Auguste Herbin (Photo ca 1910) B: 29 Apr 1882 in Quievy, Nord, France D: 30 Jan 1960 in Paris, France
Auguste Herbin - Autorretrato 1906
Auguste Herbin - Self Portrait 1910
Auguste Herbin - The Seine at Andelys 1901
Auguste Herbin - Pont Neuf 1902
Auguste Herbin - Three Vases 1904
Auguste Herbin - Still Life with Fruit 1904
Auguste Herbin - Stilleben mit Silberblatt 1904
Auguste Herbin - Flowers 1905
Auguste Herbin - Retrato de Mathieu Battaglia 1906
Auguste Herbin - Profile of the Painter Battaglia 1906
Auguste Herbin - The Cafe Terrace 1906
Auguste Herbin - A Street in Bastia 1907
Auguste Herbin - Corsican Landscape 1907
Auguste Herbin - Landscape at Hamburg 1907
Auguste Herbin - Port 1907
Auguste Herbin - La Place Maubert 1907
Auguste Herbin - Windmill in Holland 1908
Auguste Herbin - Beguinage at Bruges 1908
Auguste Herbin - Naturaleza Muerta con Sombrero 1908
Auguste Herbin - Nature Morte aux Deux Citrones 1909
Auguste Herbin - Paysage à Créteil 1909
Auguste Herbin - Nature Morte à la Cuvette 1909
Auguste Herbin - Mujer con Perro 1909
Auguste Herbin - Still Life with a White Bowl 1910
Auguste Herbin - Livre, Pot et Thélière 1910
Auguste Herbin - Roses sur une Table 1910
Auguste Herbin - Pots et Fruits 1910
Auguste Herbin - Park in Paris 1911
Auguste Herbin - The Mill on the Marne 1911
Auguste Herbin - Still Life with Fruit and a Chicken 1911
Auguste Herbin - The Pré Saint-Gervais 1911
Auguste Herbin - Still Life 1911
Auguste Herbin - Le Pont de Fer (Iron Bridge) 1911
Auguste Herbin - Villaggio di Collina, Landscape near Hardricourt 1911
Auguste Herbin - Bridge over the Oise to Vadencourt 1912
Auguste Herbin - Les Roses 1912
Auguste Herbin - Still Life with a White Fruit Bowl and a Water Bottle 1912
Auguste Herbin - House and Trees in Ceret 1913
Auguste Herbin - Still Life with Peaches 1924
Auguste Herbin - Landscape at Ceret 1913
Auguste Herbin - Retrato de Michel Aribaud 1913
Auguste Herbin - Le Canigou 1913
Auguste Herbin - Dessert 1913
Auguste Herbin - Still Life 1913
Auguste Herbin - Trois Arbres 1913
Auguste Herbin - The Cork Oak, Study 1913
Auguste Herbin was a French painter of modern art. He is best known for his Cubist and abstract paintings consisting of colorful geometric figures. He co-founded the groups Abstraction-Création and Salon des Réalités Nouvelles which promoted non-figurative abstract art.
The initial influence of Impressionism and Post-Impressionism visible in paintings that he sent to the Salon des Indépendants in 1906 gradually gave way to an involvement with Fauvism, and he exhibited at the Salon d'Automne in 1907. He started to experiment with Cubism after his move in 1909 to the Bateau-Lavoir studios, where he met Pablo Picasso, Georges Braque, Otto Freundlich and Juan Gris; he was also encouraged by his friendship with the art collector and critic Wilhelm Uhde. His work was exhibited in the same room as that of Jean Metzinger, Albert Gleizes and Fernand Léger in the Salon des Indépendants of 1910, and in 1912 he participated in the influential Section d'Or exhibition.
In 1914, at the outbreak of World War I, he was exempted from military service because of his short stature and was committed to work in an airplane factory near Paris.
After producing his first abstract paintings in 1917, Herbin came to the attention of Léonce Rosenberg who, after World War
I, made him part of the group centred on his Galerie de l'Effort Moderne and exhibited his work there on several
occasions in March 1918 and 1921. Herbin's radical reliefs of simple geometric forms in painted wood, such as Colored Wood Relief (1921; Paris, Musée
National d'Art Moderne), challenged not only the status of the easel painting but also traditional figure–ground relationships. The incomprehension that greeted these reliefs and related furniture designs, even from those critics most favorably disposed
towards Cubism, was such that until 1926 or 1927 he followed Rosenberg's advice to return to a representational style and produced paintings in the New Objectivity style.
Herbin himself later disowned his landscapes, still lifes and genre scenes of this period, such as Bowls Players (1923; Paris, Musée National d'Art Moderne), in which the objects were depicted as schematized volumes. Under the influence
of surrealism, he became increasingly critical of the rational forms employed by De Stijl. After 1927
Herbin becomes interested by microphotographs of crystals and plants and completely abandons figurative painting.
the 1930s, he co-founded the group Abstraction-Création in Paris and served as publisher and author for the journal Abstraction-Création.
Art non figurativ. In the second issue of the journal he wrote against the rising Fascism and oppression of all kinds. As a member of the Communist Association
des Écrivains et Artistes Révolutionnaires he signed a statement against the political indifference of artists. Critical of Stalinism, he left the Communist
party in the 1940s.
Beginning in 1942, Herbin developed a language of form and color, his "alphabet plastique". Increasingly, his paintings consist only of colorful arrangements of triangles, circles and rectangles. In 1946 he was one of the founders of the Salon des Réalités Nouvelles, a successor of Abstraction-Création. He later served as the group's vice-president.
After 1953 Herbin was paralyzed on the right side, forcing him to paint with the left hand. He died in Paris on 31 January
1960. One painting remained unfinished—the motif of the painting was constructed on the word Fin.
During the 2000s an important series of original Herbin's signed rugs have been realised by Didier Marien from the Boccara Gallery with the agreement of the rights holders. Those rugs exhibited in France, but also in Moscow, London and New York played a key role in the worldwide rediscovery of Auguste Herbin's artistic creations.