Theo Tobiasse

" Theo was born in Israel of Lithuanian parents. Before he turned seven, his family moved to Paris due to financial difficulties. In Paris, Theo felt like a fish out of water. He didn't quite fit in.Between the years of 1942 and 1944, the Germans occupied Paris. He and his family were forced to live in solitary confinement with the constant fear of being discovered. The only things that kept Theo sane were his books and his drawings. By the time it was safe to come out of hiding, he had quite a portfolio put together.
He attributes his works to his real life experiences. He believes that because of these experiences, he has reached a place of perfect contentment and harmony. This is apparent in his works through the use of colors and textures.
In 1950 Theo moved to Nice where he continued to paint. He had his first
exhibition at the Palais de le Mediterranee in 1961 where he also won the grand prize. This helped him to make the decision to quit his other career and devote his time entirely to art. In 1960, his work was noticed at an exhibition of young artists at the Palais de la Mediterranee in Nice and he won first prize. From then on art galleries and collectors continued to show interest in his work and by 1962 Theo Tobiasse was finally able to devote himself entirely to painting. In 1970, he moved into his studio on Quai Rauba-Capeu, overlooking the Port of Nice. In 1976 he moved again to St. Paul-de-Vence where he rediscovered both the sky of Jerusalem and that of Florence. It was in Nice, the city he had adopted on leaving Paris, that his pictorial expression came into its own. Initially profane and close to certain bestiaries, his subjects rapidly evolved towards reminiscences about his childhood: buses that he had caught sight of on his journey to France, boats with wheels on the Nieman in Lithuania, tea kettles, the warmth of the fireside, the trains when he arrived in Paris at dawn, the smokiness of railway stations, etc. All of these symbols were combined, quite extraordinarily, with Biblical or erotic fantasies and also with the theme of exile which had become his main interest over the previous few years. Often visible in his more recent work, the theme of exile took on a more dramatic dimension when it began to encompass not only past and present exiles, but the fear of exiles still to come. This background subject, currently his main preoccupation, is woven out of women, children, crowds, but also candelabra, which represent the glow of hope.

 

 

 

 

 

 

 

 

 

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