Yves Tanguy (1900 - 1955). Raymond Georges Yves Tanguy, known as just Yves Tanguy, was a French surrealist painter. Tanguy, the son of a retired navy captain, was born January 5, 1900, at the Ministry of Naval Affairs on Place de la Concorde in Paris, France. His parents were both of Breton origin. After his father's death in 1908, his mother moved back to her native Locronan, Finistère, and he ended up spending much of his youth living with various relatives. In 1918, Tanguy briefly joined the merchant navy before being drafted into the Army, where he befriended Jacques Prévert. At the end of his military service in 1922, he returned to Paris, where he worked various odd jobs. He stumbled upon a painting by Giorgio de Chirico and was so deeply impressed he resolved to become a painter himself in spite of his complete lack of formal training. Tanguy had a habit of being completely absorbed by the current painting he was working on. This way of creating artwork may have been due to his very small studio which only had enough room for one wet piece. Through his friend Prévert, in around 1924 Tanguy was introduced into the circle of surrealist artists around André Breton. Tanguy quickly began to develop his own unique painting style, giving his first solo exhibition in Paris in 1927, and marrying his first wife Jeannette Ducrocq later that same year. During this busy time of his life, Breton gave Tanguy a contract to paint 12 pieces a year. With his fixed income, he painted less and ended up creating only eight works of art for Breton. In December 1930, at an early screening of Buñuel and Dalí's L'Age d'Or, right-wing activists went to the lobby of the cinema where the film was being screened, and destroyed art works by Dalí, Joan Miró, Man Ray, Tanguy, and others. Throughout the 1930s, Tanguy adopted the bohemian lifestyle of the struggling artist with gusto, leading eventually to the failure of his first marriage. He had an intense affair with Peggy Guggenheim in 1938 when he went to London with his wife Jeannette Ducrocq to hang his first retrospective exhibition in Britain at her gallery Guggenheim Jeune. The exhibition was a great success and Guggenheim wrote in her autobiography that Tanguy found himself rich for the first time in his life. She purchased his pictures Toilette de L'Air and The Sun in Its Jewel Case for her collection. Tanguy also painted Peggy two beautiful earrings. The affair continued in both London and Paris and only finished when Tanguy met a fellow Surrealist artist who would become his second wife. In 1938, after seeing the work of fellow artist Kay Sage, Tanguy began a relationship which led to his second marriage. With the outbreak of World War II, Sage moved back to her native New York, and Tanguy, judged unfit for military service, followed her. He would spend the rest of his life in the United States. Sage and Tanguy were married in Reno, Nevada on August 17, 1940. Their marriage proved durable but tense. Both drank heavily, and Tanguy assaulted Sage verbally and sometimes physically, pushing her and sometimes even threatening her with a knife privately and at social gatherings. Sage, according to friends' accounts, made no response to her husband's aggression. Toward the end of the war, the couple moved to Woodbury, Connecticut, converting an old farmhouse into an artists' studio. They spent the rest of their lives there. In 1948, he became a naturalized citizen of the United States. In January 1955, Tanguy suffered a fatal stroke at Woodbury. His body was cremated and his ashes preserved until Sage's death in 1963. Later, his ashes were scattered by his friend Pierre Matisse on the beach at Douarnenez in his beloved Brittany, together with those of his wife. Tanguy's paintings have a unique, immediately recognizable style of nonrepresentational surrealism. They show vast, abstract landscapes, mostly in a tightly limited palette of colors, only occasionally showing flashes of contrasting color accents. Typically, these alien landscapes are populated with various abstract shapes, sometimes angular and sharp as shards of glass, sometimes with an intriguingly organic look to them, like giant amoebae suddenly turned to stone. According to Nathalia Brodskaïa, Mama, Papa is Wounded! is one of Tanguy's most impressive paintings. Brodskaïa writes that the painting reflects his debt to Giorgio de Chirico-falling shadows and a classical torso-and conjures up a sense of doom: the horizon, the emptiness of the plain, the solitary plant, the smoke, the helplessness of the small figures. Tanguy said that it was an image he saw entirely in his imagination before starting to paint it.