Marlene Dumas

Marlene Dumas (born 1953) is a contemporary South African artist and painter currently based in the Netherlands.[3][4]

Marlene Dumas
Marlene Dumas
Born3 August 1953[1]
Cape Town, South Africa
Education
Known forPainting
AwardsRolf Schock Prize in Visual Arts (2011)[2]
Websitemarlenedumas.nl
Narutowicz. the President, 1922 by Marlene Dumas, 2012

Life and work

Dumas was born in 1953 in Cape Town, South Africa and grew up in Kuils River in the Western Cape, where her father had a vineyard.[5][1] Dumas began painting in 1973 and showed her political concerns and reflections on her identity as a white woman of Afrikaans descent in South Africa.[6][7] She studied art at the University of Cape Town from 1972 to 1975, and then at Ateliers '63 in Haarlem, which is now located in Amsterdam.[8] She studied psychology at the University of Amsterdam in 1979 and 1980.[3] She currently lives and works in the Netherlands and is one of Hollands most prolific artists.[9] She is also widely regarded as one of the most influential painters working today.[10]

Dumas has also featured in some films, Miss Interpreted (1997), Alice Neel (2007), Kentridge and Dumas in Conversation (2009), The Future is Now! (2011), and Screwed (2017). Several books included illustrations by Dumas,- Marlene Dumas: Myths and Mortals, Venus and Adonis, David Zwirner: 25 Years, Marlene Dumas: Against the Wall, Marlene Dumas: Sweet Nothings, Marlene Dumas: The Image as Burden, Marlene Dumas: Measuring Your Own Grave, Experiments with Truth: Gandhi and Images of Violence.[11]

Dumas often uses reference material of polaroid photographs of her friends and lovers, whilst she also references magazines and pornographic material. She also paints portraits of children and erotic scenes to impact the world of contemporary art. She has said that her works are better appreciated as originals since many of her smaller sexual works are very intimate.[12] With many of her paintings she depicts her friends, models, and prominent political figures.[13]

Dumas paintings are seen as portraits but they do not represent people but an emotional state that one could be in. Her art focuses on more serious issues and themes such as sexuality and race, guilt and innocence, violence and tenderness.[14] Dumas style is more older Romanticism tradition. She uses loose brushstrokes to add distortion but also great detail to her art.[15] Dumas likes to use a wet-on-wet technique, that combines thin layers of paint with thick ones.[16] Her media of choice is oil on canvas and ink on paper. Her subjects range from new born babies, models, strippers, and many figures from popular culture.[17]

The sale of Dumas's Jule-die Vrou (1985), positioned Dumas as one of three living female artists to trade for over $1 million.[18]

Dumas taught at the Academie voor Beeldende Vorming (ABV) in Tilburg, Academie voor Kunst en Industrie (AKI) in Enschede, Rijksakademie Van Beeldende Kunsten in Amsterdam, and De Ateliers in Amsterdam (Tutorials and Coaching).[19]

Education

Dumas was awarded an honorary degree from the University of Antwerp. She also holds degrees from the University of Cape Town, from Ateliers 63 in Haarlem and the Institute of Psychology, University of Amsterdam.[20]

Selected Works

“Smoke” (2018)

“Adonis” (2018)

“Venus With Body of Adonis” (2015–16)

“Losing (Her Meaning)” (1988) Sold $1.5 million

"The Blindfolded" (2002)

"Feather Stola" (2000) Sold for $307,663 in 2003.

"Velvet and Lace (Schnabel Meets Baselitz)," (1999)

"Ryman's Brides" (1997)

"Couples" (1994)

“The Image as Burden” (1993)

"Young Boys," (1993) Sold for $993,600 in 2005.

"Black Drawings" (1991–92)

"Baby" (1990)

"Wet Dreams" (1987)

"The Teacher"  (1987) Sold $3.34 million in 2005.

"Jule-die Vrou" (1985)

"Evil is Banal" (1984)[21][8][4][22]

Awards
  • Thérèse Van Duyl-Schwartze Prijs, Netherlands, 1989
  • Sandbergprijs voor beeldende Kunst, Amsterdams Fonds voor de Kunst, 1989
  • Gunther Fruhtrunk Preis, Akademieverein München, 1995
  • David Roëll Prijs Voor Beeldende Kunst, Prins Bernhard Cultuurfonds, Amsterdam, 1998
  • Coutts Contemporary Art Award 1998, Coutts Bank, Monte Carlo, 1998
  • Kunstpreis Der Landeshauptstadt Düsseldorf (Düsseldorf Art Prize), 2007
  • Honorary Doctorate Faculty of Humanities, Doctor of Laws Honoris Causa, Rhodes University Grahamstown, 2010
  • Honorary Doctorate of Philosophy Honoris Causa, University of Stellenbosch, 2011
  • Rolf Schock Prize in the Visual Arts, Stockholm, 2011
  • Honorary Degree, Doctor of Fine Arts, University of Cape Town, 2012
  • Johannes Vermeer Award 2012, Delft, 2012
  • Honorary Doctorate, University of Antwerp, 2015
  • Hans Theo-Richter Preis Für Zeichnung und Grafik 2017, Sächsischen Akademie der Künste, Dresden, 2017[19]

Selected exhibitions

2020 Marlene Dumas: 25 years of collaboration, Zeno X Gallery, Antwerp

2018  Myths and Mortals. David Zwirner Gallery, New York (cite: )

2014-2015 The Image as Burden. Stedelijk Museum, Amsterdam. Exhibition was named after her small 1993 painting depicting one figure carrying another.[23]

2008-2009 First American retrospective exhibition. Measuring Your Own Grave. Museum of Contemporary Art, Los Angeles; Museum of Modern Art in New York, New York; Menil Collection, Houston

2008 First South African exhibition. Intimate Relations, Standard Bank Gallery, Johannesburg

2003 Venice Biennale.[24]

2001 Marlene Dumas: One Hundred Models and Endless Rejects, Institute of Contemporary Art, Boston

1997 First Asian exhibition Young Boys - Part II, Gallery Koyanagi, Tokyo

1993 First United States museum exhibition Marlene Dumas, Institute of Contemporary Art, Philadelphia

1992 First North American exhibition Insight, Axe-Néo-7, Hull Québec

1979 First Solo exhibition.  Marlene Dumas, Galerie Annemarie de Kruyff, Paris[25][4][8]

gollark: Once you release it, I mean.
gollark: I'll just make Protocol Epsilon or something strip out the potatOS-blocking line.
gollark: Just to spite you.
gollark: Anyway, it *will* work in potatOS, then be blocked, and you can't stop me.
gollark: Yes. It is very secure. I see no flaw in this.

References
  1. Deborah Solomon (15 June 2008). Figuring Marlene Dumas. The New York Times Magazine. Accessed July 2018.
  2. "Marlene Dumas wins prestigious prize". Channel24. 3 November 2011. Archived from the original on 10 December 2019. Retrieved 10 December 2019.
  3. Cecile Johnson (2003). Dumas, Marlene. Grove Art Online. Oxford Art Online. Oxford: Oxford University Press. Accessed July 2018. doi:10.1093/gao/9781884446054.article.T024001. (subscription required)
  4. "Marlene Dumas Pushes the Limits of Portraiture". artnet News. 4 February 2015. Retrieved 1 March 2020.
  5. Christopher Bagley (1 June 2008). Dutch Master. W. Accessed July 2018.
  6. Phaidon Editors (2019). Great women artists. Phaidon Press. p. 127. ISBN 0714878774.
  7. "Marlene Dumas Biography, Life & Quotes". The Art Story. Retrieved 29 February 2020.
  8. Kino, Carol (27 March 2005). "Marlene Dumas's Number Comes Up". The New York Times. ISSN 0362-4331. Retrieved 1 March 2020.
  9. "Who is Marlene Dumas?". Tate. Retrieved 29 February 2020.
  10. "Marlene Dumas". David Zwirner. Retrieved 29 February 2020.
  11. "David Zwirner Books · Marlene Dumas". David Zwirner Books. Retrieved 29 February 2020.
  12. Robert Ayers (29 November 2006), Marlene Dumas, ARTINFO, retrieved 23 April 2008
  13. "Marlene Dumas | artnet". artnet.com. Retrieved 29 February 2020.
  14. Mary Horlock (11 June 1997). "Artist biography; Marlene Dumas". Tate. Retrieved 20 March 2019.
  15. Kit-Messham-Muir (20 February 2015). "'You start with the image'; Marlene Dumas at the Tate Modern". The Conversation. Retrieved 20 March 2019.
  16. Michalska, Magda (7 February 2018). "Intimate But Estranging Portraits By Marlene Dumas". DailyArtMagazine.com - Art History Stories. Retrieved 29 February 2020.
  17. Tate. "Who is Marlene Dumas?". Tate. Retrieved 29 February 2020.
  18. Sarah Thornton. Seven days in the art world. New York. ISBN 9780393337129. OCLC 489232834.
  19. "Biography of Marlene Dumas". Retrieved 29 February 2020.
  20. "Marlene Dumas".
  21. Siegal, Nina (8 May 2018). "A Radical Artist Takes a Startling Turn Toward Love". The New York Times. ISSN 0362-4331. Retrieved 1 March 2020.
  22. Reyburn, Scott (27 June 2019). "Female Artists With African Backgrounds Are Winners at Phillips Auction in London". The New York Times. ISSN 0362-4331. Retrieved 2 March 2020.
  23. Tate. "Marlene Dumas: The Image as Burden – Exhibition at Tate Modern". Tate. Retrieved 29 February 2020.
  24. Chadwick, Whitney (2012). Women, Art, and Society (5 ed.). New York: Thames and Hudson Inc. p. 476. ISBN 978-0-500-20405-4.
  25. "Marlene Dumas - Artist's Profile - The Saatchi Gallery". saatchigallery.com. Retrieved 1 March 2020.

Further reading
  • Selma Klein Essink, Marcel Vos and Jan Debbaut, Miss Interpreted, exhibition catalogue, Van Abbemuseum, Eindhoven 1992
  • Jonathan Hutchinson, Chlorosis, exhibition catalogue, The Dougles Hyde Gallery, Dublin 1994
  • Catherine Kinley, Marlene Dumas, exhibition broadsheet, Tate Gallery, London 1996
  • Gianni Romano, Suspect, Skira, Milan, 2003
  • Cornelia Butler, Marlene Dumas: painter as witness, Museum of Contemporary Art, Los Angeles, 2008
  • Ilaria Bonacossa, Dominic van den Boogerd, Barbara Bloom and Mariuccia Casadio, Marlene Dumas, Phaidon Press, London, 2009
  • Neal Benezra and Olga M. Viso, Distemper: Dissonant Themes in the Art of the 1990s. Hirshhorn Museum, Washington, D.C. 1996
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