Sculpture and Installation. London; New York: Phaidon. pp. 58–59. ISBN 9780714849744.
- ^ a b "Berlinde De Bruyckere No Life Lost-After Humanity". Galeria Pedro Cera. Retrieved 2023-11-01.
{{cite web}}: Check|archive-url=value (help)CS1 maint: url-status (link) - ^ "Berlinde De Bruyckere". www.moco.art. Retrieved 2023-12-01.
- ^ "Cripplewood / Kreupelhout". Yale University Press. Retrieved 2023-10-31.
- ^ Bruyckere, Berlinde de (2013). We are All Flesh. Merz. ISBN 978-94-90693-90-9.
- ^ Bruyckere, Berlinde de; Lamarche, Caroline (2012). Berlinde de Bruyckere: Romeu My Deer. Skira. ISBN 978-88-572-1444-3.
- ^ "Berlinde De Bruyckere: PEL / Becoming the Figure". COPYRIGHT Bookshop. 2022-10-11. Retrieved 2023-10-31.
- ^ "Berlinde De Bruyckere: Angel's Throat". Yale University Press. Retrieved 2023-10-31.
- ^ "Berlinde de Bruyckere – Kunstraum Dornbirn". Retrieved 2023-11-01.
- ^ "Berlinde De Bruyckere". AWARE Women artists / Femmes artistes. Retrieved 2023-11-01.
- ^ "Berlinde De Bruyckere In Flanders Fields 2000". www.artnet.com. Retrieved 2023-11-01.