Wikipedia

Luc Tuymans

Luc Tuymans(born 14 June 1958) is aBelgian visual artistbest known for his paintings which explore people's relationship with history and confront their ability to ignore it. World War II is a recurring theme in his work. He is a key figure of the generation ofEuropean figurative painterswho gained renown at a time when many believed the medium had lost its relevance due to thenew digital age.

Luc Tuymans
Tuymans in 2009
Born(1958-06-14)14 June 1958(age 66)
Mortsel,Belgium
NationalityBelgian
Education
Known for
Spouse
​
(after 1999)​
Awards
WebsiteOfficial website
Zeno X Gallery
David Zwirner Gallery

Much of Tuymans' work deals with moral complexity, specifically the coexistence of 'good' and 'evil'.[1]His subjects range from major historical events such asthe Holocaustto the seemingly inconsequential or banal: wallpaper, Christmas decorations or everyday objects for example.

The artist's sparsely-colouredfigurative paintingsare made up of quick brush strokes of wet paint. Tuymans paints fromphotographicorcinematicimages drawn from the media orpublic sphere,as well as from his ownphotographsanddrawings.[2][3]They often appear intentionallyout of focus.[4][5][3]The blurred effect is, however, created purposefully with painted strokes, it is not the result of a 'wiping away' technique.[6]

Formal and conceptual oppositions recur in his work, which is echoed in his remark that while 'sickness should appear in the way the painting is made' there is also pleasure in its making – a 'caressing' of the canvas. This reflects Tuymans' semantic shaping of the philosophical content of his work.[7]Often allegorical, his titles add a further layer of imagery to his work – a layer that exists beyond the visible. The paintingGaskamer(Gas Chamber) exemplifies his use of titles to provoke associations in the mind of the viewer. Meaning, in his work, is never fixed; his paintings incite thought. A related characteristic of Tuymans' work is the way he often works in series, a method which enables one image to generate another through which images can be formulated and reformulated ad infinitum. Images are repeatedly analysed and distilled, and a large number of drawings, photocopies andwatercoloursare produced in preparation for his oil paintings.[8][9]Each final painting is, however, completed in a single day.[10]

Early life

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Luc Tuymans,Antichambre,1985
Oil on canvas, 69.9 × 80.1 cm, 271⁄2 × 319⁄16 inches, CollectionM HKA Museum of Contemporary Art, Antwerp– Collection of the Flemish Community
Luc Tuymans,Body,1990
Oil on canvas, 48.5 × 38.5 cm, 19 1⁄8 × 15 1⁄4 inches, Collection S.M.A.K.Stedelijk Museum voor Actuele Kunst,Ghent
Luc Tuymans,Der diagnostische Blick IV,1992. Oil on canvas, 57 × 38.2 cm, 22 1⁄2 × 15 1⁄8 inches, Private collection, on long-term loan toDe Pont Museum of Contemporary Art,Tilburg

Luc Tuymans was born inMortselclose to the city ofAntwerpon 14 June 1958. His father wasBelgian Flemishand his mother wasDutch.[11]DuringWorld War IIhis mother's family joined theDutch Resistanceand hid refugees, whereas some members of his father's family allegedly had sympathised with Nazi ideology.[12][13][14]This fact echoed through family conversations, raising moral questions and feelings of guilt, and the subject became a source of fascination and fear, later playing a key role in Tuymans' painting.[15]

His interest in art manifested itself at a young age, and his ability was first recognised during a summer holiday inZundert,when he won a drawing competition. He later said this event gave him a sense of the path he had to take. When he was eight or nine, his uncle took him to theGemeentemuseuminThe Haguewhere he saw a painting byMondrian.In a much later conversation, he explained how 'looking at that abstract painting was my first art experience.... I felt the magic of art in it.... I did understand the monumentality of that work.'[16]

Education

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Tuymans' formal art studies began at the age of 18 at theSint-Lukasinstituut in Brussels(1976–79). During this period he traveled toBudapestwhere he sawEl Greco's paintings at theMuseum of Fine Arts.In an interview in 2020, Tuymans described seeing these paintings as a shock, and discussed the fascination El Greco still holds for him today.[17]He continued his studies at theNational School of Visual Arts of La Cambre in Brussels(1979–80), before going to theRoyal Academy of Fine Arts in Antwerp(1980–82), where he gave up painting for filmmaking.[18]Having completed his fine art studies, Tuymans enrolled for an academic degree inArt historyat theFree University of Brussels(1982–86).[19]

Work (paintings)

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See also:List of paintings by Luc Tuymans

Early work, 1972–94

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During the crucial first phase of Tuymans' artistic development, his painting method evolved rapidly, and his first solo and groupexhibitionstook place. According to thecatalogue raisonné,[20]he created nearly 200 paintings on canvas or hardboard during this period. His first known painting dates from 1972 and the first public exhibited painting was created in 1977, entitledSelf-Portrait.He was a student at the time, and submitted it to the national painting competition in Belgium, which he won.[21]

From 1979 to 1980, Tuymans worked in collaboration with Marc Schepers on two local projects entitledMorguen.The artists asked families from a neighbourhood in Antwerp for historical family photographs, a collection they built on with their own documentation of the area. The following year, they published the project in theTijdschrift voor levende Volkskunst(Journal of Living Folk Art), as a journal modelled on the historicalVolksfotomagazine. Six months later they organized a second photo project. This time, they focused on the workers' district surroundingSt. Andrew's Church, Antwerp.[22]

Between 1980 and 1985, Tuymans stopped painting, dedicating himself toexperimentation with film.Among other film-projects, he createdFeu d’artifice(Firework)[23]and made plans for an unrealized,semi-documentaryfeature film.Some of the film fragments he made later served as inspiration for paintings.[24]When Tuymans resumed painting in 1985, he changed his technique, and since then he never spent more than a day working on a painting.[25]

From 1978 on, Tuymans' paintings centred on European memories ofWorld War II,confrontingAdorno's famous question whether art was impossible followingthe holocaust,and 'the collapse of any coherent tradition in painting' described byPeter Schjeldahl.[26]One of his works from this period is a small painting of the gas chamber inDachau,entitledGaskamer(Gas Chamber), 1986. This painting was based on a watercolour he had done on site.[27]AsJ.S. MarcusfromThe Wall Street Journalwrote, the painting 'simplified the means of painting.... flattened the perspective, muted the colour and the direction of the composition.... To save the painting he almost makes it disappear.'[28]Other paintings that date from this period are the 1988 four-part paintingDie Zeit(The Time) in which Tuymans combines a portrait of theNazi frontman Reinhard Heydrichwith two spinach tablets and acityscape,[29]and the 1989 paintingDie Wiedergutmachung(The Reparation) that depicts the eyes ofgypsy children who had been experimented on by the Nazis.[30]

From the late 1970s, Tuymans also began to paint portraits of himself and imaginary portraits, anonymous individuals, and historical and public figures. Superficially, most of these images seem to betraditional portraits;the approach is dispassionate and not psychological. His portraits strip individuality away, leaving the body resembling a shell, the face a mask.[31]Another example of his figurative portrait work isDer diagnostische Blick(The Diagnostic Look), a series of ten paintings from 1992 based on clinical images of bodies and body parts he found in a physician's manual on physical diseases.[32]

As Meyer-Hermann wrote in thecatalogue raisonné,the artist first elucidated histheoretical approachin an unrealized proposal for a group exhibition, entitledVirus of the Vanities.Here, he defines key terms and develops a dialectic between the 'virus' as representative of the 'cult', and 'vanity' as a projection of 'culture', also opposing the 'anecdotal' (as in the portrait or still life) to the 'symbolic' (as in representations of time or death). Tuymans refers to nine of his paintings dating from 1978 to 1990 to support his ideas.[20]

Tuymans' first exhibition in North America, entitledSuperstition,was held in 1994 at theDavid Zwirner Gallery(it was also shown later at the Art Gallery ofYork Universityin Toronto,The Renaissance Societyat the University of Chicago, and London'sICA Institute of Contemporary Arts). The exhibition reflected humankind's scepticism and spiritual indifference as manifested by our attitude to recent historical events.[33]

1995–2006

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Luc Tuymans,Lumumba,2000, oil on canvas, 62 × 46 cm, 24 3⁄8 × 18 1⁄8 inches, CollectionThe Museum of Modern Art,New York

Since 1995 Tuymans' international renown grew, and he participated in over 140 group exhibitions and had 47 solo shows in Europe, North America, and Asia. Between these dates, he created 198 works he classified as paintings, several murals and textile wall hangings.[34]

His exhibitionHeimat,held in 1995 at theZeno XGallery in Antwerp and the Musée des Beaux Arts in Nantes, was a response to political events in Flanders and targetedFlemish nationalism.Pieces shown were all dated from that year and includedThe Flag,A Flemish Village,the Flemish memorialIjzertoren(Yser Tower), a portrait of the Flemish writerErnest ClaesentitledA Flemish Intellectual,andHome Sweet Home.Several of the paintings included inHeimatwere shown the following year (1996–97) in the exhibitionFace à l‘histoireheld at theCentre Georges Pompidouin Paris, which looked at modern artists' responses to major historical and political events over the preceding sixty years.[35]In a later 2014 interview discussing theHeimatseries withDe Witte Raafhe expressed his particular dislike of the separatist, far-right Flemish political party theVlaams Blok(Flemish block), which achieved its best electoral result to date in Antwerp in 1994, stating: 'I was ashamed that I was from Antwerp!’[36]

In 1996, Tuymans' exhibitionHeritage,held at theDavid Zwirner Gallery,consisted of ten new paintings of the same title, all inspired by the mood that prevailed in the U.S. following theOklahoma City bombing.The series depicts normal, almost stereotypical American imagery: a painting of two baseball caps (Heritage I);Mount Rushmore(Heritage VII); a man working (Heritage VIII); a portrait and a birthday cake (Heritage IX). The series also includes a portrait of the wealthyKu Klux Klanmember Joseph Milteer (Heritage VI).[37]

In 2000, Tuymans attracted attention with his series of political paintingsMwana Kitoko(Beautiful Boy), inspired byKing Baudouinof Belgium's state visit to theCongoin the 1950s. These works were exhibited in 2000 at theDavid Zwirner Galleryand the following year in the Belgian Pavilion at theVenice Biennale.

AtDocumenta 11in 2002, which focused on works of art containing political or social commentary, many expected Tuymans to present new work created in response to the9/11 attacks on New York.Instead, he presented a simplestill-lifeexecuted on a massive scale, deliberately ignoring all reference to world events.[38]This inevitably led to some negative criticism.[39]Tuymans however, described his decision as a deliberate strategy of 'sublimation': 'InStill-Lifethe idea of banality becomes larger than life, it is taken to an impossible extreme. It's actually just an icon, an almost purely cerebral painting, more like a light projection. The attacks[9/11]were also an assault on aesthetics. That gave me the idea of reacting with a sort of anti-picture, with an idyll, albeit an inherently twisted one.'[9]

In 2004 Tate Modern in London and in 2006 Museu Serralves in Porto devoted major solo exhibitions to Tuymans work.[citation needed]

From 2007 onwards

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Luc Tuymans,The Shore,2014
Oil on canvas, 194.2 × 353.7 cm, 761⁄2 × 1391⁄4 inches, CollectionTate Modern,London.
Presented by the artist and David Zwirner, 2016

Since 2007, Tuymans participated in over 200 group exhibitions and had over 30 solo shows inEurope,North America,andAsia.During this period (2007–19) he produced 180 works he classified as paintings, plus severalmuralsandtextile wall hangings.[40]

His 2007 exhibitionLes RevenantsatZeno Xfocused on the social influence of theJesuitsin education. In 2007, a majorretrospectivewas organized by theMűcsarnok KunsthalleinBudapest(2007–2008) which travelled asLuc Tuymans: Wenn der Frühling kommttoHaus der KunstinMunichin 2008 and asCome and Seeto theZachęta National Gallery of Art in Warsaw.Each venue had a different set of paintings on show. His 2008 solo show atDavid Zwirner Gallery,entitledThe Management of Magic,explored the 'Disney-fication' of consumer society. From 2009 to 2011, this major exhibition travelled to four cities inNorth America:theWexner Center for the Arts,theSFMOMA San Francisco Museum of Modern Art,DMA Dallas Museum of Art,and theMCA Museum of Contemporary Art in Chicago.It then moved to its final stop in Belgium atBOZAR – Palais des Beaux-Arts in Brussels.[41]

Between 2006 and 2008, solo exhibitions devoted to Tuymans were held in diverse locations: at Műcsarnok Kunsthalle in Budapest in 2007–08; at Zachęta National Gallery of Art in Warsaw and at Haus der Kunst in Munich in 2008.

In 2012, Tuymans was invited by the Polish artistMirosław Bałkato take part in a project in the town whereBałkahad grown up:Otwock.This project involved interpreting the town's history through artworks which were spread across over twenty locations. Tuymans contributed the paintingDie Nacht(2012), which refers toHans-Jürgen Syberberg's epic 1985 film installation onGerman history.During the second season in 2012, this painting hung in Bałka's childhood bedroom. Tuymans also installed hundreds of black balloons in the ruins of Zofiówka, a former hospital for people with mental health conditions. In 1940, the building was part of the Otwock ghetto, and in 1942, during theNazi occupation of Poland,its inhabitants either died of starvation, were shot, or were sent to theTreblinka concentration camp.[42]

At the retrospective exhibition entitledIntolerancestaged byQM Gallery Al Riwaqin Doha in 2016, Tuymans presented a new body of work entitledThe Arena I–VI.These works depict violence in 1942. 'With visual similarities to Francisco Goya'sThe Third of May 1808,1814, Tuymans' strong highlighting of central figures encased by a blackened, scruffy vignette suggests a diaspora, revolution, or an uneasy static mob. There is a sense of pent-up aggression that lies beneath the surface of the ethnically ambiguous and androgynous forms.'[43]

Copyright infringement

In January 2015 Tuymans was found guilty of plagiarism by a Belgian civil court after he used a photograph taken by Katrijn Van Giel as the source of his paintingA Belgian Politician(2011),[44][45]a portrait ofJean-Marie Dedecker.[46]Tuymansappealed against the ruling,claiming that the painting was aparody– a critique of Belgian conservatism.[46]He and Van Giel reached an amicable, confidential out-of-court settlement in October 2015. The British newspaperThe Guardiansupported the artist in this dispute, commenting on the way Tuymans never makesphotorealistic representationsof original photos, and describing how 'his work bears witness to a career-long survey of all images.[47]

Other works

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Works on paper

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Drawinghas been integral to Tuymans' artistic practice from the start. Sketches,watercoloursand other small-scale works form the bedrock of his work for they constitute, for him, a way of thinking through an idea. Important features of Tuymans' artistic approach can be found in these preparatory pieces such as his voluntary choice of low-quality materials and his incorporation of found elements. Such works are both visual preparations for later paintings and exteriorisations of thought processes. As Tuymans said in an interview with Josef Helfenstein in 1997: 'drawing is particularly important because I become mentally involved in the work and the picture. What is important for me is the idea of thinking while I draw, particularly in the tiny drawings. It helps to have everything under control'.[48]Elsewhere in the interview, Tuymans explained that he mostly draws from memory and that he finds it better not to start drawing immediately when he sees something, but that he draws 'on the basis of a fragmentary memory.' This is elaborated on later in the 1997 interview with Helfenstein, when he describes how he usually prefers to draw after seeing something, 'on the basis of a fragmentary memory'. Each drawing is more than a visual record: it forms part of a wider reflective process. The first comprehensive exhibition of Tuymans' drawings and other works on paper from the years 1975–96 was on view in an exhibition that travelled toKunsthalle Bern,Bern;Berkeley Art Museum,Berkeley; andCapc Musée d'art contemporain,Bordeaux (in 1997–98).

Murals

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See also:List of Murals by Luc Tuymans
Luc Tuymans talks about his triptych mural
St. Croce,2010, MCA Museum of Contemporary Art in Chicago.

Tuymans has made about 50 site-specific murals since the mid-1990s, five permanent and the rest temporary. Unlike the permanent mural paintings, Tuymans other mural paintings are temporary events and installations created for exhibitions. The type of mural techniques used is either acrylic paint or fresco applied directly on the existing wall surfaces. On rare occasions, he also made textile murals, which are based on drawings that are scanned and mechanically produced. As he said in a video interview he gave about the triptych mural paintingS. Croce(2010), they are always related to the 'raw space' and 'it is the element of approach which is important with murals', he also mentioned that 'If I work on a wall I feel much more free than on a canvas.'

The first permanent mural was created in 1995 in Antwerp at Café Alberto. It features a larger version of the paintingSuperstition.[49]In 2007 Tuymans executed a permanent mural based onBloodstains(1993) on the ceiling of the ballroom of the former Ringtheater. This same year, the building was taken over by Troubleyn/Laboratorium, the performance company run by the Belgian playwright and artistJan Fabre.[50][51][52]In February 2012, Tuymans used the motif ofAngelfor a permanent mural created in the second balcony foyer of the Concertgebouw Brugge. Tuymans gave theStaatsschauspiel Dresdentwo permanent murals created for the main staircases of the building on Theaterstrasse in 2013. These two murals are based on the paintingsPeaches(2012) andTechnicolor(2012).[53][40]Arena(2017) is the most recent permanent mural created for theMuseum of Fine Arts in Ghent.This work is a fresco mural that consists of three panels located at the end of a curved gallery in the museum's hall.

Mosaics

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Luc Tuymans,Dead Skull,2010
MAS Museum aan de Stroom,Antwerp

The firstmosaicTuymans made wasDead Skull,2010, commissioned by theMAS Museum aan de Stroom (Museum by the River)as a permanent installation in the museum square on the Hanzestedenplaats in Antwerp. It is a 40 m2stone mosaic that evokes Tuymans' painting of the same name created in 2002, which in turn refers to a memorial plaque dedicated to the 16th-century painterQuinten Metsysfrom Antwerp which can be found on the facade of theCathedral of Our Ladyin Antwerp.[40]The painting was first transformed into a grid pattern of 488 by 488 pixels. Using that image and a specially designeddigital conversion technique,a mosaic was created from 96,569 stones of 11 different colours.[54]The installation began in the winter of 2009 and was finished in the summer of 2010.Dead Skullis hardly distinguishable as an image when you are on the ground floor, but the higher you climb in theMAS,the more clearly the skull becomes visible.[55]

The second mosaic Tuymans made wasSchwarzheide,made at the time of his exhibitionLa PelleatPalazzo Grassiin 2019. This work was produced by Fantini Mosaici in Milan and is based on Tuymans' eponymous oil on canvas dated 1989 representing a German forced-labour camp. The full image could only be seen from the balustrades, overlooking the atrium ofPalazzo Grassi.Due to the floods that hit Venice in February 2020, the site-specific mosaic was dismantled.[56]

Graphic works

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Tuymans experimented withprintmakingfrom the late 1980s on, producing a graphic oeuvre of about 90 works, which focus – like his paintings – on the mediation and translation of images in themass media.He has explored various printing methods such asphotocopy,inkjet,offset,monotype,screen-printing,lithography,etching,and silver gelatine prints, using unusual supports such as wallpaper, security glass and PVC.[57]In a similar way to his paintings, his printed images often appear blurred or reduced. They are frequently based on photographs or film stills, which the artist photographs and re-photographs until much of the original detail is lost.[58]The four-colour etchingIsabel, Diorama, Scramble, Twenty Seventeen(2017) for example, is based on iPhone photographs Tuymans took while painting. These images reveal an early, unfinished stage of the work. The paint strokes Tuymans placed in the margin of the painting and at the edges of the canvas are also incorporated in the etched image.[59][60]

Most of Tuymans' prints are made in collaboration with Antwerp-based master printer Roger Vandaele and Edition Copenhagen.

Other activities

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Curating

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Tuymans is also a curator. The first exhibition he curated wasTrouble Spot: Paintingin 1999 at theMuseum van Hedendaagse Kunst Antwerpenand the NICC – New International Centre in Antwerp. This show included works by about 50 artists, includingGerhard Richter,Ellsworth Kelly,Raoul De Keyser,Marlene Dumas,andAndy Warhol.[34]In an interview withArtzip,he explained that the idea behind the exhibition was 'to explore the boundaries of painting' and that his curatorial approach was to 'prioritize the visual in order to create a dialogue between different works.'[61]In 2002, he curatedKamers. een keuze van Luc Tuymans(Rooms. A choice by Luc Tuymans) at Ruimte Morguen in Antwerp.[62]The following curated event took place on 5 October 2006, Tuymans organizedSirene/Alarm,an event that spanned numerous museums and cultural institutions in Belgium. All participating museums were asked to set their alarms to go off at 3 pm. Staff, artists, students, and other supporters evacuated the buildings involved for fifteen minutes. The event was a plea for tolerance; a statement against political extremism, racism, and violence.

In 2007 Tuymans curated the exhibitionThe Forbidden Empire: Visions of the World by Chinese and Flemish ArtistsatBOZAR – Centre for Fine Arts, Brussels.The exhibition was co-curated with Yu Hui and travelled to thePalace Museumin theForbidden City in Beijing.[63]The following exhibition he curated wasReconsidered. Luc Tuymans: Selected Works from the Städel Collection,an exhibition held at theStädel Museum in Frankfurt am Mainin 2009.[64]Following the Chinese/Flemish exhibitionThe Forbidden Empire,Tuymans curated in 2010,The State of Things: Brussels/Beijing,a cross-cultural exhibition that combinedBelgianandChinese artatBOZAR – Centre for Fine Arts, Brussels,which then travelled to theNational Art Museum of Chinain Beijing.

In 2011, Angel Vergara invited Tuymans to curate theAngel Vergara: Feuilletonexhibition in theBelgian Pavilionat the 54th InternationalBiennale di Venezia.In 2011, he also organized the exhibitionA Vision of Central EuropeforBrugge Centraal.As stated onPhaidon's website, Tuymans' starting point for this exhibition was the difference between the cities ofBrugesandWarsaw:one survivedWorld War IIrelatively unscathed, the other was decimated, then carefully reconstructed.[65]

Two years later, he curatedThe Gap: Selected Abstract Art from Belgiumat the London Parasol Unit Foundation for Contemporary Art, and in 2013, he collaborated with Dr Ulrich Bischoff on the exhibitionConstable, Delacroix, Friedrich, Goya. A Shock to the Sensesat theAlbertinumin Dresden, an exhibition that traced the history of European painting from 1800 to the present, juxtaposing important works of European Romanticism with later modern and contemporary art.[40]In 2016, he curated the exhibition11 Artists Against the Wall,at Leopold Place 5 in Antwerp, as part ofBorn in Antwerp,[66]andJames Ensor by Luc Tuymansat theRoyal Academy of Artsin London.[67]The most recent exhibition Tuymans curated isSanguine/Bloedrood. Luc Tuymans on Baroque,which opened in 2018 at theMuseum of Contemporary Art, Antwerp[68]then travelling to theFondazione Pradain Milan.[69]

Teaching and artist talks

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Tuymans has also engaged in pedagogical work, and was a guesttutorat the Dutch instituteRijksakademie van beeldende kunsten,where he mentored and influenced emerging painters such as the Polish artistPaulina Olowska,and the Serbian-born artist Ivan Grubanov. In 2008, Tuymans took on the Max Beckmann Foundation Professorship at theStädelschule,a role previously held byWilliam Kentridge.[40]During this time he participated in international symposia and conferences, and gave interviews and lectures on his work and painting in general at various international universities and museums.

In 1995, he gave a lecture on his work at theUniversity of Chicagoand participated in a conversation led by curator and writer Hamza Walker. In 2000, he participated withCarel Blotkamp,Ferdinand van Dieten, Benoît Hermans, Frank Reijnders, Jeroen Stumpel in the symposiumThe Persistence of Paintingat theRijksakademie van beeldende kunstenin Amsterdam. At the close of Tuymans' exhibitionSignalat theHamburger Bahnhofin 2001, a symposium entitledGesichtsbilderwas held involving the artist, Eugen Blume (director ofHamburger Bahnhof), the art historian Anne-Marie Bonnet, and Norbert Kampe (the director of House of theWannsee Conference,Memorial and Educational Site). At Tuymans' request, the symposium's closing session took place at the House of theWannsee Conferencein Berlin, a former industrialist's villa used by theSSasa guest house and conference centre from 1941 to 1945 and the place the deportation and murder of European Jews was planned in 1942.[34]

At the symposiumBetween Senses, Strukturen und Strategien del Malerei im 20. Jahrhundertorganized for the exhibitionPainting on the Moveat theBeyeler Foundationin Basel, Tuymans participated in a panel discussion on the significance of painting in relation to new media, moderated by the art historianBeat Wyss,with the philosopherHubert Damisch,the art historiansYve-Alain Bois,Bruno Haas,andDenys Zacharopoulos,and the artist and art historian Hans-Dieter Huber. In 2003, Tuymans held a public talk at the Kunstverein Hannover, and in 2004 he lectured at the Museo Tamayo, Mexico City (with Gerrit Vermeiren), at theMauritshuisin The Hague where he gave a lecture entitledOnPeter Paul Rubens,at the deSingel in Antwerp as part of the programCurating the Library,and at the Dresdner Bank in Berlin during the conferenceEuropa eine Seele geben: Berliner Konferen für europaïsche Kulturpolitik.In 2006, he participated in anArtists PanelwithBrice Marden,Francesco Clemente,andChristopher WoolatMoMAin New York and in 2008, he lectured at theHaus der Kunstin Munich (Luc Tuymans: Arbeit und Praxis) and gave the inaugural lecture at the Neues Museum Weserburg in Bremen at the symposiumArbeit der Bilder: Die Präzens der Bilde sim Dialog zwischen Psychoanalyse, Philosophie und Kunstwissenschaft. In 2009, he took part in the Interdisciplinary Conference at NCCR in Basel; the Coloquim Abschied und Gegenstand during the Platform ProjectatWielsin Brussels, and the Lambert Family Lecture, in conversation withT.J. Clarkat theWexner Centerin Columbus. In 2010, he participated in the symposiumHistory, Violence, Disquietheld at theMuseum of Contemporary Art, Chicago (MCA),and in 2011, he held a conversation withRem Koolhaasat La Loge in Brussels entitledConstruction Européenne.In 2012, he was invited to theFrieze Talksand in 2015 he conducted a talk with Colin Chinnery at theTalbot Rice Gallery.In 2016 he lectured at theSlade Contemporary Art Lecture Series 2015–16at theSlade School of Fine Artin London, and the same year, he participated in theround table discussionWhat About Painting TodayatLaM Lille Métropole Museum of Modern, Contemporary and Outsider Art,and participated in a public discussion withKerry James Marshallin Montreal. In 2017, he lectured at theMigros Museum of Contemporary Artin Zurich and alongside Gilane Tawadros at theRoyal College of Artin London. In 2018, he gave a public talk onAndrzej Wróblewskiat theDavid Zwirner Galleryin London.[40]

Selected exhibitions

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Solo exhibitions

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Over 100 solo exhibitions of Tuymans' paintings were staged between 1985 and 2016, including over 70 international solo exhibitions.[20][34][40]The first exhibition of Tuymans' paintings, for theBelgian Art Review(1985), took place inOstendin a deserted swimming pool at the prestigious Thermae Palace.[70]Tuymans chose Ostend because ofJames EnsorandLeon Spilliaert,two painters who had a profound influence on his artistic development and whose connection with the city gave it a spiritual significance for him.[71]Besides his parents and a handful of friends, few people saw the exhibition, but it was nonetheless crucial, because it was the first time Tuymans saw his work outside the studio.[72]

The next public exhibition of Tuymans' work was held at Ruimte Morguen in Antwerp in 1988[20]and the first museum exhibitions devoted exclusively to his work were held in 1990 at the PMMKProvinciaal Museum voor Moderne Kunstin Ostend and at the S.M.A.K.Stedelijk Museum voor Actuele Kunstin Ghent. In the same year, he had his first exhibition atZeno X,a gallery he continues to work with today.

In 1992, Tuymans made an international breakthrough in his career. Several major exhibitions of his work (atKunsthalle Bernfor example) and his participation inDocumenta 9,extended his reputation internationally.[73]Tuymans concluded this first period of his career with a retrospective exhibition held in Krefeld in 1993 at the Museum Haus Lange, Krefelder Kunstmuseen in the two residential houses turned contemporary art museumsHaus Lange and Haus Esters.In 1994, his work was shown atPortikusin Frankfurt am Main, an exhibition that travelled to theDavid Zwirner Galleryin New York, the artist's U.S. gallery. That same year, he had a solo exhibition at the Art Gallery of York University in Toronto which moved on toThe Renaissance SocietyatThe University of Chicago,theICA Institute of Contemporary Artsin London, and the Goldie Paley Gallery,Moore College of Art and Designin Philadelphia. In 2001, Tuymans represented Belgium at theVenice Biennale.[74]

Between 2004 and 2008, solo exhibitions devoted to Tuymans were held in diverse locations: atTate Modernin London in 2004;[9]atMuseu Serralvesin Porto;[75]atMuseu Serralvesin Porto;[76]at Műcsarnok Kunsthalle in Budapest in 2007–8;[77]atZachęta National Gallery of Artin Warsaw[78]and atHaus der Kunstin Munich in 2008.

The artist's first comprehensive U.S. retrospective opened in September 2009 at theWexner Center for the Artsin Columbus Ohio, then travelling to theSan Francisco Museum of Modern Art,[79]theDallas Museum of Artand theMuseum of Contemporary Art, Chicago.[80]This retrospective also travelled beyond the U.S. toBOZAR Centre for Fine Arts, Brussels,in Belgium.[81]

Also in 2009, an exhibition of works inspired by one of Tuymans' favourite authors,Thomas Pynchon,calledAgainst the Day,was held atWiels Contemporary Art Centre,Brussels, subsequently travelling toBaibakov Art Projects,Moscow, andModerna Museet Malmö,Sweden.A major solo exhibition was put on in 2015 atQM Gallery Al Riwaq,Doha, entitledIntolerance,and in 2019, Tuymans' major exhibitionLa pellewas staged atPalazzo GrassiinVenice.This show incorporated 80 paintings dating from 1986 to 2019.[82]

Group exhibitions

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Tuymans also participated in over 350 group exhibitions between 1985 and 2016, including more than 300 international exhibitions.[20]In 1992, he was invited to show atDocumentain Kassel for the first time and in 2002 he participated inDocumenta 11.Work by Tuymans has also been included in group exhibitions such as:Infinite Painting: Contemporary Painting and Global Realism,held at the Villa Manin Centro d’Arte Contemporanea, Codroipo in Italy (2006);Essential Painting,at theNational Museum of Art, Osaka,Japan (2006);Fast Forward: Collections for the Dallas Museum of Art,at theDallas Museum of Art,Dallas, Texas (2007);What is Painting? Contemporary Art From the CollectionatThe Museum of Modern Art,New York (2007);The Painting of Modern Lifeat theHayward Gallery,London, England and theCastle of Rivoli,Turin, Italy (2007);Doing it My Way: Perspectives in Belgian Artat theMuseum Küppersmühle für Moderne Kunst,Duisburg, Germany (2008);Collecting Collections: Highlights from the Permanent Collection of the Museum of Contemporary Art, Los Angelesat theMuseum of Contemporary Art, Los Angeles,California (2008);Mapping the Studio: Artists from theFrançois PinaultCollectionat thePalazzo Grassi,Venice, Italy (2009) andCompass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings CollectionatThe Museum of Modern Art,New York (2009–10).[20]

Selected museums and public collections

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Catalogue raisonné

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In 2019, a comprehensive catalogue raisonné edited by the art historian Eva Meyer-Hermann was published by theDavid Zwirner GalleryandYale University Press.Tuymans' paintings dating from 1972 on – 564 in total – are spread between three volumes.Volume Icovers the 186 paintings done on canvas or hardboard between 1972 and 1994.[20]Volume IIcovers 198 paintings on canvas or, on occasion, polyester or vinyl, between 1995 and 2006,[34]andVolume IIIincludes 180 works on canvas dating from 2007 to 2018.[40]

Position in the art market

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According to an article published byArtpricein 2019, half of his auction turnover is generated in the United States, and 36% in the United Kingdom.[105]In May 2005,Sculpture(2000), part of Tuymans'Mwana Kitoko(Beautiful White Man) series, was sold atChristie's New Yorkfor a record price.[106]In 2005, he was listed 184 in the 'Top 500' selling artists, a ranking compiled byArtprice.[107]Tuymans' auction record dates back to Christie's May 2013 prestigious Contemporary Art sale in New York whereRumour(2001) attracted unexpected attention. It was the best ever auction result for a contemporary Belgian artist (i.e. born after 1945). Since then, his paintings have fetched ever-increasing sums. As a result, in 2016, Tuymans was ranked 60 in theArtReviewlist of the 100 most powerful people in the art world'.[108]In 2019, Tuymans gained a lot of exposure with his exhibitionLa PelleatPalazzo Grassiin Venice. The market reacted accordingly and his works generated even higher turnover on the secondary market, a record year for the artist.[109]In 2015, Tuymans ranked 168 on the 'TOP 500' Contemporary Artists 2014/2015.[110][111]That year, he ranked 75 in the 'Top 500' best-selling artists worldwide.[112][113]This brought him into the top 100 most successful artists on the global secondary market. As a result, he is regarded today as one of the most successful European artists, ranked alongside the Italian artistsRudolf StingelandMaurizio Cattelan,the Belgian artistHarold Ancart,and eight German artists, includingAlbert Oehlen.[114]

Recognition

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In 2007, Tuymans was appointed Commander of theOrder of Leopoldof Belgium byKing Albert II,[115]in 2013, he was made a Foreign Honorary Member ofThe American Academy of Arts and Lettersin New York,[116][117]and theAcademy of Arts(Akademie der Künste) inBerlin.In 2019 he received the Medal of Honor from the International Congress of Contemporary Painting (ICOCEP) in Porto in Portugal. Tuymans holds several academic honours, including an honorary doctorate for overall cultural merit bestowed by theRoyal College of Artin 2015,[118][119]an honorary doctorate bestowed by the University of Arts in Poznań in 2014, and an honorary doctorate for overall cultural merit bestowed by theUniversity of Antwerpin 2006.[120]In 2008, Tuymans received the Max Beckmann Foundation award at theStädelschule.In 2000, he was a finalist for theVincent van Gogh Biennial Award for Contemporary Art in Europeand won the Coutts Contemporary Art Foundation award in Zurich. In 2013, Tuymans was awarded the Flemish Culture Award for Visual Arts and in 2020 the Ultima award for 'General Cultural Merit'.[121]In 1998, he received the biannual Culture Prize Blanlin-Evrart from theCatholic University of Leuven.[122]In 2013, he was given the award of excellence for his artistic contributions to the fight against AIDS by theAmfAR, The Foundation for AIDS Research Awards.[123]

Personal life

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Tuymans was born inMortselnearAntwerpon 14 June 1958, and he continues to live in Antwerp today. His father, Antoon Tuymans, was Belgian Flemish and his mother, Elisabeth Dam, was Dutch.[11]

In 1995, he met the Venezuelan artistCarla Arochawhile working on his first American show atThe Renaissance Societyin Chicago and four years later, in 1999, they married.[124]

See also

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References

edit
  1. ^Nina, Siegal (21 March 2019)."Luc Tuymans, Master of Moral Complexities, Tries Something New".The New York Times.New York.Archivedfrom the original on 10 June 2019.
  2. ^"Luc Tuymans: Forever, The Management of Magic"(PDF).New York:David Zwirner Gallery.14 February – 22 March 2008. Archived fromthe original(PDF)on 1 March 2014.
  3. ^abRoger, White (2016).The contemporaries travels in the 21st-century art world.Vol. 1. New York: Bloomsbury. p. 173.ISBN9781620400951.OCLC1124364481.
  4. ^"Luc Tuymans: Corporate. 6 November – 21 December 2010".New York:David Zwirner Gallery.
  5. ^"Luc Tuymans: Forever, The Management of Magic. 14 February – 22 March 2008"(PDF).New York:David Zwirner Gallery.29 January 2008.
  6. ^Harris, Gareth (9 September 2009)."Why paintings succeed where words fail".New York: The Art Newspaper.
  7. ^Lindquist, Greg (May 2010)."Luc Tuymans".The Brooklyn Rail.Archivedfrom the original on 22 February 2020.
  8. ^"Exhibitions – The Rumour, 5 September — 13 October 2001".London: White Cube. 1 March 2020.Archivedfrom the original on 1 March 2020.
  9. ^abcd"Luc Tuymans".Tate Modern.Retrieved2 February2020.
  10. ^Mullins, Charlotte (2008).Painting People: Figure Painting Today.New York: D.A.P./Distributed Art Publishers. p. 150.ISBN9781933045832.OCLC216938984.
  11. ^ab(in Dutch)Ilegems, Danny (2019).Tuymans volgens Tuymans, Twintig jaar in gesprek met Luc Tuymans.Vol. 1. Amsterdam: Lebowski Publishers. p. 173.ISBN9789048849574.OCLC1101667619.
  12. ^"Luc Tuymans: Nice. Is Just That and Nothing More".Houston: Houston Press. Voice Media Group. 16 October 2013.Archivedfrom the original on 24 February 2020.
  13. ^Wullschlager, Jackie (12 February 2011)."The Painterly Pessimist"(Fee required).Financial Times.Retrieved24 February2020.
  14. ^Wright, Karen (22 September 2012)."In The Studio: Luc Tuymans, painter".The Independent.London: Newspaper Publishing plc.Archivedfrom the original on 19 February 2018.Retrieved24 February2020.
  15. ^Siegal, Nina (21 March 2019)."Luc Tuymans, Master of Moral Complexities, Tries Something New".New York: The New York Times Company.Archivedfrom the original on 10 June 2019.Retrieved24 February2020.
  16. ^(in Dutch)Van Puymbroeck, Rik."Luc Tuymans: 'De achterlijkheid in onze maatschappij groeit met de seconde, ondanks de technische vooruitgang'".De Tijd.
  17. ^Spears, Dorothy (3 February 2010)."Putting the Wrongs of History in Paint".New York: The New York Times Company.Archivedfrom the original on 24 February 2020.Retrieved24 February2020.
  18. ^"Luc Tuymans".New York: MoMA The Museum of Modern Art.Retrieved26 June2015.
  19. ^Meyer-Hermann, Eva.Luc Tuymans: Catalogue Raisonné of the Paintings, 1972–1994,Volume 1, New York: David Zwirner Books; New Haven: Yale University Press, 2018, pp. 5, 420–445
  20. ^abcdefgMeyer-Hermann, Eva (2018).Luc Tuymans: Catalogue Raisonné of the Paintings, 1972–1994 (Volume 1).New York: David Zwirner Books; New Haven: Yale University Press.
  21. ^"My Bonhams".bonhams.com. Bonhams.Archivedfrom the original on 17 February 2015.Retrieved10 March2020.
  22. ^(in Dutch)Brams, Koen; Pültau, Dirk (August 2012)."Actuele volkskunst: Interview met Marc Schepers".Brussels: De Witte Raaf. pp. 1–4.Archivedfrom the original on 24 February 2020.Retrieved12 March2020.
  23. ^Tuymans, Luc (2006). "Facsimile of six pages relating to Feu d'artifice and Het leven op aarde from Luc Tuymans' 1981 journal".Luc Tuymans: Dusk/Penumbra.Vol. 1. Porto: Museu Serralves =.ISBN9789727391646.OCLC938742300.
  24. ^Horrigan, Bill (2009). "Cinema, Belgium, Tuymans: A Note".Luc Tuymans.ed. Madeleine Grynsztejn and Helen Molesworth. San Francisco: San Francisco Museum of Modern Art. pp. 59–65.
  25. ^Cashdan, Marina. "Interview with Luc Tuymans".The White Review 7.pp. 22–42.
  26. ^Schjeldahl, Peter (2019). "Facsimile of six pages relating to Feu d'artifice and Het leven op aarde from Luc Tuymans' 1981 journal".Hot, Cold, Heavy, Light, 100 Art Writings 1988–2018.Vol. 1. New York: Abrams Press. www.abramsbooks.com.
  27. ^(in Dutch)"K. Kleijn, Albert Speer op ski's".Amsterdam: De Groene Amsterdammer. 23 March 2011.Archivedfrom the original on 12 March 2020.Retrieved12 March2020.
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  29. ^"Luc Tuymans, Die Zeit".Antwerp: M HKA Museum of Contemporary Art Antwerp.Archivedfrom the original on 1 March 2020.Retrieved12 March2020.
  30. ^(in Dutch)"Bernard Dewulf, Luc Tuymans: the horror. 'Mooi is voor mij een scheldwoord', 8 juni 2002".Ghent: De Morgen. 8 June 2002.Archivedfrom the original on 2 March 2020.Retrieved12 March2020.
  31. ^"Luc Tuymans".New York: E-flux.Archivedfrom the original on 29 September 2017.Retrieved12 March2020.
  32. ^(in Dutch)"Paul Depondt, Ongrijpbaar als kringen in een waterplas de smoezelige schilderijtjes van Luc Tuymans~bc857d26".Amsterdam: De Volkskrant. 8 September 1995.Archivedfrom the original on 17 February 2020.Retrieved12 March2020.
  33. ^"Luc Tuymans: Superstition: Exhibitions: The Renaissance Society. Luc Tuymans: Superstition: Exhibitions".Chicago: The Renaissance Society, renaissancesociety.org. 1995.Archivedfrom the original on 23 October 2018.Retrieved17 March2020.
  34. ^abcdeMeyer-Hermann, Eva.Luc Tuymans: Catalogue Raisonné of the Paintings, 1995–2006,Volume 2, New York: David Zwirner Books; New Haven: Yale University Press, 2018, pp. 6, 424–451
  35. ^(in French)"Face à l'Histoire 1933–1996, engagement, témoignage, vision"(PDF).Paris: Centre Georges Pompidou. 1996.Archived(PDF)from the original on 1 August 2018.Retrieved16 March2020.
  36. ^(in Dutch)Brams, Koen; Pültau, Dirk (2014)."Ik huiver van een identiteitsdiscours als het over cultuur gaat' Gesprek met Luc Tuymans over Belgische kunst en Vlaams-nationalisme".De Witte Raaf(169 mei-juni). Brussel.Retrieved20 March2020.
  37. ^"Luc Tuymans: The Heritage"(PDF).New York:David Zwirner Gallery.20 September – 19 October 1996. Archived fromthe original(PDF)on 23 September 2015.Retrieved26 June2015.
  38. ^"Luc Tuymans, 23 June – 26 September 2004".Tate Modern,London. 2004.Archivedfrom the original on 22 February 2020.
  39. ^(in German)Seyfarth, Ludwig (20 June 2002)."Rückkehr zur Tradition – Luc Tuymans' Beitrag zur D11. Luc Tuymans gilt als einer der herausragendsten Maler der Gegenwart in Europa. Auf der d11 enttäuscht seine Kunst".Frankfurter Allgemeine Zeitung.Archivedfrom the original on 4 March 2016.Retrieved20 March2020.
  40. ^abcdefghMeyer-Hermann, Eva.Luc Tuymans: Catalogue Raisonné of the Paintings, 2007–2018,Volume 3, New York: David Zwirner Books; New Haven: Yale University Press, 2018, pp. 6, 380–425
  41. ^Barbareschi, Beatrice (21 February 2008)."David Zwirner:" Luc Tuymans: Forever, The Management of Magic "".Contemporary Art New York.Retrieved20 March2020.
  42. ^afterall.org, 8 May 2014.
  43. ^"Qatar Museums Gallery ALRIWAQ".14 December 2015.
  44. ^(in Dutch)Bergmans, Eline (20 January 2015)."Tuymans veroordeeld voor plagiaat".De Standaard.
  45. ^"This Year's Biggest Art News Stories (editorial)".Artsy.New York. 15 December 2015.Archivedfrom the original on 22 February 2020.Retrieved20 March2020.
  46. ^ab"Luc Tuymans Found Guilty of Plagiarism for Painting Photo of Politician".20 January 2015.Retrieved16 August2016.
  47. ^Adrian, Searle (21 January 2015)."Why Belgium's plagiarism verdict on Luc Tuymans is beyond parody".The Guardian.
  48. ^Tuymans, Luc; Helfenstein, Josef; Reust, Hans Rudolf; Rinder, Lawrence (1997).Luc Tuymans: Premonition, Zeichnungen/Drawings [Published on the occasion of an exhibition organized by Kunsthalle Bern, Bern, April 23 – June 29, 1997, Berkeley Art Museum, Oktober 10 – December 31, 1997; Capc Musée d'art contemporain, Bordeaux, January 30 – April 11, 1998].Wabern-Bern, Germany: Benteli. p. 9 and 35.ISBN9783716510698.OCLC884075562.
  49. ^Meyer-Hermann, Eva.Luc Tuymans: Catalogue Raisonné of the Paintings, 1972–1994,Volume 1, New York: David Zwirner Books; New Haven: Yale University Press, 2018, pp. 5, 425, 426
  50. ^Gerrit Vermeiren, ed., Luc Tuymans: I Don’t Get It, 125–27. Exh. cat. MuHKA Museum van Hedendaagse Kunst Antwerpen, Antwerp. Ghent: Ludion, 2007
  51. ^Sigrid Bousset, Katrien Bruyneel, and Mark Geurden, ed., Troubleyn/Laboratorium: Jan Fabre. Brussels: Mercatorfonds, 2016.
  52. ^Meyer-Hermann, Eva.Luc Tuymans: Catalogue Raisonné of the Paintings, 1972–1994,Volume 2, New York: David Zwirner Books; New Haven: Yale University Press, 2018, pp. 5, 384–85
  53. ^Lynne Cooke and Tommy Simoens, ed., Luc Tuymans: Intolerance, 30; ill. 31. Exh. cat. QM Gallery Al Riwaq, Qatar Museums, Doha. Antwerp: Ludion, 2015
  54. ^(in Dutch)Erik, Raspoet (18 May 2010)."De schedel van Luc Tuymans".New York Times Literary Supplement.Retrieved24 March2020.
  55. ^"Museum square with 'Dead Skull'".MAS Museum aan de Stroom, Antwerpen.Archivedfrom the original on 6 December 2017.Retrieved20 March2020.
  56. ^"Dismantling of Luc Tuymans' Mosaic".2019.Archivedfrom the original on 25 March 2020.Retrieved20 March2020.
  57. ^Sellink, Manfred (2012).Luc Tuymans Graphic Works 1989—2012.Vol. 1. Antwerp: Ludion. pp. 7–9.ISBN978-9461300515.OCLC856579856.
  58. ^Parkin, Michela (June 1997)."Luc Tuymans born 1958".London: Tate.Archivedfrom the original on 21 March 2019.Retrieved12 March2020.
  59. ^Caron, Thomas (2017)."Isabel, Diorama, Scramble, Twenty Seventeen. Luc Tuymans".Art for Sale.Retrieved12 March2020.
  60. ^Hirsch, Faye. "Working Proof".On Paper, vol. 1, no. 2, Nov.-Dec. 1996.p. 34.
  61. ^Pettitt, Sarah (2015)."A Vision of Curating. an Interview with Luc Tuymans".Art Zip(22 June, issue 13): 73–74.Archivedfrom the original on 25 March 2020.Retrieved25 March2020.
  62. ^(in Dutch)Staff writer (5 October 2006)."Waarom loeien de sirenes?".De Standaard.Archivedfrom the original on 25 March 2020.Retrieved20 March2020.
  63. ^"The Forbidden Empire. Visions of the Worlds by Chinese and Flemish Masters".BOZA, Centre for Fine Arts, Brussels. 2007.Archivedfrom the original on 27 August 2017.Retrieved25 March2020.
  64. ^Eva, Mongi-Vollme (2008)."Reconsidered. Luc Tuymans: Selected Works from the Städel Collection".Städel Museum.Archivedfrom the original on 5 November 2017.Retrieved25 March2020.
  65. ^Staff writer (2011)."A Vision of Central Europe".Phaidon.Archivedfrom the original on 25 March 2020.Retrieved25 March2020.
  66. ^(in Dutch)"11 Kunstenaars tegen de muur in Antwerpen".HART.Antwerpen. 2016.
  67. ^Macpherson, Amy (24 November 2016)."Inside the show: James Ensor by Luc Tuymans".Royal Academy.Archivedfrom the original on 25 March 2020.Retrieved25 March2020.
  68. ^(in Dutch)"Sanguine/Bloedrood. Luc Tuymans on Baroque, 1 juni – 16 september 2018".M HKA Museum van Hedendaagse Kunst, Antwerpen.Archivedfrom the original on 25 March 2020.Retrieved25 March2020.
  69. ^"Sanguine. Luc Tuymans on Baroque".2018. Archived fromthe originalon 30 October 2019.Retrieved20 March2020.
  70. ^Van Doninck, Rose.Biografie.In Luc Tuymans: I don’t get it, onder redactie van Montserrat Albores Gleason, Dieter Roelstraete en Gerrit Vermeiren. 197. Gent: Ludion, 2007. p. 197.
  71. ^Aliaga, Juan Vicente.Juan Vicente Aliaga in conversation with Luc Tuymans.In Luc Tuymans, onder redactie van Ulrich Loock, Juan Vicente Aliaga, Nancy Spector en Hans Rudolf Reust. 6–31. Londen/New York: Phaidon, 2003. p. 13
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  73. ^"Luc Tuyamns. Lamproom, 1992".Art Partout.Archivedfrom the original on 29 February 2020.Retrieved20 March2020.
  74. ^Aliaga, Juan Vincente; Loock, Ulrich; Spector, Nancy; Reust, Hans Rudolf (2007).Luc Tuymans.London:Phaidon Press.pp. 244, 256.ISBN978-0-7148-4298-1.
  75. ^"Luc Tuymans, Dusk".Serralves Museum.Archivedfrom the original on 3 February 2020.Retrieved2 February2020.
  76. ^"Luc Tuymans, Portraits, 1975–2003".MAMCO Musee d'Art Moderne et Contemporain, Geneva.Retrieved2 February2020.
  77. ^Staff writer (14 December 2007)."Luc Tuymans Műcsarnok Kunsthalle, Budapest".Műcsarnok Kunsthalle.Archivedfrom the original on 3 February 2020.Retrieved20 March2020.
  78. ^"Luc Tuymans MUCSARNOK KUNSTHALLE, BUDAPEST".Zacheta.Retrieved2 February2020.
  79. ^Staff writer (21 September 2009)."SFMOMA AND Wexner Center to Present First U.S. Retrospective of the Work of Luc Tuyamns, Unprecedented Overview of the Artist's Career and Influence".SFMOMA San Francisco Museum of Modern Art.Archivedfrom the original on 3 February 2020.Retrieved20 March2020.
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  93. ^"Nuclear Plant".The Israel Museum, Jerusalem.Archivedfrom the original on 25 March 2020.Retrieved20 March2020.
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  111. ^Wullschlager, Jackie (12 February 2011)."The Painterly Pessimist"(Fee required).Financial Times.Archivedfrom the original on 27 October 2016.Retrieved24 February2020.
  112. ^"The Contemporary Art Market Report in 2019"(PDF).Artprice. 2019. p. 38.Archived(PDF)from the original on 3 March 2020.Retrieved25 March2020.
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  115. ^"No. 61450".The London Gazette(Supplement). 30 December 2015. p. N14.
  116. ^"Member: Luc Tuymans".American Academy of Arts and Letters.Archivedfrom the original on 25 March 2020.Retrieved20 March2020.
  117. ^Omer, Tony (20 March 2013)."Ward Just selected for the American Academy of the Arts & Letters".New York Times Literary Supplement.Archivedfrom the original on 1 July 2018.Retrieved20 March2020.
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  119. ^"Convocation 2015".London: Royal College of Art [view from 18:18].Retrieved13 July2015.
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  121. ^(in Dutch)"Algemene culturele verdienste 2019, Luc Tuymans".Brussel: Ministerie van de Vlaamse Gemeenschap, Departement Cultuur, Jeugd en Media. 18 February 2020.Archivedfrom the original on 24 February 2020.Retrieved23 February2020.
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  123. ^"Honoree: Luc Tuymans".TWO x TWO for AIDS and Art, Dallas. 2013.Archivedfrom the original on 27 February 2014.
  124. ^(in Dutch)Ilegems, Danny (22 February 2019)."Kunstenares Carla Arocha kijkt met bang hart naar situatie in haar geboorteland".San Francisco: De Morgen. Antwerpen: DPG Media nv/.Archivedfrom the original on 22 February 2020.Retrieved14 August2019.

More references (selected monographies)

  • Aliaga, Juan Vicente; Loock, Ulrich; Reust, Hans Rudolf; Spector, Nancy (2007).Luc Tuymans(Rev. ed.). London:Phaidon.ISBN9780714842981.
  • Grynsztejn, Madeleine; Molesworth, Helen (2009).Luc Tuymans.San Francisco: San Francisco Museum of Modern Art; Columbus: Wexner Center for the Arts.ISBN9781933045986.OCLC939221009.
  • Meyer-Hermann, Eva; Tuymans, Luc (2018).Luc Tuymans: catalogue raisonné of the paintings. Volume 1: 1972-1994.New York:David Zwirner Books;New Haven:Yale University Press.p. 492.ISBN9781941701614.OCLC1050148364.
  • Meyer-Hermann, Eva; Tuymans, Luc (2019).Luc Tuymans: catalogue raisonné of the paintings. Volume 2, 1995-2006.New York:David Zwirner Books;New Haven:Yale University Press.p. 455.ISBN9780300244670.OCLC1048937043.
  • Meyer-Hermann, Eva; Tuymans, Luc (2019).Luc Tuymans: catalogue raisonné of the paintings. Volume 3, 2007-2018.New York:David Zwirner Books;New Haven:Yale University Press.p. 425.ISBN9780300247428.OCLC1048937043.
  • Tuymans, Luc; Loock, Ulrich (1992).Luc Tuymans: [Published on the occasion of an exhibition organized by Kunsthalle Bern, Bern, March 14 – April 26, 1992].Bern: Kunsthalle. p. 269.ISBN9780714842981.OCLC881709830.
  • Tuymans, Luc; Helfenstein, Josef; Reust, Hans Rudolf; Rinder, Lawrence (1997).Luc Tuymans: Premonition, Zeichnungen/Drawings [Published on the occasion of an exhibition organized by Kunsthalle Bern, Bern, April 23 – June 29, 1997, Berkeley Art Museum, Oktober 10 – December 31, 1997; Capc Musée d'art contemporain, Bordeaux, January 30 – April 11, 1998].Wabern-Bern, Germany: Benteli. p. 208.ISBN9783716510698.OCLC884075562.
  • Tuymans, Luc; Storr, Robert; Hoet, Jan (2001).Luc Tuymans: Mwana Kitoko, Beautiful White Man: [Published on the occasion of an exhibition organized by S.M.A.K Stedelijk Museum voor Actuele Kunst at the Belgian Pavilion in the Giardini of Venice, La Biennale di Venezia, Venice, June 10 – November 4, 2001].Ghent, Belgium: S.M.A.K Stedelijk Museum voor Actuele Kunst. p. 135.OCLC496300303.
  • Tuymans, Luc (2006).Luc Tuymans - Dusk, Penumbra [Published on the occasion of an exhibition organized by Museu Serralves, Museu de Arte Contemporânea, Porto, exhibition held July 14 – October 15, 2006.Porto: Museu Serralves.OCLC496300303.
  • Tuymans, Luc; Vermeiren, Gerrit; Roelstraete, Dieter; Albores Gleason, Montserrat (2007).Luc Tuymans: I Don't Get It [exhibition held June 1 through September 9, 2007, MuHKA Museum van Hedendaagse Kunst Antwerpen, Antwerp.Ghent: Ludion.OCLC225870510.
  • Tuymans, Luc; Tolnai, Ottó (2007).Luc Tuymans: Retrospective [Published on the occasion of an exhibition organized by Műcsarnok Kunsthalle, Budapest, December 15, 2007 – February 11, 2008; traveled as Wenn der Frühling kommt, Haus der Kunst, Munich, March 2 – May 12, 2008].Stockmans/De Vos.
  • Tuymans, Luc; Wingate, Donna (2012).Luc Tuymans: exhibitions at David Zwirner 1994–2012.Antwerp, Belgium: Ludion. p. 223.OCLC966068539.
  • Tuyamns, Luc; Cooke, Lynne.Luc Tuymans: Intolerance [Published on the occasion of an exhibition organized by Qatar Museums at QM Gallery Al Riwaq, Doha, October 18, 2015 – January 30, 2016].Dawḥah, Qatar: Qatar Museums, Antwerp: Ludion. p. 464.OCLC945655579.
  • Tuymans, Luc; Demaegd, Frank (2016).Scramble: 25 Years of Collaboration [Published on the occasion of an exhibition organized by Zeno X Gallery, Antwerp, September 7 – October 22, 2016.Antwerp: Zeno X Books. p. 257.OCLC1119659035.

Writings by the artist (selected)

  • Tuymans, Luc; Boehm, Gottfried; Clark, T.J.; De Wolf, Hans M. (2018). Robecchi, Michele (ed.).Luc Tuymans: The Image Revisited(Rev. ed.). Antwerp: Ludion.ISBN9789491819797.
  • Tuymans, Luc (2019). "Introduction". In Bandera, Maria Cristina (ed.).Among others: Blackness at MoMA.New York:The Museum of Modern Art.p. 352.ISBN9781633450349.OCLC1086343696.
  • Tuymans, Luc (2018). "Introduction".Sanguine Luc Tuymans on Baroque.Milan:Fondazione Prada.pp. 7–9.ISBN9788887029741.OCLC1113309887.
  • Tuymans, Luc (2013). "My Name Is Nobody". In Bandera, Maria Cristina (ed.).Giorgio Morandi: A Retrospective.Brussels: BOZAR Books; Milan: Silvana Editoriale. pp. 194–97.ISBN9788836625949.OCLC888583890.
  • Tuymans, Luc (2012). "Curating the Library, Transcript of Lecture". In Burioni, Matteo; Boehm, Gottfried (eds.).Der Grund: das Feld des Sichtbaren.München: Verlag Wilhelm Fink. pp. 474–83.ISBN9783770550746.OCLC647901030.
  • Tuymans, Luc (2011). "Excellence". In Hans, e Wolf (ed.).Jeff Wall: The Crooked Path. Exh. cat.Ludion; Brussels: BOZAR Books: Antwerp. p. 49.ISBN9789055448623.OCLC793128890.
  • Tuymans, Luc (2011). "Inleiding/Introduction". In Biasino, Fabrice (ed.).Feuilleton: Angel Vergara. Venice Biennale, Esposizione Internazionale d'Arte, Belgian Pavilion, Venice – 57.Antwerp: Ludion. p. 25.ISBN9789055448524.OCLC778945490.
  • Tuymans, Luc (2010). "Boys and Science". In Schmidt, Hans-Werner; Schwenk, Bernhart (eds.).Neo Rauch: Paintings. Exh. cat. Museum der bildenden Künste; Pinakothek der Moderne, Munich.Ostfildern-Ruit:Hatje Cantz Verlag.pp. 98–99.OCLC932596070.
  • Tuymans, Luc (2008). "When Spring Comes: A Guided Tour with Luc Tuymans". In Dander, Patrizia; Wingate, Donna (eds.).Luc Tuymans: Wenn der Frühling kommt. Ed. cat. Haus der Kunst, Munich.Antwerp: Ludion. pp. 9–13.ISBN9789491819032.OCLC938773758.
  • Tuymans, Luc (2006). "Het verboden rijk (The Forbidden Empire)".Het verboden rijk: wereldbeelden van Chinese en Vlaamse meesters. Exh. Cat. Centre for Fine Arts, Brussels, and Palace Museum, Beijing.Brussels: Bozar Books and Fonds Mercator.ISBN9789061537137.OCLC647771692.
  • Tuymans, Luc (2006). "On the Image". In Reust, Hans Rudolf (ed.).Luc Tuymans: Dusk/Penumbra. Exh. Cat. Museu Serralves.Porto: Museu Serralves.ISBN9789727391646.OCLC938742300.
  • Tuymans, Luc (2006). "La Correspondance (reprint from 1986)".Luc Tuymans: Dusk/Penumbra, n.p. Exh. cat.Porto: Museu Serralves.ISBN9789727391646.OCLC938742300.
  • Tuymans, Luc (2005). "Daylight".Kerry James Marshall: Along the Way.London: Camden Arts Centre. pp. 27, 30–31.ISBN9781900470544.OCLC796082489.
  • Tuymans, Luc (2001). "Der Frühling kommt: Ideen, Fragen und Bemerkungen zum Konzept einer Ausstellung".Signal. Exh. cat.Hamburger Bahnhof– Museum für Gegenwart, Berlin.Berlin:Staatliche Museen zu Berlin.pp. 2–3.ISBN9783886094493.OCLC313837829.
  • Tuymans, Luc (1997). "The Broken Mirror". In Celant, Germano (ed.).Futoro presente passato/ Future Present Past. Exh. cat. Venice: Fondazione La Biennale di Venezia.Milan: Electa. p. 626.ISBN9788843561544.OCLC501499461.
  • Tuymans, Luc (1992). "Disenchantment". In Loock, Ulrich (ed.).Luc Tuymans.Bern: Kunsthalle Bern. pp. 11–36.ISBN9783857800795.OCLC881709830.

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