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Julian Schnabel Photo

Julian Schnabel

American Filmmaker, Painter, Printmaker, and Sculptor

Born: October 26, 1951 - Brooklyn, New York
Movements and Styles:
Neo-Expressionism
"When you make art, people try to stop you from doing it, and everything's sort of designed to stop you from doing it. So the fact that it exists is a wonderful thing."
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Julian Schnabel Signature
"My paintings take up room, they make a stand. People will always react to that. Some people get inspired, others get offended. But, that's good. I like that."
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Julian Schnabel Signature
"It's a great excuse and luxury, having a job and blaming it for your inability to do your own art. When you don't have to work, you are left with the horror of facing your own lack of imagination and your own emptiness. A devastating possibility when finally time is your own."
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Julian Schnabel Signature
"A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings."
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Julian Schnabel Signature
"My compulsion is to create things."
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Julian Schnabel Signature
"I didn't want to be like everybody else. Art was my religion."
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Julian Schnabel Signature
"I painted the first plate paintings out of desperation because I was trying to make a painting that I had never seen before."
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Julian Schnabel Signature
"Sometimes you can make a painting, and it may not be pretty. It may be ugly, but it's better than when it's pretty. What do they say? Ugly can be beautiful; pretty, never."
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Julian Schnabel Signature
"I've never made a movie to make money. I've never made a painting to make money."
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Julian Schnabel Signature
"I guess I am ruthless too because that's what makes a great artist. But I also respect people, I don't go around stepping on their heads."
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Julian Schnabel Signature
"This camera works like photosynthesis. It is as if you were Xeroxing your own face. The pictures have such physicality: their surface is like fine leather, stained from chemicals. Each one has a body and is more than an image."
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Julian Schnabel Signature

Summary of Julian Schnabel

Julian Schnabel began his artistic career in the late 1970s and was part of a contingent of 1980s artists including Jean-Michel Basquiat and David Salle who endeavored to restore painting to its pre-abstraction status. Their style permitted expressivity, even exuberance, and, in contrast to the pervasive intellectualism of Minimalist and Conceptualist art of the time, balanced technical concerns with emotional resonance. As a Neo-Expressionist, Schnabel reintroduced human sentiment to painting and eschewed flatness, heaping materials onto unconventional supports such as black velvet, weathered tarpaulins, and cardboard. In addition to painting, Schnabel's expansive creative impulse led him to branch out into music, photography, and film. Schnabel has received widespread critical acclaim for work as the director of Basquiat, Before Night Falls, and The Diving Bell and the Butterfly, among other productions, although he identifies himself as a painter first and foremost.

Accomplishments

  • Emerging on the heels of Minimalism and Conceptual art, Schnabel's near-mania for excess was, in itself, a potent declaration of his iconoclastic intent. His works, heavily laden not only with emotion - often there is an edge of brutal expressivity - but also quite literally with highly unconventional materials, are his manifestoes. Constructed on irregular supports like black velvet and aged tarpaulins, the lavish chaos of Schnabel's collage-like paintings is in itself a rejection of Minimalist asceticism, a true turning point for painting.
  • Schnabel arrived on the New York art scene with a precocious vengeance. He acquired almost immediate renown for his outlandish behavior, outspokenness, and egotism. Reviled by some and encouraged, even adored, by others, Schnabel seemed to be reinstituting the cult of the bohemian artist as a means of shameless self-promotion. Critics contended that his work was judged less on its potential merit than on the artist's larger-than-life, charismatic, and idiosyncratic persona.
  • Schnabel's work frequently features religious and, in particular, Catholic iconography and themes. His youthful engagement with Mexican culture and Meso-American religious practice when his family lived quite close to the Mexican border in Texas persisted as a lifelong fixation, which is reflected in his art. Introducing oblique religious themes in his work was a means by which Schnabel could not only infuse his paintings with meaning, but also, on a more fundamental level, connect with art history, albeit in an often satirical way.

Biography of Julian Schnabel

Julian Schnabel Life and Legacy

Julian Schnabel was born in Brooklyn, New York, on October 26, 1951 to Esta and Jack Schnabel, the youngest of three children. His long-standing fascination with Mexican culture and Catholic imagery and symbolism, so inherent to much Mexican folk art, was sparked when he was an adolescent. Leaving behind the lively Jewish community of his birthplace, at age thirteen Schnabel moved with his family to Brownsville, Texas., Brownsville was an utterly new, alien world, not far from the Mexican border, which seemed to ignite the creative spark of the inquisitive and innovative teen. As a youth, Schnabel's creative impulse was expressed in various ways; it was during those years that he determined to be an artist. He also sang in a rock band. This creative diversity set the stage for his multifaceted and prolific career.



Progression of Art

1982

Portrait of Andy Warhol

With his eerie portrait of fellow artist Andy Warhol, executed on black velvet, Schnabel has united low culture, pop art, and the high-art tradition of portraiture. The painterly style and palette are reminiscent of works by El Greco and Francis Bacon. Warhol stands dramatically alone on the right side of the composition in a sea of black velvet. Telltale paint splatters and smears partially cover the middle and the right side of the image, adding balance and mysterious depth to the composition. Known for his controlled and almost emotionless portraits of celebrities and the otherwise infamous that emphasized the homogeneity of visual reproductions, Warhol is ironically depicted with tremendous expressive impact in this portrait by Schnabel.

Oil on velvet - Hirshhorn Museum, Washington, D.C.

1983

The Student of Prague

The Student of Prague is one of Schnabel's famous "plate paintings" in which he applied heavy layers of pigment over broken plates and horns that were glued to a wood panel. The work is exemplary Schnabel's oeuvre of the 1980s in its massive scale and almost baroque ornamentation. The broken plates are in part representative of the influence of the work of Gaudi, whose pottery-fragment mosaics were interesting to Schnabel. Moreover, Schnabel's use of broken crockery as a painting surface signaled an overtly defiant departure from the almost sacred "flat surface" rule of Minimalist painting. This fusion of the everyday and the grandiose were characteristic of the extreme emotionalism of Schnabel's narratives.

Structurally, the work resembles a triptych, a standard format for Christian painting of the Renaissance. It is divided into three distinct sections with the middle partition rising upward and outward above the others. Connected by the unifying surface texture, the work evokes the hinged panels of its medieval and Renaissance predecessors; rough crosses appear here and there, reinforcing the Christian symbolism. The lone, ghost-like figure in the center of the composition is both integrated with and singled out from the rocky landscape of the painting's imagined and material surfaces.

Oil, plates, horns and Bondo on wood - The Guggenheim Museum, New York

1986

Spain 

This work was inspired by Schnabel's visit to Spain in the late 1970s. Like The Student of Prague, it is also a "plate painting," but here his palette is rich and earthy, evoking the Spanish landscape. The chaotic, irregular surface created by the broken crockery lends Spain a sense of danger, and the disembodied head, a standard feature in many works by Schnabel, reinforces the sense of uneasiness. Spain might be said to evoke some of the more prominent influences for Schnabel: the floating head seems straight out of a tableau by Picasso; the assembled, broken crockery are perhaps direct referents to the mosaics of Gaudi; and the rough, exuberant brushwork evokes the colorful splatters and splashes of Pollock.

Oil, plates and Bondo on wood - Guggenheim Museum, Bilbao, Spain

1990

Untitled (Lo Tango)

Schnabel's mature work is simpler, less heavily-loaded, materially if not content-wise. Indeed, this work, Untitled (Lo Tango), while still large (92" x 68") is virtually devoid of the grossly irregular surface, appearing as if everything has been compressed toward a greater simplicity. It is a picture within a picture, in a sense a diptych that evokes the triptychs of his earlier career. A small printed canvas is mounted on the larger surface, on which Schnabel loosely applied pigment with very little blending. The brushwork is expressive but also confined to large fields of limited color. It is as though Schnabel has censored himself, reigning in the chaos inspired by the profuse materiality of his plate paintings and instead favoring the clarity of the narrative. The split canvas indicates an underlying belief of Schnabel: that a painting can tell a story or be otherwise expressive in multiple ways—here very directly via the large, overtly phallic pink blobs and the printed reproduction—inscrutable as that story may be.

Oil, gesso and printed canvas on mounted canvas - Museum of Modern Art, New York

1993

Fakires

Fakires is a testament to Schnabel's tendency to experiment with a variety of surfaces beyond traditional gesso-treated canvas. Here he utilizes a drop cloth, typically reserved for catching spills and other debris as the painter works. The cloth becomes critical to the painting, obscuring the canvas and suggesting that ultimate meaning is therefore at least partially inaccessible. The text scrawled across the surface of the cardboard, which Schnablel applied to the drop cloth, provides another layer of implication, another method by which the artist can inscribe content, however obscure, or insert a narrative into a work. The word "Fakires" ("fakir" is the singular) is an Arabic word that refers to a holy man or religious figure, especially one who performs a magical or miraculous feat, but also resonates with the slang term, "faker," or one who is dishonest in their actions. Sketchily painted across the surface of the image, the thinly defined letters are additional symbols that contribute to the overall mysterious connotation of the composition. Although the layering aspect of different materials along with paint is still important in his work, Schnabel has moved away from broken ceramics and instead deploys far more perishable cardboard.

Oil, resin and cardboard on cotton drop cloth - Guggenheim Museum, Bilbao, Spain

2007

Untitled (Christ's Last Day) VI

A more recent work, Untitled (Christ's Last Day) VI, is an ink reproduction of an actual x-ray from the early-20th century. There is something exceedingly delicate about this piece, particularly in comparison to the heavily impastoed and ornamented paintings of Schnabel's earlier career. The title mentions Christianity, a frequent theme in Schnabel's work, and provokes allusions to suffering, martyrdom, and death. Christ, however, is only part of the story and, for that matter, it is surely his humanity that the artist exposes so intimately. The x-rays, found in Normandy, France when Schnabel was there shooting his film, The Diving Bell and the Butterfly, peer inside the body of an unknown person and provide a glimpse of human frailty.

Ink on polyester - Gagosian Gallery, New York


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Content compiled and written by Tracy DiTolla

Edited and published by The Art Story Contributors

"Julian Schnabel Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Tracy DiTolla
Edited and published by The Art Story Contributors
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First published on 21 Dec 2011. Updated and modified regularly
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