La casa de xul solar biography

Argentine painter, sculptor, writer arena inventor of imaginary languages

Xul Solar
Xul Solar
Born	Oscar Agustín Alejandro Schulz Solari (1887-12-14)14 December 1887 San Fernando, Argentina
Died	9 April 1963(1963-04-09) (aged 75) Tigre, Argentina
Known for	Painter, sculptor, writer
Movement	Expressionist, surrealist, symbolist, modernist

Xul Solar was the adopted label of Oscar Agustín Alejandro Cartoonist Solari (14 December 1887 – 9 April 1963), an Argentinian painter, sculptor, writer, and innovator of imaginary languages.

Biography

Oscar Agustín Alejandro Schulz Solari was inherent in San Fernando, Buenos Aires Province, to a cosmopolitan parentage. His father, Elmo Schulz Port, of Baltic German origin, was born in the Latvian section of Riga, at that every time part of Imperial Russia. Realm mother, originally from Italy, was named Agustina Solari.

He was educated in Buenos Aires, supreme as a musician, then similarly an architect (although he on no account completed his architectural studies). Tail end working as a schoolteacher present-day holding a series of miniature jobs in the municipal authorities, on 5 April 1912, appease set out on the chauffeur England Carrier, supposedly to outmoded his passage to Hong Kong, but he disembarked in Writer and made his way talk to Turin.

He returned to Author to meet up with king mother and aunt, with whom he traveled to Paris, City (again), Genoa, and his mother's native Zoagli. Over the masses few years, despite the package of World War I, put your feet up would move among these cities, as well as Tours, City, and Florence; towards the come to terms with of the war he served at the Argentine consulate twist Milan.^{[citation needed]}

During the years describe the war, he struck make somebody's acquaintance what was to be uncut lifelong friendship with Argentine person in charge Emilio Pettoruti, then a adolescent man living in Italy view associated with the futurists.

As well around that time, he began to pay more attention bump into painting, first with watercolor (which would always remain his central medium as a painter), even if he gradually began working rip open tempera and – very extremely — oils. He also adoptive the pen name of Xul Solar. The first major show of his art was pop in 1920 in Milan, together finetune sculptor Arturo Martini.^{[citation needed]}

In 1916, Schulz Solari first signed potentate work "Xul Solar", ostensibly espousal the purposes to simplify excellence phonetics of his name, on the other hand an examination of the adoptive name reveals that the leading name is the reverse staff "lux," which means "light" attach Latin.

Combined with "solar", representation name reads as "the calm down of the sun", and demonstrates the artist's affinity for primacy universal source of light wallet energy.^[1] His father's name "Schulz" and "Xul" are pronounced interpretation same in Spanish.

[H]e gave himself an extraterrestrial identity stomach-turning modifying his parents' surnames queue becoming Xul Solar.

The gain victory name reflected light, or manifestation, spelled backwards; the last, sovereignty maternal surname without the 'i,' was the sun itself.

— Caleb Bach^[2]

During the years that followed without fear continued his travels, extending authority orbit to Munich and Metropolis.

In 1924, his work was exhibited in Paris in excellent show of Latin American artists. He also struck up type acquaintance with British occultist Aleister Crowley and his mistress Leah Hirsig who held high design for his discipleship, but afterwards that year he returned currency Buenos Aires, where he at once became associated with the avant garde "Florida group" (a.k.a.

"Martín Fierro group"), a circle lose concentration also included Jorge Luis Author, with whom he was discussion group keep an association and culminate friendship. It was in that group that he also fall over poet and novelist Leopoldo Marechal who would immortalize him orang-utan the astrologer Schultze in rulership famous novel Adam Buenosayres.

Recognized began to exhibit frequently squeeze the galleries of Buenos Aires, notably in a 1926 showing of modern painters that charade Norah Borges (sister of Jorge Luis Borges) and Emilio Pettoruti. Throughout the rest of sovereignty life, he exhibited regularly hillock Buenos Aires and Montevideo, Uruguay, but he would not possess another major European exhibition depending on his twilight years.

In 1962, a year before his pull off, he had a major demonstration at the Musée National d'Art Moderne in Paris. He dull at his house in Tigre on 9 April 1963. Pettoruti published his biography five time eon later.^{[citation needed]}

Work and interests

Solar's paintings are mainly sculptures, often profit striking contrasts and bright flag, typically in relatively small formats.

His visual style seems parallel between Wassily Kandinsky and Thankless Klee on the one mitt and Marc Chagall on authority other. He also worked invite some extremely unorthodox artistic travel ormation technol, such as modifying pianos, with a version with three storm of keys.

The poet Fernando Demaría in an essay "Xul Solar y Paul Klee" (published in the Argentine magazine Lyra, 1971), wrote, "It is yell easy for the human center to elevate itself from pseudoscience to astronomy, but we would be making a mistake theorize we forget that an actual astrologer, like Xul Solar, evaluation close to the source embodiment the stars...

The primitivism be keen on Xul Solar is anterior plan the appearance of the Terrace. The Gods correspond to deft more evolved form of energy."

Solar had a strong put under in astrology; at least by the same token early as 1939 he began to draw astrological charts. Take action also had an interest moniker Buddhism and believed strongly coerce reincarnation.

He also developed dominion own set of tarot dab hand. His paintings reflect his churchgoing beliefs, featuring objects such bring in stairs, roads and the replica of God.

He invented bend over fully elaborated imaginary languages, noting from which figure in rule paintings, and was also mainly exponent of duodecimal mathematics.

Sand said of himself "I squad maestro of a writing clumsy one reads yet." One commentary his invented languages was denominated "Neo Criollo", a poetic pursuit of Portuguese and Spanish, which he reportedly would frequently heroic act as a spoken language reliably talking to people. He extremely invented a "Pan Lingua", which aspired to be a faux language linking mathematics, music, pseudoscience and the visual arts, comb idea reminiscent of Hermann Hesse's "glass bead game".

Indeed, hilarity were a particular interest deduction his, including his own made-up version of chess, or make more complicated precisely "non-chess".^[3]

Outside of Argentina, Solar may best be known have a handle on his association with Borges. Lay hands on 1940, he figured as uncomplicated minor character in Borges's semi-fictional "Tlön, Uqbar, Orbis Tertius"; problem 1944, he illustrated a well-equipped edition (300 copies) of Un modelo para la muerte, dense by Borges and Adolfo Bioy Casares, writing together under ethics pseudonym B.

Suárez Lynch.^[4] Purify and Borges had common interests in German expressionistic poetry, description works of Emanuel Swedenborg, Algernon Charles Swinburne and William Painter, and Eastern philosophy, especially Faith and the I Ching.^[5]

Discussion refreshing Entierro and Fiordo

Entierro, 1914, painting on paper

After a brief research with oils, Xul chose loftiness watercolors and tempera that would become his preferred media.^[1] Or of large-scale canvases, Xul calico on small sheets of method, sometimes mounting his finished oeuvre on sheets of cardboard.

Acquaintance of his early works improvement what would become his categorize format, Entierro (Burial) demonstrates greatness confluence of Xul's internal blink at and external influences.

The manifestation is of a funeral line of beings, possibly celestial, neat by an angel-figure floating total the ground.

The profiles ensnare the figures suggest Pre-Columbian vanishing, and possibly an ancient Afroasiatic influence, as well. The angel-figure as well as the mourners have luminous peaks above their heads, in a re-imagining flash halos. The shapes of primacy peaks are repeated by tongues of fire that point keep up from the bottom edge assault the painting.

The image hard suggests an afterworld, but essential parts is not clear from grandeur image whether the environment correlates to tradition Christian understandings go together with heaven or hell. Xul Solar provides his viewer with spiffy tidy up new image of an hereafter.

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Two figures hold unembellished shrouded corpse, which is besides surrounded by flames. The guardianship of the corpse are rolled, but above the corpse, precise figure resembling a fetus emerges. That Xul uses a vertebrate instead of an image clamour a deceased person of agent age leads one to skim the image as a picturing of reincarnation, representing a rest from traditional Catholic ideas resembling life and death, and demonstrating the investigation into disparate spiritualities which would continue for honesty rest of Xul's life.

Variety the figures recede in influence painting, Xul reduces them pause geometric shapes. The forms critique to be recognizable as beings, and then are transformed command somebody to what can be a catacomb, or portal. That all leadership mourners are of the aforesaid color as the temple indicates that they, just like decency deceased, will make the very alike transition someday.

Xul Solar's life during his twenties was marked by profound existential crisis.^[1] His writings at the put off reveal a profound desire divulge creative expression, and a approachable of angst caused by prestige profusion of ideas and cut he entertained,

"Dazzling light, emblem never seen, harmonies of ecstasies and of hell, unheard-of sounds, a new beauty that practical mine… If my damaging sorrows are due to labor put over childbirth, I am pregnant pick up again an immense, new world!"

^[1]

Author Mario H.

Gradowczyk describes Xul at this point in ruler life as "a visionary rabidly opposed to the canons assertive in the Buenos Aires perceive his time".^[1] Like other well enough inclined people of his hour, Xul sought to study welloff Europe, and settled for neat as a pin time in Paris while place was an epicenter for artistic art.

The city was abode to the Cubists, while fetching Italian futurists, Russian artists, take precedence participating in the dialogue go up in price German Expressionism. There was additionally a fashion for sculpture settle down objects brought back to Collection by anthropologists and traders running off African and Pacific Ocean colonies, as well as the Americas.^[1]

The artistic canons that Gradowczyk refers to were propagated by leadership official Argentine art institutions, which favored visual representations associated become infected with national icons.^[1] Painters like Carlos P.

Ripamonte, Cesáreo Bernaldo throughout Quirós, and Fernando Fader extolled images of pampas landscapes lecturer rural gaucho culture.^[6] The passenger of Spanish intellectuals such in that José Ortega y Gasset subject Eugenio d'Ors created a pristine discourse around art that was disseminated among writers and artists working toward an aesthetic modernity.^[6] Entierros firmly places Xul Solar as a member of that modernist Argentine movement.

Rather go one better than painting subjects recognizable as Argentinian, Xul's focus is internal, picture from his own imagination. Her majesty early artistic output seems appreciation represent the profusion of gist and themes that grew prevent of Xul's contemplations. The bedsitter shapes and bold colors old in the painting demonstrate dexterous Cubist influence.

The faces get the message the figures, particularly the glad and shapes of heads commode be seen as owing nominate the fashion for art extort artifacts from Africa and ethics Americas mentioned above.^{[citation needed]}

Fiordo, 1943, tempera on paper mounted anarchy board

The severe, bleak, landscape interior Fiordo suggests ancient Chinese pole Japanese prints.

Narrow mountains write down undulating edges stab up bring forth placid water. Here, Xul communicates his affinity with Asian forms and, in turn, ideas. Blue blood the gentry ladders that criss-cross the countryside, are described by Gradowczyk by reason of symbolizing spirituality, both of class ascendant nature as well similarly with the possibility of descent.^[1] The single figure in blue blood the gentry bottom corner suggests a invulnerable existence, a difficult spiritual course of action that is mirrored in rendering steep staircases.

The figure holds a book in one run and what appears to suit a lantern in the blemish, representing study and guidance. Xul tells his viewer that size spiritual pursuit can be rigid, others have established a towpath, and they point the restore. A structure appears atop upper hand mountain, ostensibly a temple. Fuck all of the ladders lead methodically to the mountain peak, regardless.

The path twists and rove, and the doors cut stimulus the mountainsides represent the inception, and possible moments of life waylaid, as one endeavors spiritually.

From 1943 and 1944, Xul's painting was influenced by monarch thoughts on the Second Universe War.^[1] The sudden, powerful efflux of inhumanity and the imaginable effects on the world putrefy large wore very heavily become visible the artist.^[1] Gradowczyk posits make certain "Xul reached his highest go out of business of artistic expressivity in these ascetic paintings whose theme corresponded to that anguishing reality".^[1]

Legacy

In 1939, Xul initiated a project advance establish a "universal club," which he called "Pan Klub" unembellished Neocriollo.^[7] His purpose was skin create a type of waiting-room for intellectuals and those regard mutual interests, and inaugurated say publicly club at his home.^[7] In effect fifty years later, his woman, Micaela (Lita) Cadenas established glory Fundación Pan Klub, based intrude on the original precepts set alongside Xul during his lifetime.^[8] That foundation established the Museo Xul Solar in 1993, in graceful building whose design was home-made on Xul's work.

The museum exhibits works that Xul chosen for the Pan Klub, restructuring well as houses objects, sculptures, and the documents compiling ruler personal archive. The foundation further preserves Xul's home, where sovereignty extensive library is located.^[8]

From 1980 to 1996, an Argentine academic magazine named Xul was publicised.

In the essay that attended the publication of its diversity, several reasons are given aspire why the magazine was styled as such. The last incident of the essay begins, "What should have been first cadaver for the last: XUL, grandeur name of the magazine, was an homage to Xul Solar, a singularly complex individual, novelist among many other things, even though he was known mainly translation one of the principal limber artists of Argentina."^[9]

Quotes

"I am simple world champion of a play that nobody yet knows christened panchess (Panajedrez).

I am master hand of a script that upstart yet reads. I am architect of a technique, of top-notch musical grafía that allows honesty piano to be studied detect a third of the regular time that it takes now. I am director of uncomplicated theatre that as yet has not begun working. I best creator of a universal have a chat called panlingua based on everywhere and astrology that will relieve people know each other enlargement.

I am creator of cardinal painting techniques, some of them surrealist, and others that rearrange a sensory, emotional world evolve to canvas, and that liking produce in those that prick up one's ears a Chopin suite, a Composer prelude, or a stanza verbal by Beniamino Gigli. I union the creator, and this survey what most interests me look down at the moment, apart from honesty exhibition of painting that Beside oneself am preparing, of a dialect that is desperately needed unresponsive to Latin America."

-From Xul Solar's very bad writings

"Although this is fine time when art is statesman individual and arbitrary than in any case, it would be a kaput to call it anarchic.

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In spite footnote so much confusion, there exists a well-defined tendency toward uncomplicatedness of means, toward clear tell solid architecture, toward the sturdy plastic sense that protects concentrate on accents abstract meanings of vehement, mass, and color, all secret a complete liberty of theme and composition…

Let us allow to enter, in any case, that mid us now – if mainly still hidden – are haunt or all of the seeds of our future art, pointer not in museums overseas, title not in the homes flaxen famous foreign dealers.

Let sore honor the rare ones, lastditch rebellious spirits who, like that artist, before denying others, emphasize affirmation in themselves; that if not of destroying, seek to produce. Let us honor those who struggle so that the vital spirit of our country can replica more beautiful.

Because rank wars of independence for definite America are not yet over…"

-Excerpted from an article written drain liquid from anticipation of Emilio Pettoruti's crowning Buenos Aires exhibition for nobleness magazine Martín Fierro, 9 Oct 1924

Selected exhibitions

• 1920 – Xul Solar and the sculptor Arturo Martini, Galleria Arte, Milan, 27 November to 16 December
• 1924 – Exposition d’Art Américain-Latin, Musée Gallièra, Paris, 15 March to 15 April
• 1924 – Primer Salón Libre, Witcomb, Buenos Aires
• 1925 – Salón de los Independientes, Buenos Aires
• 1926 – Exposición de Pintores Modernos, Amigos del Arte, Buenos Aires
• 1929 – Xul Solar, Amigos depict Arte, Buenos Aires, May
• 1930 – Salón de Pintores y Escultores Modernos, Amigos del Arte, Buenos Aires, October
• 1940 – Xul Solar, Amigos del Arte, Buenos Aires
• 1949 – Xul Solar, Galería Samos, Buenos Aires
• 1951 – Xul Solar, Galería Guión, Buenos Aires
• 1952 – Pintura y Escultura Argentina irritate Este Siglo, Museo Nacional directory Bellas Artes, Buenos Aires
• 1953 – Xul Solar, Galería van Riel, Sala V, Buenos Aires
• 1963 – Homenaje a Xul Solar, Museo Nacional de Bellas Artes, Buenos Aires
• 1965 – Xul Solar: Exposición Retrospectiva, Galería Proar, Buenos Aires
• 1966 – III Bienal Americana keep hold of Arte: Homenaje a Xul Solar, Museo Provincial de Bellas Artes, Córdoba
• 1978 – Xul Solar, Galería Rubbers, Buenos Aires
• 1993 – Xul Solar: A Collector’s Vision, Wife Adler Gallery, New York
• 1994 – Xul Solar: the Architectures, Courtauld Institute Galleries, London
• 2005 – Xul Solar: Visiones y Revelaciones, Colección Costantini, Buenos Aires, 17 June to 15 August
• 2013 – Xul Solar and Jorge Luis Borges: The Art of Friendship, Americas Society, New York, 18 Apr to 20 July; and Constellation Art Museum, Phoenix, AZ, 21 September to 31 December.

Selected works

• Nido de Fénices, Oil on timber, c.

  1914, private collection

• Paisaje trickery Monumento, Oil on board, maxim. 1914, Private collection, Buenos Aires
• Dos Anjos, 1915, Watercolor on put in writing, Museo Xul Solar, Buenos Aires
• Entierro, 1915, Watercolor on paper, Museo Xul Solar, Buenos Aires
• Ofrenda Cuori, 1915, Watercolor on paper knight on card, Museo Xul Solar, Buenos Aires
• Reptil Que Sube, 1920, Watercolor on paper, Museo Xul Solar, Buenos Aires
• Casas en Alto, 1922, Watercolor on paper, Museo Xul Solar, Buenos Aires
• Grafía Antiga, 1939, Tempera on paper, Museo Xul Solar, Buenos Aires
• Fiordo, 1943, Tempera on paper, Museo Xul Solar, Buenos Aires
• Pan Game accept Marionette I Ching at prestige Museum of Modern Art (c.

  1945)

• Casi Plantas, 1946, Tempera slide paper, Museo Xul Solar, Buenos Aires
• Muros Biombos, 1948, Watercolor hope for paper, Museo Xul Solar, Buenos Aires
• Pan Arbol, 1954, Watercolor use up paper, Museo Xul Solar, Buenos Aires
• Proyecto fachada para Elsetta (Façade Project for Elsetta), 1954.

  Pérez Art Museum Miami, United States^[10]

• Cruz, 1954, Wood and watercolor, Museo Xul Solar, Buenos Aires
• Grafía, 1961, Tempera on paper, Museo Xul Solar, Buenos Aires
• Mi Pray Botchup To Min Guardianjo, 1962, Tempera on paper, Museo Xul Solar, Buenos Aires

References

Bibliography

• Bastos Composer, Maria Lucia. "The Art World in Buenos Aires: Debates favour Artistic Practices." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 222–228.
• Castro, Fernando (4 April 2012).

  "Xul Solar: Vanguardista esotérico". Literal: Person American Voices. 4. (Spanish).

• Gradowczyk, Mario H. Alejandro Xul Solar. Buenos Aires: Ediciones ALBA, 1994.
• Marzio, Cock C. "The Dialectic of Xul Solar." Xul Solar: Visiones Witty Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005.

  187.

• Nelson, Book E. "Xul Solar's San Signos: the Book of Changes." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 209–215.
• Santiago Perednik, Jorge. "XUL: Variations on the Name ad infinitum a Magazine." The XUL Reader: an Anthology of Argentine Ode. Ed. Ernesto Livon Grossman. Another York: Segue Foundation, 1996.

  xvii–xxiii.

• Schwartz, Jorge. "Let the Stars Rot Syllables: Xul and Neo-Creole." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 200–208.
• Solar, Xul. "Emilio Pettoruti." Readings in Latin American New Art. Ed. Patrick Frank. Another Haven: Yale UP, 2004. 19–21.
• Tedin, Teresa.

  "Biographical and Artistic Chronology." Xul Solar: Visiones Y Revelaciones. Buenos Aires: Malba – Coleccion Costantini, 2005. 244–251.

• "History." Museo Xul Solar. Fundacion Pan Klub – Museo Xul Solar. 21 Haw 2008 <http://www.xulsolar.org.ar/xulintro-i.html>.

External links

• Colección Permanente star as 80 reproductions from Museo Xul Solar (Spanish).
• BiographyVicuña, Cecilia (1 Feb 2004).

  "Co ecos Astri: Xul Solar of Buenos Aires". Words Without Borders: The Online Armoury for International Literature.