Null Jean FAUTRIER (1898-1964)

The clouds, 1964

Lithograph in colors on Montgo…
Description

Jean FAUTRIER (1898-1964) The clouds, 1964 Lithograph in colors on Montgolfier paper, signed in ink, on the back : stamp of the certificate of authenticity, dated 1964 and delivered to Jean Paulhan 32,5 x 49,5 cm

39 

Jean FAUTRIER (1898-1964) The clouds, 1964 Lithograph in colors on Montgolfier paper, signed in ink, on the back : stamp of the certificate of authenticity, dated 1964 and delivered to Jean Paulhan 32,5 x 49,5 cm

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Jean FAUTRIER (1898 - 1964) Flowers and fruit bowl, 1927 Oil on canvas Signed "Fautrier" lower right 81 x 100 cm Framed Resale rights are the responsibility of the buyer. Condition report available on request: [email protected] PROVENANCE - French private collection - Sale Ader - Picard - Tajan, Palais Galliera, Paris, March 31, 1976, "Collection Pomaret", no. 51, not shown. - Collection M. et Mme Charles Pomaret, Aix en Provence - Galerie Jeanne Castel, Paris BIBLIOGRAPHY - Palma Bucarelli, Jean Fautrier, 1960, no. 64, ill. b/w p. 295 - Marcel-André Stalter, Jean Fautrier, 1982, n°365 BIOGRAPHY Little exhibited, Jean Fautrier, a solitary artist, is today considered the most important precursor of informal art in 1928. Inventor of hautes pâtes in 1940, he is a major figure in the renewal of modern art after cubism. Born in Paris in 1898, Jean Fautrier moved to London with his mother at an early age after the death of his father. There, he followed the teachings of Walter Sickert, the leading painter of the Camden Town Group, who advocated spontaneous material. In 1920, Fautrier returned to Paris and began his career in Montmartre. Suffering from the economic crisis of 1929, he moved to the Alps, where he became a ski instructor and manager of a dancing hotel. Returning to Paris in 1940, he met André Malraux and Paul Eluard, and found his most loyal supporter in writer and critic Jean Paulhan. The latter wrote a book in 1949 entitled "Fautrier l'enragé". Recognition came his way when, in 1960, he was awarded the Grand Prix de Peinture along with Hans Hartung at the Venice Biennale. Fautrier donated a significant number of works to the Musée d'Art Moderne in Paris for the first retrospective devoted to him in 1964. NOTICE In the early 1920s, Jean Fautrier's painting was figurative, rather raw and composed of still lifes, landscapes and nudes shrouded in dark light, revealing motifs close to abstraction. Our work is related to the figurative canvases of this early period. During this period, the motifs that are still discernible are lurking in the shadows of a dark, almost eerie light. Shapes emerge from a vaporous black mass, with a brighter halo surrounding the work and punctuated by color. The material is already at one with the color, and an abstraction and vagueness are already perceptible. His still lifes are an important step in Jean Fautrier's artistic evolution, marking the beginning of his exploration of matter and texture, which would become central to his later work. They testify to a period of transition in which the artist sought to define his own visual language. Her canvases use a black background, and the almost banal objects take on an almost symbolic dimension, evoking themes of transience and ephemeral beauty. This use of black was a way for Jean Fautrier to break away from the artistic conventions of the time by exploring darker emotions and daring compositions. On his return to Paris during the Second World War, his paintings took a radical turn towards abstraction.