197:, a priest in La Chaux-de-Fonds who published a free Sunday newspaper, "La Feuille du dimanche", in which he propagated social reformist and pacifist ideas. The weekly also focused on the fight against alcoholism. La Chaux-de-Fonds was then a centre of international pacifism. Evard became a member of the Christian Youth Association of the pastor and administered the publication of the weekly newspaper for almost 30 years. Through his activities at Pettavel he got to know the painter
301:, a multitude of traditionally figurative, almost deserted landscapes and still lifes were created, characterized by strong colors: "La Chaux-de-Fonds lies at around 1,000 metres above sea level and is therefore one of the highest cities in Europe. From this altitude, Evard was particularly fascinated by the spectacle of light during sunrises and sunsets. The steep valley flanks (Côtes du Doubs) are densely wooded and partly crossed by rocky outcrops" (in German:
426:. While a certain trueness to color is important to him at first, he gradually abandons it, separates himself from the colors and inserts vertical and horizontal lines into the picture, so that the depicted object can almost be seen as a pure geometric form. Evard reduces the representationalism through spatial and surface tensions - but achieves emotional values such as warm and cold, light and dark, playful and harsh through the choice of color.
418:, the first version of the motif was created, to which he would devote himself for over a decade. For the first time, the tendency towards variation and an almost obsessive way of working becomes visible: sometimes he barely noticeably changes the colours, sometimes he changes the whole composition. The increasing abstraction of the natural object takes place here in an exemplary manner - from
360:, but also with those of Far Eastern art, whereby the various artist's styles seemed to merge into a very individual style. In his color compositions, Evard knew how to subject completely opposite colors to absolute harmony. Extreme freedom of feeling, great variety of moods, subtle color modulations and chromatic vivacity characterise his works, as Evard wants to give color its 'spirit'.
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art was based on traditional tastes, it became almost impossible to obtain a public contract. Thus Evard slowly fell into oblivion and increasingly withdrew into a self-imposed isolation. His art constantly changed back and forth between a figurative and an abstract style. The numerous landscapes and still lifes were characterized by strong colors, in which his
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On the one hand, the play of forms and colors leads to highly expressive representational landscapes, on the other hand, fascinating still lifes emerge from the clear reduction, which show unusual color combinations and completely new object-space relationships. In doing so, he always exposed himself
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as member no. 10, which offered a platform to avant-garde artists and in which important representatives of abstract and surrealist art participated. But here, too, he did not make use of the advantages of the group, which also met with little public interest in his home country. Since official Swiss
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La Chaux-de-Fonds liegt auf rund 1.000 Meter über dem
Meeresspiegel und ist damit eine der höchstgelegenen Städte Europas. Von eben dieser Höhe aus war Evard besonders von dem Lichtschauspiel fasziniert, das sich ihm während der Sonnenauf- bzw. untergänge bot. Die steilen Talflanken (Côtes du Doubs)
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were made in 1908, but they met with strong rejection. The participation in various exhibitions, such as 1909 in Munich or 1914 in Neuchâtel, did not lead to any success either. The result was a deep creative crisis and a complete reorientation. Thus from 1913 he undertook the first non-objective,
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he lost his entire fortune. Until the end of his life he now lived in modest circumstances. It was no longer possible to travel to Paris. His sphere of influence was thus limited to his homeland, which he had never left since. Moreover, his avant-garde works were not in demand among conservative
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in
Switzerland. He was particularly interested in the nature of the Jura and encouraged his pupils to " study the nature of the Jura - from the fir trees to the tectonics of the limestone cliffs - analyse their regularities and translate them into abstract ornaments" (in German:
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vision of nature is expressed. Many sunsets and colourful Jura landscapes were created. Shortly before his death in 1972, he completed his last work – a triumphantly luminous cross. André Evard was largely forgotten until today.
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289:, he responded to requests from the art trade by rejecting them and almost never gave his works to galleries or collectors. He sought recognition almost exclusively in the context of official institutions.
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to the risk of a stylistic break, which, however, is the special feature of his artistic oeuvre. He painted abstract when hardly anyone painted abstract and returned to representational painting when
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André Evard's work is difficult to classify in the categories of art history. He was not committed to any particular style, but rather reverted to the past, mixed styles and invented something new.
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After the death of his mother longer stays in Paris followed from 1923 to 1927, during which he again dealt intensively with the old and modern masters and got to know artists like
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Around the year 1907 Evard shifted his artistic interest almost completely to painting and drawing and in the same year undertook a longer study trip to Italy, where he studied the
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Here André Evard distinguished himself above all in the goldsmith and enamel art with the finest works, which is why the art critic Jean-Marie
Nussbaum labeled him a
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die Natur des Juras – von den Tannen bis zur
Tektonik der Kalkfelsen – zu studieren, deren Regelmässigkeiten zu analysieren und in abstrakte Ornamente zu übertragen.
744:[Bereits zum 5th time already, the kunsthalle messmer awards one of the world's most important art prizes in the field of Concrete Constructive Art].
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audiences. At first he resignedly stopped his production, but from 1932 he changed his style in order to increase the chances of a sale. In addition to other
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In 1978 the collector Jürgen A. Messmer acquired a large part of the works of André Evard's estate and has since made them known through exhibitions in the
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attempts, which were ultimately to place him in the front rank not only of the Swiss avant-garde. More and more he devoted himself to the principle of the
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901:"Neuer Stern in der Kunstlandschaft.Kunsthalle der Messmer-Foundation wurde gestern mit einer Ausstellung von Werken des Malers André Evard eröffnet"
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Step by step he finally detaches himself from the given ornamental or symbolizing forms and reaches the structure via the ornament. In works such as
182:, Conrad Meili and Léon Perrin, with whom he decorated and painted private villas. With Le Corbusier, for example, he furnished the interiors of the
387:, for example, the emphasis is on a limited three-dimensional, physical or spatially geometric drawing. The paintings of the 20s are reminiscent of
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Back in La Chaux de Fonds, he married Milca Reguin, the daughter of the painter Louis Reguin in 1928. The following year was a huge one: Due to the
903:[New Star in the Art Landscape.Messmer Foundation's Kunsthalle opened yesterday with an exhibition of works by the painter André Evard].
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215:. Above all, small-format portraits and atmospheric landscapes were the main characteristics of the works of the following years. His first
136:) as the son of Jean-Félix Evard (1849-1879) and Marie Sagne (1852-1921). After the early death of his father, he and his mother moved to
742:"Bereits zum 5. Mal vergibt die kunsthalle messmer einen der weltweit wichtigsten Kunstpreise im Bereich der konkret-konstruktiven Kunst"
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After completing his studies, Evard initially painted in the French tradition of the late 19th and early 20th centuries. Influences of
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Evard participated in various exhibitions, such as the 1936 exhibition 'Zeitprobleme in der
Schweizer Malerei und Plastik' at the
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which enabled him to study art. He studied at the École d'Art in La Chaux-de-Fonds from 1905 to 1909 and attended courses in
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for the first time, which increased his interest in non-European art. Since then he has attached particular importance to
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Le
Corbusier & André Evard. Vom Jugendstil zur Moderne (Le Corbusier & André Evard. From Art Nouveau to Modernism
108:. He is counted among the first artists who did not work figuratively. In the course of his life he produced hundreds of
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277:. Some of his abstract, cubist and constructive works created during these Parisian years were exhibited at the
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André Evard: Der Farbe ihren Geist geben. 1876 bis 1972 (André Evard: Giving color its spirit. 1876 to 1972)
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Zeitprobleme in der
Schweizer Malerei und Plastik: Ausstellung im Kunsthaus Zürich, 13. Juni-22. Juli 1936
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for
Concrete and Constructivist Contemporary Art every 2-3 years, which is endowed with 10,000 euros.
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Zeitprobleme in der
Schweizer Malerei und Plastik (Temporal problems in Swiss painting and sculpture)
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10 Jahre
Kunsthalle Messmer: Ein Leben für die Kunst (10 Years Kunsthalle Messmer: A Life for Art)
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437:, and geometric-constructive abstractions all define his work. While in Paris he was part of the
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140:, where Marie Evard ran a pastry shop. Initially working as a pastry chef, André received an
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André Evard. De l´Art nouveau a l´abstraction (André Evard. From Art Nouveau to abstraction)
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Konstruktive Kunst in der Schweiz 1915-1945 (Constructive Art in Switzerland 1915-1945)
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Les mythologies de la Belle Époque: La Chaux-de-Fonds, André Evard et l'Art Nouveau
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928:[Le Corbusier & André Evard. From Art Nouveau to Modernism].
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639:[Gallery Messmer shows André Evard with "Colors of Nature"].
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174:. At that time Evard was artistically still strongly influenced by
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958:[André Evard: Giving color its spirit. 1876 to 1972].
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Le style sapin: Une expérience Art nouveau à La Chaux-de-Fonds
156:. Through L'Eplattenier, La Chaux-de-Fonds became a centre of
441:, he later repeatedly withdrew to representational painting.
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sind dicht bewaldet und teilweise mit Felsbändern durchzogen.
926:"Le Corbusier & André Evard. Vom Jugendstil zur Moderne"
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André Evard: Farben der Natur (André Evard: Colors of nature
637:"Galerie Messmer zeigt André Evard mit "Farben der Natur""
877:[André Evard. From Art Nouveau to abstraction].
1013:[10 Years Kunsthalle Messmer: A Life for Art].
767:"André Evard: Decorative project for living room, 1908"
258:, who tried in vain to win him for cooperation in the '
243:, André Evard used the name "Louvrier" as a pseudonym.
1011:"10 Jahre Kunsthalle Messmer: Ein Leben für die Kunst"
508:, Musée des beaux-arts, La Chaux-de-Fonds, Switzerland
530:), Kunsthalle Messmer, Riegel am Kaiserstuhl, Germany
551:, Kunsthalle Messmer, Riegel am Kaiserstuhl, Germany
285:. Although André Evard was now at the center of the
332:. Since 2007, the Kunsthalle has been awarding the
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544:), Galerie Messmer, Riegel am Kaiserstuhl, Germany
489:1936 – eine Konfrontation (1936 – A Confrontation)
714:[André Evard, Swiss surrealist painter].
315:. In 1937 he also joined the newly founded group
956:"Der Farbe ihren Geist geben. Von 1876 bis 1972"
104:. His special significance lies in the field of
875:"André Evard. De l´Art nouveau a l´abstraction"
799:[Analysis of a painting: André Evard].
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132:André Evard was born on 1 June 1876 in Renan (
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406:are a prime example of the development from
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232:(an example of this is the painting series
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566:(in French). Lausanne: Edition Willy Suter.
583:(in French). Paris: Somogy éditions d'art.
537:, Galerie Michael Schultz, Berlin, Germany
501:1993: Kunstmuseum Olten Olten, Switzerland
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983:[André Evard: Colors of nature].
712:"André Evard, peintre surréaliste suisse"
96:(1 June 1876 – 20 July 1972) was a Swiss
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265:In addition, he came into contact with
178:. Among his friends at university were
116:as well as approximately 2000 to 3000
579:Bieri Thomson, Helen (10 June 2006).
498:, Kunstmuseum Winterthur, Switzerland
208:, whose daughter he married in 1928.
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193:Around 1900 Evard got in touch with
465:Analysis of a painting: André Evard
602:Roman Hollenstein (28 June 2006).
459:Decorative project for living room
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824:. Zürich: Kunsthaus Zürich. 1936.
899:Michael Haberer (20 June 2009).
635:Katharina Sagel (22 July 2018).
562:Du Bois, Pierre Du Bois (1975).
1049:André Evard at kunstaspekte.art
981:"André Evard: Farben der Natur"
574:. Emmendingen: Galerie M. 2003.
334:International André Evard Award
797:"Bildbesprechung: André Evard"
491:, Kunsthaus Aarau, Switzerland
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1124:People from La Chaux-de-Fonds
1062:Lexicon on art in Switzerland
716:www.galeriedesannonciades.ch
1044:André Evard at artfacts.net
402:The series of works called
356:were mixed with influences
239:From 1912 until the end of
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1109:20th-century Swiss artists
1104:19th-century Swiss artists
1119:Swiss Christian pacifists
461:. La Chaux-de-Fonds 1908.
294:Wall Street Crash of 1929
16:Swiss painter (1876–1972)
1114:Swiss surrealist artists
1015:www.kunsthallemessmer.de
930:www.kunsthallemessmer.de
905:www.badische-zeitung.de
842:[The Thirties]
471:Exhibitions (selection)
985:www.galerie-messmer.de
606:[Magic firs].
513:Hommage an André Evard
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279:Salon des Indépendents
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152:, a former student of
960:www.schultzberlin.com
840:"Die Dreißiger Jahre"
572:André Evard 1876–1972
521:Riegel am Kaiserstuhl
484:, Zürich, Switzerland
414:. Thus, in 1917, the
412:constructive painting
150:Charles L'Eplattenier
936:on 30 September 2020
746:www.regionimblick.de
609:Neue Zürcher Zeitung
275:aristocrat of colors
172:jeweller of painting
112:, a large number of
1055:"Evard, Jean André"
838:Guido Magnaguagno.
795:(8 November 2018).
686:"Fonds André Evard"
1084:Minimalist artists
1021:on 7 December 2017
848:www.e-periodica.ch
793:Kunsthalle Messmer
641:www.regiotrends.de
517:Kunsthalle Messmer
330:Kunsthalle Messmer
45:Renan, Switzerland
1099:Abstract painters
604:"Magische Tannen"
389:Wassily Kandinsky
267:African sculpture
256:Theo van Doesburg
188:La Chaux-de-Fonds
138:La Chaux-de-Fonds
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358:Vincent van Gogh
313:Kunsthaus Zürich
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106:constructive art
94:Jean André Evard
86:Constructive art
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1079:Concrete art
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184:Villa Fallet
180:Le Corbusier
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134:Bernese Jura
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57:(1972-07-20)
55:20 July 1972
18:
1094:1972 deaths
1089:1876 births
449:dominated.
439:avant-garde
431:Art Nouveau
416:Trois roses
322:pantheistic
287:avant-garde
241:World War I
213:old Masters
202: [
176:Art Nouveau
158:Art Nouveau
142:inheritance
124:paintings.
74:Nationality
67:Switzerland
41:1 June 1876
25:André Evard
1073:Categories
589:References
373:Roses noir
118:watercolor
37:1876-06-01
523:, Germany
393:Juan Gris
354:symbolism
128:Biography
853:4 August
777:5 August
751:6 August
726:5 August
696:5 August
667:5 August
615:4 August
381:Nocturne
281:and the
262:' group
260:De Stijl
217:collages
114:drawings
63:Le Locle
1025:16 July
995:16 July
965:16 July
940:16 July
910:16 July
884:16 July
806:16 July
646:15 July
385:Pyramid
377:Chardon
317:Allianz
122:gouache
102:drafter
98:painter
1060:SIKART
526:2012:
511:2009:
504:2005:
494:1981:
487:1981:
476:1936:
435:Cubism
420:Cubism
365:Crocus
230:series
222:cubist
547:2019
540:2018
533:2016
404:Roses
369:Roses
271:black
234:Roses
206:]
148:with
77:Swiss
1027:2019
997:2019
967:2019
942:2019
912:2019
886:2019
855:2019
808:2019
779:2019
753:2019
728:2019
698:2019
669:2019
648:2019
617:2019
395:and
352:and
254:and
224:and
120:and
100:and
52:Died
31:Born
422:to
410:to
383:or
186:in
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