Raymond Georges Yves Tanguy (January 5, 1900 - January 15, 1955), known as justYves Tanguy (/ˌiːvtɒ̃ˈɡiː/;French:[ivtɑ̃ɡi]), was a Frenchsurrealist painter.
Tanguy was the son of a retired navy captain, and was born January 5, 1900,[1] at the Ministry of Naval Affairs onPlace de la Concorde inParis, France.[2] His parents were both ofBreton origin.[3] After his father's death in 1908, his mother moved back to her nativeLocronan,Finistère, and he ended up spending much of his youth living with various relatives.
In 1918, Tanguy briefly joined the merchant navy before being drafted into the Army, where he befriendedJacques Prévert. At the end of his military service in 1922, he returned to Paris, where he worked various odd jobs. He stumbled upon a painting byGiorgio de Chirico and was so deeply impressed he resolved to become a painter himself in spite of his complete lack of formal training.[4]
Tanguy had a habit of being completely absorbed by the current painting he was working on. This way of creating artwork may have been due to his very small studio which only had enough room for one wet piece.[5]
Through his friend Prévert, in around 1924 Tanguy was introduced into the circle ofsurrealist artists aroundAndré Breton. Tanguy quickly began to develop his own uniquepainting style, giving his firstsolo exhibition in Paris in 1927, and marrying his first wife Jeannette Ducrocq (b. 1896, d. 1977) later that same year. During this busy time of his life, Breton gave Tanguy a contract to paint 12 pieces a year. With his fixed income, he painted less and ended up creating only eight works of art for Breton.
In December 1930, at an early screening of Buñuel and Dalí'sL'Age d'Or, right-wing activists went to the lobby of the cinema where the film was being screened, and destroyed art works by Dalí,Joan Miró,Man Ray, Tanguy, and others.
Throughout the 1930s, Tanguy adopted the bohemian lifestyle of the struggling artist with gusto, leading eventually to the failure of his first marriage.[6] He had an intense affair withPeggy Guggenheim in 1938 when he went to London with his wife Jeannette Ducrocq to hang his first retrospective exhibition in Britain at her galleryGuggenheim Jeune. The exhibition was a great success and Guggenheim wrote in her autobiography that "Tanguy found himself rich for the first time in his life". She purchased his picturesToilette de L'Air andThe Sun in Its Jewel Case (Le Soleil dans son écrin)[7] for her collection. Tanguy also painted Peggy two beautiful earrings.[8] The affair continued in both London and Paris and only finished when Tanguy met a fellow Surrealist artist who would become his second wife.[9]
In 1938, after seeing the work of fellow artistKay Sage, Tanguy began a relationship which led to his second marriage. With the outbreak ofWorld War II, Sage moved back to her nativeNew York, and Tanguy, judged unfit for military service, followed her. He would spend the rest of his life in the United States. Sage and Tanguy were married inReno, Nevada, on August 17, 1940. Their marriage proved durable but tense. Both drank heavily, and Tanguy assaulted Sage verbally and sometimes physically, pushing her and sometimes even threatening her with a knife privately and at social gatherings. Sage, according to friends' accounts, made no response to her husband's aggression.[10] Toward the end of the war, the couple moved toWoodbury,Connecticut, converting an old farmhouse into an artists' studio. They spent the rest of their lives there. In 1948, he became anaturalized citizen of the United States.[11]
In January 1955, Tanguy suffered a fatal stroke at Woodbury.[12] His body was cremated and his ashes preserved until Sage's death in 1963. Later, his ashes were scattered by his friendPierre Matisse on the beach atDouarnenez in his belovedBrittany, together with those of his wife.[13]
Tanguy's paintings have a unique, immediately recognizable style of nonrepresentational surrealism. They show vast, abstract landscapes, mostly in a tightly limited palette of colors, only occasionally showing flashes of contrasting color accents. Typically, these alien landscapes are populated with various abstract shapes, sometimes angular and sharp as shards of glass, sometimes with an intriguingly organic look to them, like giantamoebae suddenly turned to stone.[citation needed]
According to Nathalia Brodskaïa,Mama, Papa is Wounded! (1927) is one of Tanguy's most impressive paintings. Brodskaïa writes that the painting reflects his debt toGiorgio de Chirico – falling shadows and a classical torso – and conjures up a sense of doom: the horizon, the emptiness of the plain, the solitary plant, the smoke, the helplessness of the small figures. Tanguy said that it was an image he saw entirely in his imagination before starting to paint it.[14] He also claimed he took the title of this and other works from psychiatric textbooks: "I remember spending a whole afternoon with ...André Breton," he said, "leafing through books on psychiatry in the search for statements of patients which could be used as titles for paintings." Jennifer Mundy, however, discovered that the title of this painting and several others were taken from a book about paranormal phenomena,Traité de metaphysique (1922) by DrCharles Richet.[15]
Tanguy's style was an important influence on several younger painters, such asRoberto Matta,Wolfgang Paalen,Toyen, andEsteban Francés, who adopted a Surrealist style in the 1930s.[16] Later, Tanguy's paintings (and, less directly, those of de Chirico) influenced the style of the 1980 French animated movieLe Roi et l'oiseau, byPaul Grimault and Prévert.[17] Tanguy’s works also influenced the science fiction cover art of illustratorRichard Powers.
^Out of this Century: Confessions of an Art Addict, Peggy Guggenheim, published by Andre Deutsch, London. 2005, pp179-189
^Suther, Judith D. (1997).A House of Her Own: Kay Sage, Solitary Surrealist. Lincoln: Univ. of Nebraska Press. pp. 130–132.ISBN0803242344.
^Richter, Hans (1956). "Richter, Hans. "In Memory of Two Friends. Yves Tanguy, 1900-1956." College Art Journal, vol. 15, no. 4, 1956, pp. 343–346. JSTOR, www.jstor.org/stable/772770".College Art Journal.15 (4):343–346.JSTOR772770.
^Jennifer Mundy, 'Tanguy, Titles and Mediums',Art History. vol.6, no.2, June 1983, pp.199-213.
^José Pierre, "Yves Tanguy", Oxford Art Online. Retrieved July 20, 2012.
^Martini, Paola; Pascale Ramel (12 December 2007)."Quelques propositions d'activités – "Le roi et l'oiseau"" [Some proposals for activities - "The King and the Mockingbird"](PDF) (in French). artsvisuels.ia94.ac-creteil.fr. p. 4. Archived from the original on 10 July 2012.
Maur, Karin von. 2001.Yves Tanguy and Surrealism. Hatie Cantz Publications. Ostfildern-Ruit, Germany. 252 pp.ISBN3-7757-0968-1 [with essays by *Susan Davidson, Konrad Klapheck, Gordon Onslow Ford, Andreas Schalhorn, and Beate Wolf].
Miller, Stephen Robeson and Jonathan Stuhlman. 2011.Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy. The Katonah Museum of Art and the Mint Museum with the Pierre Matisse Foundation, New York. 104 pp.ISBN0983194211
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