UMLAUF Charles
Nato a South Haven, MI, USA nel 1911
morto a nel 1994
Nazionalita: USA
website: http://www.umlaufsculpture.org
Sesto di otto figli, nasce da genitori immigrati in una fattoria vicino South Haven nel Michigan. Nel 1918 la sua famiglia si trasferisce a Chicago. Riconosciuto il suo talento artistico dal suo insegnante, gli viene data una borsa di studio per frequentare i corsi estivi all'Art Institute di Chicago, dove poi, finito il liceo, si diploma (1932), seguendo anche i corsi della Chicago School of Sculpture (1934-37).
Inizia ad insegnare come assistente al Viola Norman's Chicago School of Sculpture (1932-'34), eseguendo anche alcuni studi in creta e modelli in gesso, e poi nella Divisione Scultura del Progetto Artistico Federale sotto la direzione dello scultore francese Edoardo Chassaing (1939-'41).
Nel 1937 sposa Angeline Allen, sua compagna di studi all'Art Institute, con cui ha sei figli (Charles, 1939; i gemelli Carolyn e Madelon, 1941; Louis, Arthur e Thomas).
Nel 1941 si trasferiscono ad Austin, TX, dove Umlauf è invitato ad insegnare Disegno e Scultura nel nuovo Dipartimento di Arte all'Università del Texas, in cui rimane fino al 1981, ormai diventato 'Professore Emerito'.
Sterminata è la sua produzione artistica, soprattutto negli Stati Uniti.
Tra le sue personali: Shook-Carrington Gallery, San Antonio, Texas (1966); Dalzell Hatfield Gallery, Los Angeles (1966); Galleria d'Arte Santa Croce, Firenze (1966); Archer M. Huntington Art Gallery, University of Texas Art Museum, New York (1967; '80); Galeria de los Cruces, Corpus Christi, Texas (1971); "Scultura Figurativa", Galleria d'Arte Manzoni, Milano (1974). Altre personali in Canada, Sud America, Australia, Belgio, Germania, Austria, Spagna e Inghilterra.
Numerose anche le collettive, tra cui: "American" and "Chicago and Vicinity", Art Institute of Chicago (1936-'42); New York World's Fair, Fine Arts Gallery (1939-40);"Annual sculpture exhibition", Oakland Art Gallery (1941, '46, '49); "San Francisco Art Association", San Francisco Museum of Art (1941, '46, '57); "Sculpture of the Western Hemisphere" Cocorana Art Gallery and tour of South American Museum (1942, '43); "Artists for Victory" Metropolitan Museum of Art (1942); "Texas General", Annual Painting and Sculpture Exhibition (1942); Annual Art Faculty Exhibition, University of Texas (1942-'81); "International Watercolor Exhibition" Art Istitut of Chicago (1943); "Contemporary American Sculpture, Water Colours & Drawings", Whitney Museum of American Art (1946, '47, '48, '49, '50, '51, '53, '56); "Annual Exhibition of Painting and Sculpture", Pennsylvania Academy of Art (1946, '47, '48, '50, '51, '54, '60, '62, '66); "Sculpture Today" Toledo Museum, Ohio and Toronto Museum of Art, Canada (1947, '48); "Artists West of the Mississippi" Colorado Springs Fine Arts Center (dal 1947); "Juried Membership Exhibition", Texas Fine Art Association (1948); Denver Art Museum Annual (1948, '49, '50, '52, '55, '56); "Ceramic National", Syracuse Museum, New York (1948-'50); Exhibition of American Art" Galerie Giroux, Brussels, Belgio (1948); "New Orleans National" Isaac Delgado Museum, (1948); "Statue Project", Demotte Gallery, New York (1949); "Religious Sculpture" Colubus Gallery of Fine Art (1949), Dayton Art Institute (1950); "Third International" Philadelphia Museum, Fairmont Park (1949); "Brooklyn Watercolor International" Brooklyn Museum (1949); Candidates for Grants, National Institute for Arts and Letters (1950; '51; '54; '55; '64); Sculptor's Guild Annual, New York (1950-'55); "American Painting" Metropolitan Museum of Art, New York (1950); "American Sculpture" Metropolitan Museum of Art, New York (1951); "The Artists Vision" Des Moines Art Center (1952); "Texas Contemporary Artists" Knoedler Gallery New York (1952); " Contemporary American Drawings", Wisconsin Union Gallery (1953); "Integration" Contemporary Art Museum, Houston (1953); "University of Illinois" University of Illinois (1953, '57, '59, '63); "Contemporary Sculptors", Ohio State University (1954); "Contemporary Arts Exhibition" Art Istitute of Chicago (1955); "Liturgical and Religious Arts" Denver Art Museum (1955); "Religious Art" Newark Museum, New Jersey (1956); "Sculpture in Architecture" Sydney Australia (1956); "Contemporary Religious Art in Texas" Witte Memorial Museum, San Antonio (1957); "Sculpture Exhibition" Fort Worth Art Center (1957); "God and Man in Art" American Federation of Art Exhibition (1957-58); "Christocentric Arts Festival", Newman Foundation Galleries, University of Illinois (1957-'64); "Sculpture Exhibition", Providence Rhode Island, Providence Art Club (1958); "Religious Art of the Western World", Dallas Museum of fine Art (1958); "From Rodin to Lipchitz", Dallas Museum of Contemporary Art (1958); "Fifth Regional Biennal", Kansans State Collage (1958); "Mid-American Annual", Nelson Memorial Museum, Kansans City (1959); "Made in Texas By Texans", Southland Center, Dallas (1959); "Religious Art Exhibition", Colorado Spring Fine Arts Center (1959); "Contemporary Religious Art", Terrace Room, Penn-Sheraton Hotel, Pittsburg (1960); "Annual Exhibition of Southwest American Art", Oklahoma Art Center (1960, '63); "Contemporary Christian Art", Firestone Library, Princeton University (1960); "Southwestern Art Exhibition", Dallas Museum of Fine art (1960); Dallss Art Festival, Southland Center (1960); "Young Collector's Exhibition" Philbrook Art Center, Tulsa, Oklahoma (1961); "Religious Sculpture and Modern Church Architecture", Phillworth Art Center (1961); "American Business and the Arts", San Francisco Museum of Art (1961); "Adelaide Festival of Art", National Gallery of South Australia, Adelaide (1962); "Greensboro Collectors", Weatherspoon Art Gallery, Greensboro, North Carolina (1963); "Painting and Sculpture Invitational", L.S.U Union Gallery, Louisiana State University, Baton Rouge (1964); "Religious Art Exhibition", Mulvane Art Center, Topeka, Kansas (1964); "The Figure in Sculpture, 1865-1965", J.B Speed Art Museum, Louisville, Kentucky (1965); Onehundred and Sixty First Annual Exhibition of American Oil Painting and Sculpture, Pennsylvania Academy of Fine Art (1966); "Exhibition of Ted Weiner Collection", University of Texas Art Museum, Austin (1967); "Our Patrons Collect", Laguna Gloria Art Museum, Austin (1967); "Creative Collaboration", Rice University Medical Center , Huston, Texas (1967); Outdoor Sculpture Exhibition, Hemisfair, San Antonio, Texas 81968); "A particular Portion of Earth", Washington (1968); Gallery of Rapides ank & Trust Co, Alexandria, Los Angeles (1969); "Exhibition of Sculpture and Drawings on tour", Southwestern Louisiana University, Lafayette, Los Angeles (1969); Louisiana Arts and Science Center, Baton Rouge, Los Angeles (1969); Art Faculty Exhibition, Gallery of Men of Art Guild, San Antonio (1970); Fifteenth Annual Invitational Painting and Sculpture Exhibition", Longview Museum and Arts Center, Texas (1973); "Joy to the World", American Bicentennial Celebration in Galveston, Texas (1973); Sol del Rio Gallery, San Antonio (1977); Centennial Exhibition, Art Institute, Chicago (1979-'80); Retrospective Exhibition Exhibition, University of Texas (1980).
Sue opere sono presenti in collezioni pubbliche e private sparse in tutti gli Stati Uniti, inclusi: National Collection of Fine Arts, Smithsonian Institutions, Washington, D.C.; Metropolitan Museum of Fine Arts, New York; Oklahoma Art Center; Des Moines Art Center; Huntington. Tra sue le principali commissioni (come vincitore di concorsi) si ricordano: "Mother and Children", Cook County Hospital, Chicago; "Angel", entrata, Cimitero, Lubbock, TX; "Spirit of Flight", entrata, Love Field, Dallas; Witte Memorial Museum, San Antonio; "George Huntington Hartford e Julius Rosenwald", Mechandise Mart Hall of Fame, Chicago; ed inoltre: "Pietà" (1961); "Icarus", bronzo, donato dalla Phillis Petroleum Company all'Università del Kansas, Space Technology Center (1964); "Prometheus", Plains National Bank, Lubbock, TX (1968); "Hope of Humanity", Museo di Scienze Naturali, Herman Park, Houston (1972); "Madonna and Child", Inner Park, Saint David's Community Hospital, Austin (1989); "Abstraction, Form VII", New Teacher's Retirement System Building, Austin (1990); "Prometheus", entrata, Northridge Austin Community College (1990).
Ha ricevuto numerosi riconoscimenti professionali, tra cui: "Guggenheim Fellowship" (1949); "Ford Foundation Award" (1959); "University of Texas Excellence Grant" (1966); "Member Honoris Causa", National Honorary Society, Omicron Delta Kappa (1975); "Ford Foundation Grant" (1979); "Leslie Waggener Professorship in Fine Arts" (1980-'81); "Texas Artist of the Year", Houston Art League (1985); "Alcalde", Città di San Antonio, TX (1993).
bozzetti
opere
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EVA CON MELA, 1975 di UMLAUF Charles
tuttotondo in bronzo; cm. 200x60x33 Collocazione: collezione privata, Austin, TX USA
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EVA CON MELA, 1975 di UMLAUF Charles
tuttotondo in bronzo; cm. 200x60x33 Collocazione: collezione privata, Houston USA
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EVA CON MELA , 1975 di UMLAUF Charles
tuttotondo in bronzo; cm. 200x60x33 Collocazione: Umlauf Sculpture Garden and Museum, Austin, TX USA
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GIOVANNI IL BATTISTA, 1957 di UMLAUF Charles
tuttotondo in bronzo; cm. 82x37x24 Collocazione: Umlauf Sculpture Garden and Museum, Austin, TX USA
laboratori
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fonderia DEL CHIARO MASSIMO (dal 1985) di Massimo Del Chiaro
via delle Iare, 26/b 55045 Pietrasanta, LU tel: 0584/792955; fax: 0584/792940; eMail: fonderia@delchiaro.com; website: http://www.delchiaro.com Attività originaria: scultura contemporanea Attività corrente/ultima: scultura contemporanea, funeraria e sacra, statuaria classica Cronologia delle denominazioni: Vignali & Tommasi (1957-?) Tommasi Luigi (?-1984) Del Chiaro Massimo (1984-oggi)
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fonderia TOMMASI LUIGI (1957-1985) di Luigi Tommasi
via Marconi, 46/48 55045 Pietrasanta, LU Attività originaria: scultura contemporanea Attività corrente/ultima: scultura contemporanea Cronologia delle denominazioni: Tommasi & Vignali (1956-1965) Luigi Tommasi (1965-1985) Del Chiaro (1985-vedi scheda)
eventi
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Iniziativa del Museo - 2021, "Bozzetti in Vetrina IV ed./Il giro del mondo in 80 bozzetti"
Palazzo Panichi, Pietrasanta, LU, ITA,
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Soggiorno - 1969, "Primo soggiorno in Versilia"
Galleria Virgilio Cancogni, Marina di Pietrasanta, LU, ITA,
pubblicazioni
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AMERICAN SCULPTURE 1951/A NATIONAL COMPETITIVE EXHIBITION
Colloc. 730.973 AME 2, Volume New York, The Metropolitan Museum of Art, 1952 pp. 13 tav. 50
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ARTE E IMPRESA, MATERIA E IDEA/LA COECLERICI E IL MUSEO DEI BOZZETTI di Luca Forno (autore)
Colloc. L 735 MDB 6, Volume/MdB/foto Verona, Arsenale, 2021 pp. 131
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CHARLES UMLAUF/SCULPTOR di Donald B. Goodall (autore introduzione), Gibson A. Danes (autore prefazione)
Colloc. 730.973 UML, Volume Austin and London, University of Texas press, 1967 pp. 124
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LA FONDERIA ARTISTICA A PIETRASANTA/TECNICHE, FATTI E PERSONAGGI NEL RACCONTO... di Mario Giannaccini (autore)
Colloc. L 730.945 GIA 1, Volume Pietrasanta, Franche Tirature , 2014 pp. 203
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LA VERSILIA E L'ARTE di Ludovico Gierut (autore)
Colloc. L 709.04 GIE 2, Volume Marina di Pietrasanta, Il Dialogo, stampa, 1994 II edizione. pp. 332
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MASSIMO DEL CHIARO/L'ARTE DEL BRONZO (1949-2009) di Antonella Serafini (curatore)
Colloc. L 730.945 DELC 1, Volume Pietrasanta, Monte Altissimo, 2009 pp. 339
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MUSEO DEI BOZZETTI di Chiara Celli, Valentina Fogher (curatori)
Colloc. 735 MDB 4; L 735 MDB 4, Volume/MdB/catalogo Ospedaletto, Pisa, Pacini, 2011 pp. 344
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THE COLLECTION OF MRS. HARRY LYNDE BRADLEY
Colloc. 709.04 COL, Volume Milwaukee, Milwaukee art center, 1968 pp. 186
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THE SCULPTURE AND DRAWING OF CHARLES UMLAUF di Gibson A. Danes (autore saggio)
Colloc. 730.973 UML, Volume s.l., s.n., 1990 pp. 189
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THE SCULPTURE AND DRAWING OF CHARLES UMLAUF di Gibson A. Danes (autore saggio)
Colloc. 730.973 UML 2, Volume Austin and London, University of Texas press, 1980 pp. 148
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THE SCULPTURE OF CHARLES UMLAUF
Colloc. 730.973 SCU, Volume Dallas, Valley House Gallery, 1959 pp. 96