Via Santa Maria di Costantinopoli, 107, 80138 Napoli NA, Italy
Fritz Glarner studied at the Royal Institute of Fine Arts (currently Naples Academy of Fine Arts) in Naples from 1914 to 1920.
Fritz Glarner’s painting ‘Relational Painting Tondo Number 35’ purchased at Christie's in London for $943,797 in 2013.
Fritz Glarner entered the Royal Institute of Fine Arts (currently Naples Academy of Fine Arts) in Naples in 1914 and spent six years at the institution.
In 1923, the young man went to Paris where he explored the art of Paul Cézanne, Robert Delaunay and some important representatives of modernism. It was this time when Glarner adopted a semi-abstract style. While at the capital of France, he pursued his artistic training at the Académie Colarossi which he attended from 1924 to 1926.
Fritz Glarner started his artistic career in Paris where he relocated in 1923. Seven years later, he went to New York City where he lived till his trip to Zurich in 1935. The next year, the artist completely moved to the Big Apple.
At first, Glarner worked at the studio in Manhattan and joined the group of American Abstract artists. He regularly took part in their exhibitions.
The first solo show of Glarner’s art in the United States took place at Samuel M. Kootz Gallery in 1946.
Glarner applied his talent producing large paintings for various architectural buildings, including the Dag Hammarskjöld Library of the United Nations headquarters and the lobbies of Time-Life buildings.
Soon, Glarner opened a studio in Huntington, Long Island. The artist accepted the job offer from Universal Limited Art Editions, one of the influential fine art print publishers by the time.
The important exhibitions of 1950s and 1960s included Documenta of 1955 in Kassel, Germany and Venice Biennale of 1964 and 1968.
In 1971, Fritz Glarner left United States and returned to his native Switzerland where he spent the final year of his life.
Relational Painting, Tondo #1
Relational Painting #65
Relational Painting, Tondo #40
Relational Painting, Tondo
Relational Painting #73
Relational Painting, Tondo #49
Relational Painting #9
Relational Painting #55
Relational Painting, Tondo #36
Relational Painting #64
Relational painting, Tondo #4
Back View of a Nude
Portrait of a Woman with Necklace
Seated Woman in a Yellow Jacket
Still Life with Faience
"A painter should never speak because words are not the means at his command. Words cannot express visually dimension at a glance they can only establish their own relationship in time.
However, it is possible for a painter, at certain moments of his development to formulate some of the problems he is facing in the growth of his work. A painting cannot be explained. Words can only stimulate the act of looking.
A visual problem is never put a priori as a mathematical problem but is born in the process of painting and evolves in a state of unawareness of the painter."
Fritz Glarner used Piet Mondrian’s ‘dynamic symmetry’ and Neoplastic theories in his art.
Fritz Glarner married an American, Louise Wonsky Powel, on July 12, 1928.