[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/gerald-zahnd-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/gerald-zahnd-wikipedia\/","headline":"G\u00e9rald Zahnd \u2014 Wikip\u00e9dia","name":"G\u00e9rald Zahnd \u2014 Wikip\u00e9dia","description":"before-content-x4 For homonymous articles, see Zahnd. after-content-x4 G\u00e9rard Zahnd is a Swiss multidisciplinary artist born in Vevey in 1941 [","datePublished":"2021-04-01","dateModified":"2021-04-01","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/gerald-zahnd-wikipedia\/","wordCount":3518,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4For homonymous articles, see Zahnd.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4G\u00e9rard Zahnd is a Swiss multidisciplinary artist born in Vevey in 1941 [ first ] . It has mainly stood out in the Quebec artistic and graphic environment as a displayist, muralist and painter.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4  Originally from the city of Vevey, Switzerland, G\u00e9rald Zahnd perfectly studies at the Lausanne School of Fine Arts (1956 to 1961) in concert at his ceramic studies at the Swiss school Chavanne Renens (1955 to 1962) . His professional career also started in Europe, where he created his first posters and where he participated in several exhibitions; Among others, in 1962, the Swiss ceramic exhibition at the Cantonal Museum of Fine Arts in Lausanne. He is above all a visual artist and avant-garde. He emigrated to Canada in 1964 and moved to Montreal where he made his debut in the Quebec artistic environment as a muralist. He collaborates with various architects to integrate works of art into the public buildings of the metropolis. This is the start of his career as a muralist. G\u00e9rald Zahnd also works as a poster to his account for the various theaters of Montreal, such as the Green Rideau and the Th\u00e9\u00e2tre du Nouveau Monde, which will become his main job during the 1970s.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4In the late 1980s, he decided to devote himself solely to painting. Table of ContentsCareer [ modifier | Modifier and code ] Muralists [ modifier | Modifier and code ] Poster [ modifier | Modifier and code ] Painter [ modifier | Modifier and code ] Style and inspiration [ modifier | Modifier and code ] Geometric abstraction and minimalism [ modifier | Modifier and code ] Style International Suisse [ modifier | Modifier and code ] The art of poster in Switzerland [ modifier | Modifier and code ] Ruelle University [ modifier | Modifier and code ] Murals [ modifier | Modifier and code ] Wall , Montreal university [ modifier | Modifier and code ] Urban wall [ modifier | Modifier and code ] Posters [ modifier | Modifier and code ] Paintings [ modifier | Modifier and code ] The end of the crosses … Amen! [ modifier | Modifier and code ] Related articles [ modifier | Modifier and code ] Bibliography [ modifier | Modifier and code ] external links [ modifier | Modifier and code ] Career [ modifier | Modifier and code ] G\u00e9rald Zahnd’s career in Quebec is divided into three main categories. Muralists [ modifier | Modifier and code ] Zahnd began his career in Quebec as a muralist. He participated in the integration of works of art into the architecture of different Montreal buildings. He takes part in several projects of public buildings including the University of Montreal, some churches, metro stations as well as the Caisse Populaire de Ville Lasalle building. His works are mainly abstract, minimalist and are made up of geometric shapes of different colors. He knew how to stand out in this area, since he produced these murals even before the government offers the “one percent reserved for architecture integration of arts”. Poster [ modifier | Modifier and code ] In the late 1960s and the 1970s, G\u00e9rald Zahnd made his mark in Quebec as a posterist [ 2 ] . Its posters are distinguished by their minimalist and avant-garde style, their humor, their great visual efficiency as well as their plastic qualities. For the majority of his works, Zahnd favors screen printing as a printing process. It was not until the late 1970s that he began to use offset printing. It is interesting to note that at that time, the graphic designers whose posters stand out the most are all those who mix their Quebec and European baggage. In the case of Zahnd, his style is tinged with Swiss influences, which are the basis of his artistic education. The 1970s were very fertile for the artist. He works mainly for Montreal popular theater houses: Painter [ modifier | Modifier and code ] From the years 1987-1988, Zahnd focused on his career as a painter. He develops a very experimental style to avoid monotony. With this in mind, it is not limited to a single medium. He also uses, a bit like in his walls, geometric and colorful shapes that approach lyrical abstraction. The colors are sometimes sober, sometimes very bright, again in order to experiment and avoid repetition. He considers himself an artist with traditional methods [Ref. necessary] : It was his way of resisting the revolt [Personal interpretation?] . We find [Who ?] In his artistic style a constant duel between spontaneity and volunteer, stability and mobility, a structure learned and new gestures, a duel between drawing, linear structure and spontaneity, colors and painting. His audacity, guided by emotion, brings a new approach to Quebec while provoking reflection [Personal interpretation?] . According to \u00c9douard Lachapelle in From A, as an alchemist, to Z, like Zahnd, “more organic than organized, his work gives way to the progressive discoveries which renew it more by flexible” Ionian “intuitions than by reasoned resolutions. The emotion still guides her towards her novelty and it is there that she remains a constant discovery \u201d [ 3 ] . His artistic style is characterized as being abstract and “constantly evolving” [ 3 ] . In 1991, he realized a solo exhibition named G\u00e9rald Zahnd and urban walls at Galerie Fr\u00e9d\u00e9ric Palardy and he also took part in the exhibition Festive paper At the Simon Bias gallery, still in 1991. At the Galerie Lacerte, Palardy and Associ\u00e9s, he exhibited his works under the theme “The contemporary naked”. He then presented Ziploc or The suburb of vacuum To the inspector pinned in 1993, then at the Maison de la Culture Marie Uguay, in Montreal, in 1994. In 2004, he presented his latest exhibition The end of the crosses … Amen! At the Yergeau gallery in the Latin district, in Montreal. Zahnd presents a series of paintings that illustrate crosses on textured, hated, damaged funds. The symbol of the cross must be perceived, in its paintings, as a warning, a line not to be crossed. They do not refer to religion at all, contrary to what one might think. From 1997 to 2007, he created his paintings in a workshop in the Latin district named Porte 201 . Style and inspiration [ modifier | Modifier and code ] Geometric abstraction and minimalism [ modifier | Modifier and code ] Geometric abstraction is a form of very often non -figurative artistic expression in which several historical currents have been illustrated and which uses the use of geometric shapes and colors arranged in flat in a two -dimensional space [ 4 ] . Minimalism, on the other hand, is a movement of modern art that seeks solutions requiring the minimum of means and effort. It is a contemporary aesthetic, literary, theatrical and musical tendency which is characterized by an extreme economy of the artistic means implemented [ 4 ] . Have you [Who ?] Especially the influence of these currents in the murals of Zahnd, when he arrived in Quebec. Style International Suisse [ modifier | Modifier and code ] The Swiss style was established as a discipline by the graphic art schools of Basel and Zurich during the 1930s, but it was not until the late 1950s that it will be exported under the name of international style. In the works of G\u00e9rald Zahnd, more mainly his posters, there is a very great influence of Swiss international style, which developed during the 1950s, when he studied. Indeed, several characteristics of this movement are perceptible in its posters. Among other things, we note the use of Sans-serif fonts_caracters such as Helvetica or Grotesk Akzidenz in large titles, often aligned on the left. Zahnd also favors a very refined composition and an asymmetrical layout. Its characteristics are very present in the artist’s first posters (see among others, Mime [ 5 ] in the realization section). Then, over the years, these influences from his country of origin mingle with other styles and movements but we always feel that they remain at the center of his artistic approach. The art of poster in Switzerland [ modifier | Modifier and code ] The poster establishes a link between art and consumption article. His goal is to please us, to capture our sympathy and to communicate our message to us, encourage us to buy, participate, visit and give. [\u2026] In a constant transformation world, the poster is a symbol. The products it sell appear and disappear, the techniques used change and perfection and the artists themselves evolve. Swiss advertising graphic art has contributed to this evolution and that makes it so relevant and avant-garde. It is interesting to note that the artistic requirements of Swiss Pioneers of the Art of the Poster, such as the cardinals, the Hodler, the Friend and the Vallet, still have influence today. They managed to honor their country, by the very fact [ 6 ] . Ruelle University [ modifier | Modifier and code ] In the 1990s, we saw several groups of artists appear, mostly initiated by Denis Pellerin . The University of La Ruelle is one of them, where Zahnd will participate and come to draw his inspiration from it. The University of La Ruelle brought together all kinds of art and not only that painting and sculpture. Indeed, we could discover musicians there by the organization of recitals or concerts, such as Gina Laudry, Soprano, and Marie-Anne Patenaude, pianist. In addition, discussion evenings and conferences were organized in order to make art less lonely and allow a constant exchange between artists. Murals [ modifier | Modifier and code ] Wall , Montreal university [ modifier | Modifier and code ] The work Wall De Zahnd, designed in 1966, energized the decor of a concrete corridor from the University of Montreal. The geometric shapes are made of folded metal, sometimes juxtaposed, sometimes slightly spaced, which gives volume to the work. The materials used by the artist are resistant and also demonstrate his concern to adapt to the constraints of duration and resistance for a work integrated into architecture. The wall is inspired by the current of geometric abstraction with its flat colors where black is lit by blue, red, white and yellow. Urban wall [ modifier | Modifier and code ] Solo exhibition at the Fr\u00e9d\u00e9ric Palardy gallery in 1991, where the dualism of his works is very important [Style to review] . Posters [ modifier | Modifier and code ] Mime , 1966-67, today theater ARRABAL , 1966-67, theater of the sorcerer’s apprentices Tonight we improvise , 1968, theater of the green curtain The sisters-in-law , 1968 and 1971, the Th\u00e9\u00e2tre du Rideau Vert Subtract , 1969, today’s theater Becket or the honor of God , 1971, theater of the green curtain. The charge of the Movable Moving , 1974, Th\u00e9\u00e2tre du Nouveau Monde Two -way , 1976, Th\u00e9\u00e2tre du Nouveau Monde The chairs , 1976, Th\u00e9\u00e2tre du Nouveau Monde Paintings [ modifier | Modifier and code ] The end of the crosses … Amen! [ modifier | Modifier and code ] In 2004, at the Yergeau gallery in the Latin district in Montreal, Zahnd present The end of the crosses … Amen! He shows a series of paintings where massive crosses are illustrated, one per table, on textured, hated, damaged funds. Zahnd wanted to evoke by these paintings a double story: his and then history in general. The funds of the tables are filled with hollows and jerky gestures. In the case of these paintings, the cross must be perceived as a border not to be crossed and in any case as a representation of religion. \u2191 ‘ Gerald Zahnd \u00bb , on artportous.umontreal.ca .  \u2191 ‘ G\u00e9rald Zahnd | Collection National Museum of Fine Arts in Quebec \u00bb , on Collections.mnbaq.org  (consulted the April 18, 2019 ) .  \u2191 a et b \u00c9douard Lachappelle, G\u00e9rald Zahnd: From A, as an alchemist in Z, like Zahnd  ( read online ) , p.41-47 .  \u2191 a et b “Geometric abstraction” , in collective, The Little Larousse Illustrated , Paris, Larousse, 2011 ( read online ) .  \u2191 Pixelcr\u00e9ation, The poster in Quebec . [On line], [first]  \u2191 B. Gr\u00fcnigen (Berchtold), The best posters from 1941-1965 having received the Honor Diploma from the Federal Department of the Interior, Zurich Visualis A.G., 1968.  Related articles [ modifier | Modifier and code ] Bibliography [ modifier | Modifier and code ] Fr\u00e9d\u00e9ric Riou, The end of the crosses … Amen! , Arts life: art and war in all states , vol. 49, n O 194, 2004, p. 88-89  Online extract \u00c9douard Lachappelle, G\u00e9rald Zahnd: From A, as an alchemist in Z, like Zahnd , Life of the arts , vol. 39, n O 157, 1994, p. 41-47 \u00c9douard Lachappelle, Denis Pellerin: the fabric of memory , Arts life: art in life , vol. 40, n O 166 (spring), 1997, p. 56-57 Pierre Landry, The 70’s , Bas-Saint-Laurent Museum, 2012, p. 1-4 \u00ab\u00a0Critiques\u00a0\u00bb, Life of the arts , vol. 49, n O 194, 2004, p. 81-89 external links [ modifier | Modifier and code ]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/gerald-zahnd-wikipedia\/#breadcrumbitem","name":"G\u00e9rald Zahnd \u2014 Wikip\u00e9dia"}}]}]