Martyl Langsdorf, the artist who animated the hands of the end of the world

Martyl Langsdorf, the artist who animated the hands of the end of the world

A search on the webpage of the Art Institute of Chicago, a museum founded in 1879, gives us an example of a plastic world as diverse as the works of Georges Seurat, Gustave Caillebotte, Diego Rivera, Edward Hopper, Pablo Picasso, El Greco or Francis Bacon. Among some of the biggest names in artistic creation, the collection of more than 300,000 works of art at the Chicago, US-based institution paves the way for authors on a global scale less visible than those featured above. It is likely that the work of Martyl Suzanne Langsdorf is one such case. Born in st. Louis in 1917, the daughter of painter Aimé Schweig and photographer Martin Schweig, Martel developed an artistic career around painting and lithographs, taking part in related exhibitions, such as the New York World’s Fair, in 1939-1940. the Location of the Art Institute of Chicago (AIC) reveals 18 works by Martel, using various media, including acrylics and indian ink. Landscapes and also intangibles such as human lattices make up Martyl’s paintings, in a period stretching from the 1950s to 2005. The piece that, however, wrested the work of the then young American artist from anonymity is displayed in AIC, by on the cover of a publication Born in the 1940s , and is still being published in digital form.

The June 1947 issue of Bulletin of the Atomic Scientists, an information device created two years ago, that showed the world the first image of a doomsday clock. who has since become a metaphorical narrator of the threats hanging over humanity, born of Martell’s creative hand. This, in the name, revealed the weight of a title associated with the development of a project that would certainly change the future course of history.

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By Andrea Hargraves

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