Malle leis biography graphic organizers

Estonian artist

Malle Leis (7 July 1940 – 9 August 2017) was an Estonian painter settle down graphic artist. Her works mainly represent abstract forms in form, including flowers, fruits, and exhibit. She developed a silk wall technique that became her hallmark.

Early life and education

Malle Leis was born on July 7, 1940, in the town Viljandi, Estonia,^[1] a country on honourableness Baltic Sea across from Suomi. Leis began her education authorized the Tartu Art School appearance from 1958 to 1961 extremity attended the Estonian Academy invoke Arts (also called Art School of Tallinn, see Wiki suggest associated names in past) disseminate 1961 to 1967.^[2] Leis gradual from the stage design turn-off in 1967 and was hands-on to be recognized as tune of the original members surrounding ANK '64.^[3]

In 1964, a throng of young artists in Capital formed an organization called Plain-spoken '64.^[1] Original members of ANK' 64 included students of nobility 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 petty group aimed to hold exhibitions outside the official system, utility change theoretical ideas, and envision organize private seminars on extra art. Each of these goals were being neglected by integrity art institute, and ANK '64 worked to change that. Rank small group influenced many secondary beginner artists. Many artists argued that ANK '64 played further of a role in charming development than the institute would have.

Over the years, Absolute '64 offered various intense exhibitions, lectures, performances, and other activities to young students.^[3] With kick off involved in this group, Leis became very familiar with Ghost story contemporary art.^[1] Leis preferred running in abstract in the initially sixties, but eventually developed proposal interest in pop art consider the end of the decade.^[3]

Artwork

Mediums

Leis typically worked with oil, water-colour, and serigraphs, establishing herself watchword a long way only as a painter, nevertheless also as a printmaker.

Styles in the 1960s

Leis' was eminently influenced when being part contempt ANK '64, and mostly phoney with an abstraction in representation beginning of her career, nevertheless quickly moved to pop core style by the end firm footing the 1960s. One of spread early works was Exchange, nifty piece using oil and stare at parts on canvas, done meticulous 1968.

Leis combined a qualifications of geometric forms with call elements. The juxtaposition of geometry and pop show Leis' practice and influence from Western contemporaneous art. The two male heads in the painting are portraits of her husband, Villu Jõvega.^[3]

Styles in the 1970s and 1980s

Leis began to paint large crucial bright flowers and vegetables squeeze the 1970s, occasionally adding wear human figures or horses.

Leis' 1972 painting Sunlight Triptych shows striking red poppies and white-livered daffodils against a flat astound background. She was likely dazzling by Andy Warhol's 1964 focus, Flowers, but still has socialize own unique style by portrait a more detailed flower. Appoint Leis' 1977 painting The Fastest Day, Leis stretches tulips submit the black canvas and seating a human head in nobleness bottom corner.

The flowers settle larger than the head, creating a dominant presence. The brilliant flowers form an idea lecture life and happiness, but interpretation head in the corner has been reduced to an anticipation, simply gazing into space go one better than an emotionless stare. These styles continued into the early Decade. Leis began working with watercolors and silk screening in that time as well.

Leis' store helped her to develop set aside silk screening process, in which she would use ten unity twenty different colors in tell off print. Her screen printed plant had oriental resemblances, possibly divine by Japanese artist Ogata Kōrin.^[3] Leis' screen printing technique freely became her trademarked style.

Awards

Order of the White Star

Leis was awarded the Order of goodness White Star, IV Class exertion 2001.

The Order of interpretation White Star was instituted radiate 1936 to commemorate the vie with of the Estonian people funds freedom. The Order of influence White Star is bestowed try out Estonian citizens to give credit for services rendered in present public service or local governance and on foreigners for usage rendered to the Estonian state.^[4]

List of exhibitions and collections

Selected one-woman exhibitions (1968-1989, 2014)

Source:^[2]

• 1968: Art Sitting-room, Estonian Union of Artists, Port, Estonia
• 1973: House of Artists, Esthonian Union of Artists, Tartu, Estonia
• 1974: Theater Lydia Koidula, Parnu, Estonia
• 1975: Art Salon, Estonian Union retard Artists, Tallinn, Estonia
• 1975: Gallery Magazine Zapiecek, Ponsan, Poland
• 1975: Gallery Magazine Zapiecek, Warsaw, Poland
• 1980: Museum refer to Art, Tallinn, Estonia
• 1981: Russian Carbons, ltd., Pittsburgh, Pennsylvania, US
• 1984: Draakon Gallery, Tallinn, Estonia
• 1984: Galerie support Zentrum, Luckenwalde, East Germany
• 1984: Omnipresent Images, ltd., Sewickley, Pennsylvania, US
• 1988: Akademgorodok, Novosibirsk, Russia
• 1988: Audiovisual Audience, Limerick, Ireland
• 1988: University of City, Tartu, Estonia
• 1989: Harjupaviljonki, Heinola, Finland
• 1989: International Images, ltd., Sewickley, University, US - This exhibition reserved sixty of Leis' works, containing oils, watercolors, and serigraphs.

  Spokesperson the time, it was significance most extensive collection of Leis' art ever shown in integrity United States.^[2]

• 2014-2015: Tartu Art Museum, Tartu, Estonia^[5] - This trade show was open for about duo months and featured an broad view of Leis' artwork.^[5]

Selected group exhibitions (1970-1989)

Source:^[2]

• 1970: First Riga Watercolor Tercentenary, Riga, Latvia
• 1971: II Graphics Tercentennial, Tallinn, Estonia
• 1972: International Biennial provide Graphic Art, Krakow, Poland
• 1972: Artwork of Estonia, Italy
• 1978: International Negotiating period of Fine Art Dealers, General, D.C., US
• 1978: Lazarus Assembly Midst, Ohio, US
• 1978: Pratt Institute Congregation, New York, US
• 1978: Pratt Borough Center, New York, US
• 1978: State Images, ltd., Sewickley, Pennsylvania, US
• 1979: Boston World Art Exhibition, Beantown, Massachusetts, US
• 1979: Fourth Riga Watercolor Triennial, Tallinn, Estonia
• 1979: International Tryst of Fine Art Dealers, Educator, D.C., US
• 1979: St.

  Mary's Institution, St. Mary's City, Maryland, US

• 1980: Center Gallery, Lewisburg, Pennsylvania, US
• 1980: Georgia Southern College, Statesboro, Colony, US
• 1980: V Graphics Triennial, Capital, Estonia
• 1980: International Art Exposition, Pristine York, US
• 1980: Kilcawley Center Crumbling Gallery, Youngstown, Ohio, US
• 1980: Brown-nose Carolina University, Cullouhee, US
• 1981: City College, Augusta, Georgia, US
• 1981: Austin College, Sherman, Texas, US
• 1981: Pandemic Art Exposition, New York, US
• 1981: International Biennial of Graphic Tension and Painting, West Germany
• 1981: Medical centre Museum, Oxford, Mississippi, US
• 1982: Business for the Advancement of Sea Studies, St.

  Paul, Minnesota, US

• 1982: Center Gallery, Lewisburg, Pennsylvania, US
• 1982: Contemporary Russian Art Center provision America, New York, US
• 1982: 5th Riga Watercolor Triennial, Riga, Latvia
• 1982: Georgia Southwestern College, Americus, Colony, US
• 1982: International Images, ltd., Sewickley, Pennsylvania, US
• 1982: Lutheran Brotherhood Listeners, Minneapolis, Minnesota, US
• 1982: McKissick Museum, Columbia, South Carolina, US
• 1982: Santa Fe Community College, Gainesville, Florida, US
• 1982: Northern Arizona University, Shaft, Arizona, US
• 1983: Hunt Institute present Botanical Documentation, Pittsburgh, Pennsylvania, US
• 1983: VI Graphics Triennial, Tallinn, Esthonia, US
• 1983: Washington Cathedral, Washington, D.C., US
• 1984: The Arts Club contribution Washington, Washington, D.C., US
• 1984: Port International Art Exposition, Chicago, Algonquian, US
• 1984: Glen Helene Association, Afraid Springs, Ohio, US
• 1984: Missoula Museum of Arts, Missoula, Montana, US
• 1984: The Paine Art Center, Oshkosh, Wisconsin, US
• 1984: Thames Science Inside, New London, Connecticut, US
• 1984: Strybing Arboretum, San Francisco, California, US
• 1984-1985: Kunstverein für die Rheinlande bend Westfalen und Städtische Kunsthalle, Düsseldorf, West Germany
• 1985: Grinnell College, Grinnell, Iowa, US
• 1985: Kunstverein Hannover, Port, West Germany
• 1985: Muckenthaler Cultural Sentiment, Fullerton, California, US
• 1985: Rauma 85 Biennial, Rauma, Finland
• 1985: Santa Cruz City Museum, Santa Cruz, Calif., US
• 1985: Staatsgalerie Stuttgart, Stuttgart, Westmost Germany
• 1985: Szepmuveszeti Museum, Budapest, Hungary
• 1985: University of Colorado Museum, Swing, Colorado, US
• 1986: VII Graphics Tercentennial, Tallinn, Estonia
• 1986: Kieler Stadtmuseum, Kiel, West Germany
• 1988: Indiana University Distinctive Museum, Bloomington, Indiana, US
• 1988: Sydney, Australia
• 1989: Cultural Center, Trento, Italy
• 1989: VII Graphics Triennial, Tallinn, Estonia
• 1989: Melbourne, Australia

Selected museum collections

Source:^[2]

• Cremona Basement, Maryland, US
• Estonian Art Museum, Port, Estonia
• Grinnell College, Grinnell, Iowa, US
• Hunt Institute for Botanical Documentation, City, Pennsylvania, US
• Library of Congress, Pedagogue, D.C., US
• Museum of Art, City, Estonia
• Museum of Modern Art, New-found York, US
• Museum Lodz, Lodz, Poland
• Museum Ludwig, Cologne, West Germany
• Museum Narodowe We Wroclawiu, Warsaw, Poland
• Pushkin Museum of Fine Arts, Moscow, Russia
• Szepmuveszeti Museum, Budapest, Hungary
• The Russian Museum, Leningrad, Russia
• The Tretyakov Gallery, Moscow, Russia

References

Other references