Difference between revisions of "Gego"
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(Created page with "'''Gertrud „Gego" Louise Goldschmidt''' (1912 – 1994) was a Venezuelan artist of German-Jewish heritage. She emigrated to Venezuela at the age of 27, and acquired citizens...") |
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| − | '''Gertrud „Gego" Louise Goldschmidt''' (1912 – 1994) was a Venezuelan artist of German-Jewish heritage. She emigrated to Venezuela at the age of 27, and acquired citizenship in 1952. She lectured on architecture at the University of Caracas. She worked in both art and architecture, designing houses, restaurants, nightclubs. At the start of the 1940s, she set up the Gnuz studio, where she designed lamps and furniture. From the latter half of the 1950s, she dedicated herself almost entirely to art, reducing her means of expression to the bare minimum in order to create her own, minimalist approach to | + | '''Gertrud „Gego" Louise Goldschmidt''' (1912 – 1994) was a Venezuelan artist of German-Jewish heritage. She emigrated to Venezuela at the age of 27, and acquired citizenship in 1952. She lectured on architecture at the University of Caracas. She worked in both art and architecture, designing houses, restaurants, nightclubs. At the start of the 1940s, she set up the Gnuz studio, where she designed lamps and furniture. From the latter half of the 1950s, she dedicated herself almost entirely to art, reducing her means of expression to the bare minimum in order to create her own, minimalist approach to [[kinetic art]] and op art. [http://transatlantic.artmuseum.pl/en/artist/gertrude-gego-louise-goldschmidt (Source)] |
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Revision as of 17:09, 3 March 2022
Gertrud „Gego" Louise Goldschmidt (1912 – 1994) was a Venezuelan artist of German-Jewish heritage. She emigrated to Venezuela at the age of 27, and acquired citizenship in 1952. She lectured on architecture at the University of Caracas. She worked in both art and architecture, designing houses, restaurants, nightclubs. At the start of the 1940s, she set up the Gnuz studio, where she designed lamps and furniture. From the latter half of the 1950s, she dedicated herself almost entirely to art, reducing her means of expression to the bare minimum in order to create her own, minimalist approach to kinetic art and op art. (Source)
