User:Eistreter/Jules Perahim



‚Jules Perahim' '' (b. 24 in Bucharest; d. Paris the 2) was a Romanian-born French painter. Like Victor Brauner, he is considered to be a leading representative of surrealism in Romanian art, but he also painted official images (including executive portraits) in the style of Socialist Realism which was the dominating art style in the Eastern Bloc between 1947 and 1990.

Biography
Born under the name of Julius Blumenfeld in a family of intellectuals Jewish Bucharest, the artist became known by the nickname Perahim in 1930 (like  Blumen ,  Perahim  means "flowers" ). First student painters Nicolae Vermont and Costin Petrescu, professors at the School of Fine Arts in Bucharest he deviates from their teaching and became, in 1930, one of the leading figures of the Romanian avant-garde. He contributed to the magazine  Unu  (1930-1932) with Victor Brauner and Jacques Herold (among others). In 1930 still, he published with young poets (including Gherasim Luca) unethical magazine  Alge  to be published in different formats between 1930 and 1933 and which earned them a few weeks in prison for violation of morality. In 1932 he exhibited at Bucharest paintings from the time we consider as belonging to the surrealism ( Dream girl ,  A cypress crosses the sea ,  Equilibrium perfect , etc.).

In 1936, the exhibition of paintings and drawings opened in Bucharest is required by the images violence in a fantastic vision, set themselves up against the rise of the law enforcement agents of thought ( a moral Profiles ,  Game Stepfather ', etc.) and operation of the established power (' 'Board' ',' 'Lumpen proletariat and aristocracy'  'Manpower', etc.).

In 1938, at Prague Perahim exhibits in the foyer of innovative theater AF Burian (frequented by artists and writers of the Czech avant-garde) he met the German Dadaist artist John Heartfield, known for its anti-Nazi photomontages. Without being able to go to Paris, where Victor Brauner and Gherasim Luca were already, he was forced to return to Romania on the rise of the extreme right violently anti-Semitic. Threatened and pursued by the Iron Guard, both for his leftist views as aggressive designs published in the democratic press ('Cuvantul liber' ',' 'Report' ', etc.), he takes refuge late 1940 Bessarabia (Moldova) became a Soviet Republic. In June 1941, after the attack of the German army, he fled with the civilian population, submits to forced labor and exercise makeshift occupations (worker, peasant in a collective farm, etc.). It crosses on foot Caucasus and arrived in Armenia where he earns his living by creating sets and costumes for a theater reserved for war wounded in Kenaker, near Yerevan. Mobilized in March 1944 in Moscow to become an illustrator and graphic presenter of the review of antifascists Romanians '' 'Graiul Nou' "Perahim returned to Romania  when it declared war on the Axis.

During the period Stalinist, during the fifties, Perahim product impersonal images that conform to the requirements of a directed art. He renounces the personal painting to undergo alimentare subjection to imposed themes; nevertheless, he is actively involved in the development of "art for the forum" mosaic murals (House of Culture in Mangalia Romania, etc.), engravings cycles (eg  proverbs and sayings  in 1957), book illustrations for the Romanian and universal literature. Only the realization of theater sets (Vladimir Mayakovsky '' Le Bain ', 1957; Pierre Boulez' 'The masterless hammer', 1958) and the creation of ceramic shapes and decorations (exhibition to Bucharest in 1965) enable it, over the years, a return to expressive research, far from " Socialist Realism".

His art is known in his country (state price honorary title of Emeritus Master of Art) and in international circles (gold medal of the Book Fair Leipzig, silver medal the Milan Triennale, winner of the International Festival of Epidaurus theater in Greece, an honorary member of the Accademia delle Arti del Disegno). Between 1948 and 1956, he worked as a professor of graphic arts and design at the Institute of Fine Arts from Bucharest; it is then editor of the magazine "'Arta Plastica'" from 1956 to 1964. From that date, Perahim again to paint and uses specific exercises to "force the inspiration" (Max Ernst ): decals, rubbings, collages, etc. exposed in part to Paris in 1968. In 1969 he settled in Paris.

Since then his work has been the subject of some forty solo exhibitions in France (AF Petit galleries, Mr. Calatchi 1900-2000 in Paris, Jacques Canopy gallery Lyon) and abroad. In addition, Perahim has been exposed repeatedly through collective prestigious exhibitions ('Museum of fun' 'organized by Asahi Shimbun, Tokyo 1984' Art and Alchemy ' 'Venice] Biennale] 1986;' 'Surrealism and Love,' '[[Museum of Modern Art of the City of Paris 1998,' 'Marcel Duchamp e altri iconoclasti reed,' 'Museum Modern Art Rome 1998 '. Hypnos Contribution to a visual history of the unconscious,' 'Modern Art Museum Lille, 2009, etc.) and international fairs (Basel, Milan, Bologna, Ghent, FIAC in Paris, etc.). From 1990, he was again presented in Romania in exhibitions devoted to the forefront.

These forty years of life France, painting and drawings of the artist have a world of enchantment. Trips to Southern Africa leave deep scars in his creation, full of intense vitality outcome of "universal communication, hybridization of all forms of life in a generous sensuality that controls and directs the symbiosis all elements "(as written Edward Jaguer in the album  Perahim  published in 1990). The world Perahim is open to all combinatorial fantasies: a fabulous bestiary bringing the animal and plant, the mechanical and the living; large illusionists landscapes through surprising and incantatory shapes.

His work is in numerous public collections: the National Contemporary Art Fund of Paris, Museum of Contemporary Art of Rome, Art Museum Jerusalem, National Museum of Art Bucharest, but also in many private collections spin around the world.

Perahim is affiliated with the ADAGP (Society of Authors in the Graphic and Plastic Arts). His wife, Marina Vanci-Perahim, art historian, professor emeritus at the University of Paris I Panthéon-Sorbonne, holds the moral rights, intellectual and property of the artist.