Carl Walter Liner
Carl Walter Liner ( born August 17, 1914 in St. Gallen, † April 19, 1997 ibid ), also Carl Liner ( junior), was a Swiss painter and draftsman.
Life
The Ostschweizer Carl Walter Liner grew up in a family of artists in Appenzell. His father, Carl August Liner (1871-1946) was there a successful portrait and landscape painter. Carl Walter Liner studied from 1937 to 1939 in Paris with Othon Friesz at the Académie de la Grande Chaumiere. He traveled throughout his life, many countries especially the Mediterranean region such as Egypt, France, Italy and Spain. He married in 1944 Catherine Ruf. He worked in Zurich, Paris, Fontvieille / Provence and in his home Appenzell. His and his father's work in honor was planned by Annette Gigon and Mike Guyer Museum Liner Appenzell in 1998, whose support is the private foundation Liner Appenzell.
The highest cultural award in Appenzell Innerrhoden - - 1984 Innerrhoden's Culture Prize awarded him.
Biographical data
Carl Walter Liner was born on August 17, 1914 in St. Gallen, the fourth child of Cecile liner Bernet and Carl August Liner. He grew up in his parents' country house in Appenzell. In 1933, he starts with the painting and drawing lessons from his father. He paints in the impressionistic style. In addition, father and son liner lead free order ratio from use graphical work such as posters and illustrations. In 1936 he traveled to Italy and Greece for half a year to Egypt. He considers himself primarily south of Cairo on in the area around Tourah. On the return trip makes Liner 1937 for a few weeks in Rome and Florence maintenance. In the same year he took his first trip to Paris, then the center of the avant-garde art. On the advice of Cuno Amiet, he studied in Paris in 1938 with Othon Friesz (1879 - 1949) at the Académie de la Grande Chaumiere private. There, he met Georges Braque and Maurice de Vlaminck. In 1939 he makes active service in Switzerland. During the war years he met his future wife, Catherine Ruf know. 1946-1948 he lived again in Paris and lives in was built by Le Corbusier Pavillon Suisse at the Cité Universitaire in the 14th arrondissement. He works mostly outdoors. The use of unbroken colors and impasto testify to his confrontation with Fauvism. The years after 1946 until the mid-1950s Liners are crucial to the artistic development. It is a period of fruitful experimentation with different visual languages . 1948/1949 takes liner extended trips to Algeria, Corsica and Spain. In 1949 he made the first non -representational works. Liner is Following Tachism that begins to establish himself in Paris as a contemporary form of expression. 1951 Liner lives with his wife alternately in Paris, Zurich and Appenzell. In Paris, he maintained contact with the Swiss Adolf Herbst, Wilfrid Moser and Gérard Schneider, the French César and the Russians Ossip Zadkine. 1954 trips to Spain, Italy and Corsica. The repeated stays in Corsica in the second half of the 1950s are triggers for the stylistic expansion of its landscapes. In 1957 he acquired a studio building in Paris, Avenue du Général Leclerc in the 14th arrondissement. In 1963 he was invited to participate in the exhibition " École de Paris " at Galerie Charpentier, Paris. From 1972, Carl Walter Liner lives with his wife in Paris, Fontvieille (Provence ) and Appenzell. In 1983 he received the Prix du Bimillénaire the city of Arles. In 1984 he received the Culture Prize of the Foundation Pro Innerrhoden. 1996 Liner is made an honorary citizen of the city of Fontvieille. On April 19, 1997 Carl Walter Liner dies in Appenzell.
The artistic work
Carl Walter Liner became known for landscapes through to portraiture. In art history, his turn is considered to Tachism, ie to informal painting, as a significant achievement. As one of the few Swiss painter he used both the naturalistic and expressive painting as well as the gestural abstraction up to his last years. Reference point for his art was mostly nature. This liner had a differentiated opinion about the concept of "nature": for him, the external and internal nature were equivalent. To this end, he himself wrote: "The abstraction in my painting is ... a new view of nature ... My biggest concern is to achieve a magical effect from the tension between fantasy and reality. "