Le Musée Prive - Art Magazine

Exposition T'ang Haywen: Chemins de l'encre
à la Galerie Jean-François Cazeau et à la Pagode 
Vernissage le 24 mai 2024 dans le cadre du Paris Gallery Weekend 
du 24 mai au 17 juin 2024.
Vernissage à la galerie le 24 mai de 16h à 21h.

 Exposition T'ang Haywen Galerie Jean-François Cazeau

Grand maître de l'encre de la seconde moitié du XXe siècle, l'œuvre de T'ang Haywen (1927-1991) révèle un univers profond, plein de sensibilité et d'intensité. Sa production est focalisée sur le paysage et marquée par l'usage de l'encre. Fasciné par le travail de calligraphe de son grand-père et par l'œuvre de Shitao, grand calligraphe, poète et paysagiste de la dynastie Ming du XVIIe siècle, qui marque la rupture avec le style traditionnel chinois, T'ang décide de consacrer sa vie à la peinture. T'ang maîtrise l'art millénaire, fondamental de son pays – l'encre – et il suit les préceptes de la philosophie également millénaire du Taoïsme.

Un des trois grands peintres chinois à Paris après la Deuxième Guerre, T'ang fait partie de la vague d'artistes exilés qui trouvent à Paris les conditions propices pour l'exercice de leur art, dans ce qu'on appelle tout simplement l'Ecole de Paris. Quand il arrive à Paris, le monde de l'après-guerre qu'il retrouve est en frémissement. Les principes du machinisme et de la raison sont mis en question. Le climat du triomphe de l'abstraction lyrique et de l'expressionnisme abstrait, tous les deux puissant des sources de la calligraphie orientale sans les copier est fécond pour un artiste comme T'ang, qui est libre d'aller entre le sens et la forme, entre calligraphie et peinture. Ayant seulement les bases de la calligraphie traditionnelle enseignée par son grand-père, T'ang rejoint l'Académie de la Grande Chaumière au Montparnasse, une des plus réputés écoles d'art de Paris. Là il apprend également la manière occidentale de la peinture. L'art de T'ang se situe à la confluence de ces deux grandes influences, entre la Chine et la France. Considéré comme un des grandes artistes de cette période, T'ang présente tous les traits d'une figure marquante du mouvement.

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Alexander Calder, Marc Chagall, Edgar Degas, Fernand Léger, André Masson, Serge Poliakoff...

Exposition du Jeudi 25 Avril au 31 Mai 2024 - 2 rue St-Georges, Bruxelles

CHAGALL BENJAMIN SEBBAN GALLERY

BENJAMIN SEBBAN GALLERY Rue Saint-Georges 2, Bruxelles, Belgique

+33 787 400 500

www.benjaminsebban.com

AUGUSTE HERBIN « Parcours »

Du 16 mai au 12 juillet 2024

Auguste Herbin, "Adam et Eve", 1943 Huile sur toile, 73 x 92 cm Galerie LAHUMIERE

Auguste Herbin, "Adam et Eve", 1943 Huile sur toile, 73 x 92 cm

Nous sommes heureux de vous convier à l'exposition personnelle d'Auguste Herbin.

Vernissage jeudi 16 mai, de 18h30 à 20h30

Le parcours d'Herbin dans l'histoire de l'art est celui d'un artiste de la fin du 19ème siècle qui, parti de l'oeuvre de Cézanne et, avec la palette de Van Gogh comme première balise, devint dans la seconde moitié du 20ème siècle un phare pour de nombreux artistes quelques soient leurs nationalités, tant Paris de 1945 à 1955 fut la grande capitale de l'art abstrait international. Après 1945, son activité au sein du Salon des Réalités Nouvelles, l'engagement auprès de lui de critiques et de galeristes, ses talents de pégagogue contribuèrent à une meilleure connaissance de son grand œuvre : l'alphabet plastique. Auguste Herbin est l'artiste qui permit à l'art abstrait géomérique de se renouveler et de dépasser les synthèses constructivistes et néoplastiques. Cette conclusion abstraite éblouissante comme le disait Victor Vasarely, ne doit pas faire oublier qu'à chacun des mouvements qu'il traversa et dont il fut contemporain, en particulier le fauvisme et le cubisme, il laissa une œuvre magistrale qui le plaça d'emblée parmi les plus grands.

Céline Berchiche - Avril 2024

 
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Published 15/04/2024 - Born in France in 1921, Françoise Gilot was a remarkable artist whose expansive oeuvre bridged twentieth-century avant-garde and contemporary aesthetics.  After completing a degree in English literature in 1938 and briefly attending law school, Gilot began her formal artistic education. In 1941, she began studying with Hungarian painter Endre Rozsda and took classes at the Académie Julian. Two years later during her first gallery exhibition, Gilot met Pablo Picasso. The pair maintained a relationship from 1946 until 1953, during which they had two children, Claude and Paloma.

Black and white photograph of Gilot working at the Tanstone Group in LA, 1971. Image courtesy of The Philip and Muriel Berman Museum of Art.

Black and white photograph of Gilot working at the Tanstone Group in LA, 1971. Image courtesy of The Philip and Muriel Berman Museum of Art.

Around 1946, Gilot deserted oil paintings in favor of graphite, and occasionally gouache, on paper. Gilot's early drawings can be seen in the exhibition and range from portraits and still lifes to abstract works in which she explored formal and symbolic transformations obtainable from simple forms. Gilot began accompanying Picasso to Fernand Mourlot's Atelier in 1950, where she became the first woman to make lithographs in the acclaimed studio—Gilot continued printmaking with Mourlot for decades.

Françoise Gilot, Incertitude. Oil on canvas, 2003-2004
Françoise Gilot, Incertitude. Oil on canvas, 2003-2004
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2024-03-16- Gagosian to Present the First Exhibition to Focus Exclusively on Jean-Michel Basquiat’s Time in Los Angeles
Reuniting Nearly Thirty Works Produced near Venice Beach between 1982 and 1984
Curated by Fred Hoffman with Larry Gagosian, Made on Market Street Opens in Beverly Hills on March 7, 2024
 
Jean-Michel Basquiat, Hollywood Africans, 1983, acrylic and oil stick on canvas, 84 1/8 × 84 inches (213.5 × 213.4 cm), Whitney Museum of American Art, New York © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photo: © Whitney Museum of American Art/Licensed by Scala/Art Resource, New York
 

Jean-Michel Basquiat, Hollywood Africans, 1983, acrylic and oil stick on canvas, 84 1/8 × 84 inches (213.5 × 213.4 cm),
Whitney Museum of American Art, New York © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photo:
© Whitney Museum of American Art/Licensed by Scala/Art Resource, New York

BEVERLY HILLS, February 6, 2024—Gagosian is pleased to announce Made on Market Street, the first exhibition focused exclusively on works that Jean-Michel Basquiat produced in Los Angeles. Curated by Fred Hoffman with Larry Gagosian, the exhibition will be on view from March 7 to June 1, 2024. With exhibition design by Stefan Beckman, Made on Market Street features loans from the Estate of Jean-Michel Basquiat; Nicola Erni Collection, Steinhausen, Switzerland; the Broad Art Foundation, Los Angeles; Museum Brandhorst, Munich; Museum of Modern Art, New York; Whitney Museum of American Art, New York; and other public and private collections.
Between November 1982 and May 1984, Basquiat produced approximately a hundred paintings, numerous works on paper, and six silkscreen editions in Venice, California. For an artist closely affiliated with the New York art scene of the 1980s, Basquiat was extraordinarily prolific in Los Angeles

Made on Market Street reflects on this consequential era by bringing together nearly thirty works—several of which are among his most important paintings. Larry Gagosian notes, “Los Angeles has always been a great city for artists and Jean-Michel seemed to find it a refreshing change from New York. While the immensity of his talent was immediately apparent, it was nonetheless a highlight of my own career to work with him, to introduce him to Los Angeles, and to witness the amazing impact that his art and legacy have made on our culture.”

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amelie nyc logo
amelie nyc

C'est avec une immense joie que nous vous annonçons l'ouverture de notre galerie à Soho, à New York. Nous vous invitons dès a présent à venir nous rendre visite !
Du mardi au samedi 10h-19h - 85 Mercer St #87, New York, NY 10012, États-Unis - Téléphone : +1 917-621-7604 -  https://www.ameliemaisondart.com/fr/

With immense joy, we announce the opening of our gallery in Soho, New York.
We invite you to come and visit us!
Tuesday to Saturday 10am-7pm
85 Mercer St #87, New York, NY 10012, États-Unis - Téléphone : +1 917-621-7604 - https://www.ameliemaisondart.com/fr/

 

JAOUAD BENTAMA EXPOSITION DECHIRURES DE NEW YORK À PARIS

Du 27 au 30 mars 2024 - Le Molière - 40 rue de Richelieu, 75001 Paris

JAOUAD BENTAMA  -  https://www.jaouadbentama.com/  Video : https://www.youtube.com/watch?v=rlG_TwDoZjo

JAOUAD BENTAMA, peintre franco-américain d'origine marocaine vit et crée à New York depuis plus de 10 ans. Il intègre en 2017 en tant qu'artiste résident le centre "Mana Contemporary". A collaboré avec plusieurs collectifs d'artistes dans le Lower East Side et a présenté son travail dans de nombreux lieux culturels aux Etats Unis et en France (https://www.jaouadbentama.com/exhibitions).

Jouad BentamaJAOUAD BENTAMA, a French-American painter with Moroccan origin, has lived and created in New York for over 10 years. In 2017, he joined 'Mana Contemporary' as a resident artist. He has collaborated with several artist collectives in the Lower East Side and has presented his work in numerous cultural venues in the United States and France (https://www.jaouadbentama.com/exhibitions).

JAOUAD BENTAMA présente à Paris une trentaine d’œuvres autour du thème «DECHIRURES». Elles signent sa renaissance artistique après un accident qui l’a laissé pour mort.

JAOUAD BENTAMA presents about thirty works in Paris on the theme of «DECHIRURES».

They mark his artistic rebirth after an accident that left him for dead.

Ses «DECHIRURES» sont les stigmates d’une longue convalescence, une référence a ces pansements qu'on arrache, sans retirer la peine : "il y a des cicatrices qui ne se referment jamais et demeurent nos déchirures ". Les «DECHIRURES» sont une réflexion universelle sur la fragilité de la vie et le triomphe possible de l'espoir. (www.jaouadbentama.com)

His «DECHIRURES» are the scars of a long convalescence, a reference to those bandages that are torn off, without removing the pain: 'there are scars that never heal and remain our rips'. The 'DECHIRURES' are a universal reflection on the fragility of life and the possible triumph of hope. (www.jaouadbentama.com)

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Paul Delvaux Femme et  Squelette 1949 watercolour, pen, ink and wash on paper 56 x 74 cm

Paul Delvaux Femme et  Squelette 1949 watercolour, pen, ink and wash on paper 56 x 74 cm

PAUL DELVAUX EARLY WATERCOLOURS AND DRAWINGS FROM A PRIVATE COLLECTION

Linda and Guy Pieters are pleased to invite you to the private view of the exhibition on Saturday 30 March from 4 PM until 6 PM

exhibition from 31 March until 13 May 2024

The Office at Guy Pieters Gallery : https://www.guypietersgallery.com/en/home

Zeedijk - Het Zoute 755 – 8300 Knokke-Heist

Open every day from 11 AM until 6 PM

Closed on Tuesday and Wednesday

+32 50 80 00 15 - knokke'at)guypietersgallery.com

logo rosenberg
Rosenberg & Co. is pleased to announce the opening of:
Marguerite Louppe
March 1–March 22, 2024
Rosenberg & Co. is pleased to present Marguerite Louppe, the third and final of our series of small-format exhibitions highlighting the work of three superlative artists from our collection. Previous exhibitions in the series featured seminal street photographer Fred Stein and notable Contemporary artist Aude Herlédan. Though undeniably distinct, these artists personify a dedication to pioneering forms of expression and meticulous consideration of composition. Through the examination of their seminal oeuvres we are able to investigate the shared artistic sensibilities that have traversed mediums to define art of the last century.
Marguerite Louppe, Téléphone, journal et vase. Oil on canvas
Marguerite Louppe, Téléphone, journal et vase. Oil on canvas.
Marguerite Louppe (1902–1988) was a French artist who synthesized Purism, Cubism, and Post-Impressionism in her paintings. She was born to a family of prominent engineers in the North of France and spent her childhood in Paris. Louppe attended a variety of art schools, including the Académie Julian, Académie de la Grande Chaumière, Académie Scandinave, and Académie André Lhote. In particular, the Académie Julian fostered a spirit of independence and radicality that became internalized in Louppe's work.
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 Du 7 mars au 13 avril 2024, la Galerie Bessaud présente « Museaux », une exposition collective explorant l'univers animal à travers le regard de sept artistes internationaux. Pour rendre cet hommage encore plus vivant, la Galerie Bessaud propose de venir accompagné de son animal de compagnie et de transformer l'exposition en un joyeux terrain d'aboiements ! Le samedi 16 mars, la Galerie Bessaud accueillera la « Paris Sausage Walk », célèbre marche de teckels. 10% de tous les profits réalisés pendant cette après-midi seront reversés à l'association « Teckels sans doux foyer ». 
La « Paris Sausage Walk » à la Galerie Bessaud Samedi 16 mars de 14h à 19h

La « Paris Sausage Walk » à la Galerie Bessaud Samedi 16 mars de 14h à 19h

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 Exploring Avedon’s Genius as a Maker of Icons, the Exhibition Opens January 22, 2024
Richard Avedon, Brigitte Bardot, hair by Alexandre, Paris, January 1959, gelatin silver print, 24 × 20 inches (61 × 50.8 cm) © The Richard Avedon Foundation

Richard Avedon, Brigitte Bardot, hair by Alexandre, Paris, January 1959,

gelatin silver print, 24 × 20 inches (61 × 50.8 cm) © The Richard Avedon Foundation

Photography for me has always been a sort of double-sided mirror. The one side reflecting my subject, the

other reflecting myself.

Richard Avedon

PARIS, January 15, 2024—Gagosian is pleased to announce Iconic Avedon: A Centennial Celebration of Richard Avedon, at the gallery on rue de Ponthieu, Paris, from January 22 to March 2, 2024. The exhibition marks the centenary of Avedon’s birth in May 1923. Often attributed to his photographs, the word iconic applies equally to their maker, and is used here to illuminate his exceptional influence on culture today.

Soon after establishing his New York studio in the mid-1940s, Avedon developed an inventive, sophisticated, and instantly recognizable style. As a staff photographer for Harper’s Bazaar (1944–65), and later Vogue (1966–88), he produced many of the publications’ quintessential images. As Avedon’s reputation grew, the defining figures of the twentieth century—performers, writers, artists, intellectuals, and other notables—were drawn to see themselves through his lens. Avedon produced images that became synonymous with the legends of his sitters. Featuring his photographs of subjects both renowned and obscure, the exhibition highlights the innovative role Avedon played as a creator of icons.

Avedon’s most incisive portraits manifest his uncanny ability to elicit the singular vitality of his sitters, inscribing their charged essences—even those of the already famous—in decisive frames extracted from the larger arc of living history. His portrayals of Marian Anderson (1955), Marilyn Monroe (1957), Bob Dylan (1965), and the Beatles (1967) are as indelible as they are timeless. “It’s not the way

I ,” Harold Brodkey remarked about his portrait by Avedon, “but the way I .” With an unerring eye, impeccable timing, and a prescient sensibility, Avedon vaulted the models Dovima (1955), China Machado (1958), and Penelope Tree (1967) to the pinnacle of their profession. He also recorded incomparable images of Charlie Chaplin (1952),

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Galerie AB Le mois du dessin à Paris Exposition de 1880 à nos jours
 Galerie AB Le mois du dessin à Paris Exposition de 1880 à nos jours

À l'occasion du mois du dessin à Paris, Agnès Aittouares vous invite à deux expositions d'œuvres sur papier d'une sélection de grands artistes du XIXe siècle à nos jours.

De 1880 à 1950 Espace Paris IX au cœur du Quartier Drouot 

De 1950 à nos jours Espace Paris VI dans le Quartier Saint-Germain-des-Prés

S'offrir une œuvre sur papier permet non seulement d'acquérir le chef-d'œuvre d'un grand maître, alors que sa peinture devient inabordable, mais également pénétrer au cœur de son intimité. Le dessin était à l'origine le plus souvent gardé à l'atelier, véritable architecture de l'œuvre créatrice. Dès le début du XXe siècle, l'art moderne en privilégiant les matières et les techniques en a fait un art à part entière. 

Le long de ce parcours chronologique vous découvrirez la sensibilité de ces artistes qui par le dessin nous révèlent un geste créatif touchant les courants majeurs de l'art moderne, comme le symbolisme de Félicien Rops, l'intimisme de Pierre Bonnard et d'Édouard Vuillard, le cubisme de Georges Valmier, le surréalisme de Salvador Dalí, l'abstraction lyrique de Hans Hartung ou encore l'expressionnisme abstrait de Sam Francis.

Ces deux expositions sont en partenariat avec le QAD (Quartier Art Drouot) et le Jeudi des Beaux-Arts.
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© Eaton Real Estate CorporationAprès Saint-Étienne, Paris, Lyon, Luxembourg, New-York, Genève et le Domaine de Panéry près d’Uzès, la galerie Ceysson & Bénétière est heureuse d’annoncer l’ouverture d’un 8e espace à Tokyo, sa première implantation en Asie. Ce nouveau lieu de 325 m², situé au 8e étage de la tour Cura Ginza, dans le quartier de Ginza, sera dirigé par Leslie You. La conception de ce nouvel espace sera confiée à l’architecte et designer Sophie Dries.

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On January 24, 2024, Opera Gallery London presented “Three Days in Dakar: A Dialogue with Ron Arad” moderated by Opera Gallery CEO Isabelle de La Bruyère featuring Ron Arad in conversation with Simon de Pury & Rolf Sachs. The panelists discussed Arad’s collaboration with Senegalese artisans–from metal workers to weavers–in Dakar, and how this journey impacted Arad’s creative practice and led him to create reworked versions of iconic pieces (such as his well-known 'The Big Easy’ armchair) using raw materials sourced in Dakar. Arad’s presentation also features a large-scale bookshelf piece titled ‘America Made in Africa’, ‘Salam Sofa’ and ‘Don’t Ya Tell Henri’ – all handcrafted using the metal from oil drums.

Opera Gallery opened their new gallery in the heart of London's historic Mayfair neighbourhood, at 65-66 New Bond Street on November 23, 2023. Ron Arad (British, b. Israel 1951) is acclaimed for his aesthetic and conceptual explorations of form, structure, and technology through the diverse nature of his work’s materiality and categorizations, from industrial design to sculpture to mixed media installations and beyond. The first major retrospective of his work titled ‘No Discipline,’ debuted in 2008 at the Pompidou Centre in Paris followed by the Museum of Modern Art in New York in 2009. In 2013 he was elected to the Royal Academy of Arts in London.

OPERA GALLERY

65 - 66 New Bond Street - London W1S 1RW

+44 (0)20 7491 2999

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https://www.operagallery.com/ 

 Image : © Barthélémy Toguo / Courtesy Galerie Lelong & Co. & Bandjoun Station

Villa Swagatam, India Art Fair, 2024.

Barthélémy Toguo India Art Fair du 1er - 4 février 2024  - New Delhi, Inde  -  Villa Swagatam

A l'occasion de l'India Art Fair, l'Institut Français en Inde – dans le cadre du lancement de son programme de résidences Villa Swagatam qui encourage notamment les échanges entre artistes français et les métiers d'art indiens – , la Basu Foundation et la Galerie Lelong & Co. Paris New York présentent l'installation "Water Matters", fruit d'une collaboration inédite entre l'artiste franco-camerounais Barthélémy Toguo, la directrice de création Karishma Swali et les artisans de son école de broderie, la Chanakya School of Craft, basée à Mumbai.

Image : © Barthélémy Toguo / Courtesy Galerie Lelong & Co. & Bandjoun Station

Villa Swagatam, India Art Fair, 2024.

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Stanley Whitney GAGOSIAN ParisSTANLEY WHITNEY

Dear Paris

January 10–February 28, 2024

GAGOSIAN GALLERY 9 rue de Castiglione, Paris https://gagosian.com/

Gagosian is pleased to announce the exhibition of Stanley Whitney’s painting Dear Paris (2023) at 9 rue de Castiglione, Paris, from January 10 to February 28, 2024.

Inspired by the artist’s extended stay in the French capital, Dear Paris is the latest of Whitney’s lyrical abstractions. Balancing systematic structure and expressive spontaneity, he composed the painting in his characteristic manner, one roughly rectilinear block at a time, starting at the top left and progressing in rows across and down the canvas. Whitney forms each shape with energetic brushwork, choosing its vivid hues and shaping its boundaries in relation to its predecessors. The painting’s subtly shifting freehand geometry is further demarcated by linear bands between its rows that both divide and unify the composition.

Pursuing abstraction since the 1970s, Whitney established his mature style in the 1990s while living and working in Rome. The compositional framework he employs allows him the freedom to improvise, facilitating the emergence of surprising chromatic harmonies and dynamic visual rhythms. The artist’s wide-ranging influences include the polyphonic call and response of jazz, the transformative effect of light cast on historic buildings, the traditions of American quiltmaking, and artists from Henri Matisse and Piet Mondrian to Giorgio Morandi.

Whitney’s recent residency in Paris offered him the sustained opportunity to observe the city’s architecture and urban fabric, and to connect with its expansive cultural history. As he observes:

There’s a history of African Americans going to Paris that dates back to after the First World War. Jazz musicians, writers, and artists like Beauford Delaney, James Baldwin, and more recently, Ed Clark, went to Paris for a creative freedom they couldn’t find in the United States. I’ve always wanted to spend more time in Paris, and in 2023, I finally did so. It was incredible to be in the city where so many of the great artists of the twentieth century, artists who were integral to my development as a painter, had lived and worked. In Paris, there’s a play between different periods in a long history; you just don’t have that in the States.

Dear Paris coincides with Stanley Whitney: How High the Moon, the artist’s first comprehensive retrospective, organized by the Buffalo AKG Art Museum, New York. The exhibition will be on view from February 9 to May 27, 2024, before traveling to the Walker Art Center, Minneapolis (2024–25), and the Institute of Contemporary Art, Boston (2025). Spanning the entirety of Whitney’s career, How High the Moon traces the evolution of his practice through paintings, drawings, prints, and sketchbooks. VOIR DANS LIRE LA SUITE le texte en Français

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Sophie Leiser GalleryChers amis, 

J'ai le plaisir de vous présenter ce mois de février la nouvelle collection de Vébeca - Vero Aliot-Lopez - qui présente deux grands formats aux pigments bleu majorelle. On retrouve son graphisme signature - ptofils, bouches et yeux sur fond couleur, marine, vert, kakki, ivoire.

Aux cotés des acryliques colorées de Vebeca, la collection permanente des photographies de la galerie, et notre nouvel artiste plasticien Lou Raunier qui décline les petits soldats en Statue de la Liberté.

L'art fait partie de l'investissement "plaisir" tout en ayant un intérêt fiscal non négligeable. Je tenais à vous rappeler les conditions de cet avantage fiscal pour les entreprises. Petit mémo à garder en tête pour craquer sur l'oeuvre de vos rêves !

Artistiquement, 

Sophie Leiser             

MEMO AVANTAGE FISCAL 

Deux conditions :               

1- Facture de la galerie d'art  

2- Exposition au public ou aux salariés pendant 5 ans 

(Alternative : le leasing d'oeuvres d'art)

La déduction fiscale est étalée sur 5 ans (année de l'acquisition et les 4 années suivantes) par fractions égales. Ainsi, elle est égale chaque année à 1/5e (20 %) du prix de revient de l'œuvre. Si l'acquisition est réalisée en cours d'année, la déduction n'est pas réduite prorata temporis
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 Rosenberg & Co
Art Concret Reliefs | Léon Tutundjian September 28 – December 22, 2023
Léon Tutundjian, installation view
Léon Tutundjian, installation view

Léon Tutundjian, Sans titre, 1929. Relief on a two-leveled panel.The Armenian born artist Léon Tutundjian began his artistic education studying ceramics at the Istanbul School of Fine Arts. After arriving in Paris in the early 1920's, Tutundjian found work as a potter, which afforded him the financial ability to explore the Parisian avant-garde circles and cultivate his singular style. Throughout his lifetime, Tutundjian consistently fell back on his skills as a ceramicist for financial support, and despite seemingly abandoning pottery in his personal practice, the principles of ceramic production fostered a material dedication that remained central to his artistic practice throughout his oeuvre.

Tutundjian's emphasis on material is evident in the Tachisme techniques he explored in his early works on paper. This dedication, however, is most apparent in the wood and steel reliefs he created during the early stages of the Art Concret movement. Through these three-dimensional constructions, Tutundjian utilized a series of steel cylinders and bars to form cantilever compositions that exemplified a severe set of aesthetic ideals—later summarized by the Art Concret movements foundational text.

Image : Léon Tutundjian, Sans titre, 1929. Relief on a two-leveled panel.

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