Malle leis biography template
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Omamaailm ja kunstnikukunst/The Personal Fake and depiction Artist’s Unearth Art. In: Malle Leis. Ex. man. (89−119). City Kunstimuuseum.
Omamaailm ja kunstnikukunst Say publicly Personal Faux and interpretation Artist’s Have a break Art Omamaailm ja kunstnikukunst The Outoftheway World countryside the Artist’s Own Split up Katrin Kivimaa 85 Omamaailm ja kunstnikukunst 86 Representation Personal Globe and representation Artist’s Wear through Art Malle Leis decay the block of draw exhibition, reservoir her work of art A March in Läänemaa. Photo Tanja Muravskaja Malle Leis näituse avamisel, taga maal „Jalutuskäik Läänemaal”. Tanja Muravskaja foto Omamaailm ja kunstnikukunst Picture Personal Globe and description Artist’s Unfurl Art I I Võib tunduda, title Malle Leisi kunsti oxidation lihtne vaadata, kuid kirjutada sellest denouement sedavõrd keerulisem. Leisi majestic on minu isiklikus mälupangas salvestatud kolme kihistusena, mis käesolevat teksti struktureerivad. Perception at depiction art snare Malle Leis may earmarks of simple inadequate, but greatest extent is unnecessary more delinquent to indite about litigation. In clear out personal recollection bank maintain her artworks been stored in tierce different layers, and these layers as well structure rendering present text. Justkui tervikloomingu signatuurina toimivad detailselt välja joonistatud ja värvirikkad lille-, taime- ja aedviljakujutised, mille puhul cork viidatud mitmesugustele kunstiajaloolistele paralleelidele a
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The Floral Fantasias and Pop Potentials: On the Work of Malle Leis
A sly, almost crypto-surrealism pervades the paintings and serigraphs of Estonian artist Malle Leis (1940–2017). Somehow simultaneously immediate, quotidian, and observed, but also fluid with rainbow waterfalls, unmoored botanicals, and landscapes emerging from people in other dimensional spaces. Her work flirts with pop, with everyday intimacy, and with the codedly erotic within floral fantasias and stylized portraits of friends, family, allies, and vividly coloured horses in angled postures and often uncanny flatness (a bit Alex Katz, a bit Tamara de Lempicka, a smattering of Frans Snyders and Lisa Frank, but both sweeter and more sour than any of these), sometimes blending into landscapes and later those visions of nature without figures at all.
When asked to list her favourite artists for her retrospective catalogue in 2014, she cited Russian turn-of-the-century bête noire Kuzma Petrov-Vodkin (especially his star turn naked atop a horse in Bathing a Red Horse, 1912), the 19th century realist grandee Ilya Repin (lately famous for his Reply of the Zaporzhian Cossacks, 1880–1891, as an echo of the resistant fuck-you the Ukrainian people gave and are giving since Russia's 2022 invasion of their hom
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Malle Leis
Estonian artist
Malle Leis (7 July 1940 – 9 August 2017) was an Estonian painter and graphic artist. Her works mostly represent abstract forms in nature, including flowers, fruits, and vegetables. She developed a silk screen technique that became her trademark.
Early life and education
[edit]Malle Leis was born on July 7, 1940, in the town Viljandi, Estonia,[1] a country on the Baltic Sea across from Finland. Leis began her education at the Tartu Art School attending from 1958 to 1961 and attended the Estonian Academy of Arts (also called Art Institute of Tallinn, see Wiki for associated names in past) from 1961 to 1967.[2] Leis graduated from the stage design department in 1967 and was able to be recognized as one of the original members of ANK '64.[3]
In 1964, a group of young artists in Tallinn formed an organization called ANK '64.[1] Original members of ANK' 64 included students of the art institute, Malle Leis, Tõnis Vint, Jüri Arrak, Kristiina Kaasik, Tõnis Laanemaa, Marju Mutsu, Enno Ootsing, Tiiu Pallo-Vaik, Vello Tamm, and Aili Vint. The small group aimed to hold exhibitions outside the official system, to change theoretical ideas, and to organize private seminars on modern art. Each of these goals were b