Antonio SEGUI (1934-2022) Alleys - Returns Pastel and charcoal on canvas, signed and dated 79 titled and dated on the reverse side of the canvas. 200 x 200 cm Exhibitions : - Antonio Seguí. Parques Nocturnos Musée d'art moderne de la ville de Paris, Paris, October 24 - November 25, 1979 - Antonio Seguí: Un Regard Nocturne, Centre Culturel de l'Aérospatiale, Toulouse, January-February 1984 Bibliography : - Antonio Seguí. Parques Nocturnos Musée d'art moderne de la ville de Paris, Paris, 1979 - Ramón Mérica, Antonio Seguí (Interview), El Día, "Antonio Seguí. Un Latinoamericano en París", Montevideo, Uruguay, October 03, 1982 - Susana Sulic, Arte en Colombia Internacional, "Tiempo de una Mirada Histórica. Antonio Seguí", Bogotá, no. 24, 1984, reproduced on p.28 - Jorge Glusberg, Revista de la Embajada Argentina en Colombia, "Antonio Seguí", Bogotá, vol. 3, no. 8, June 1987, reproduced p.27, 19 - Antonio Seguí: Un Regard Nocturne, Centre Culturel de l'Aérospatiale, Toulouse, 1984, reproduced p. 7 - Catherine Flohic & Jean-Luc Chalumeau, Eighty, " Les peintres en France dans les années 80 ", Paris, n° 28, May-June 1990, reproduced p. 6 This painting is referenced in the Antonio Seguí archives under the reference 1979-009, it is part of the Parks Nocturnes series. We would like to thank Mrs. Virginie Canal for the valuable information she provided us with. Related work: Parc aux aveugles, pastel on canvas, 200 x 200 cm, Musée of Modern Art, Paris. Antonio Seguí is an artist of Argentine origin, born in 1934 in 1934 in Cordoba and died in Buenos Aires in 2022 at the at the age of 88 years. Born in a bourgeois family, he shows early his artistic vocation and artistic vocation and went to Europe in 1951 to study at the training at the Royal Academy of Fine Arts in San Fernando San Fernando and then at the Academy of Fine Arts in Paris. Through this training, he discovers the satirical works of Honoré Daumier, and the expressionism of Guttierez Solana, but his identifiable graphics is tinged with the absurd and ironic influence of Georg Grosz. After a return to South America in 1957, he met Diego Rivera and José Orozco in Mexico City, and transformed his painting into an essentially figurative art. It is then, at the time of its installation in France in 1963, whereas he represents Argentina at the Biennale de Paris that he meets the he meets the success by his burlesque figures and the humor of his compositions. The Argentine military junta of 1976 maintains Seguí in a situation of exile during 10 years, while some of his works mock militarism. militarism. During this exile, Seguí realized his work Allées-Retours in 1979, a date that marks the beginning of his period of "and night parks characteristic of his 80s. of his 80s. In this oil on canvas, the following stands out the recurrent presence of a man wearing a hat, archetype of the anonymous, lost in the urban jungle and reduced to his strict social behavior. Leaving the the spectator to bring its share of sense, its share of dream, to the questions that the work poses, Seguí disperses his figures like wandering and mysterious puppets without orders nor orders nor logical meetings. Author of a monograph on Seguí's work, Daniel Abadie describes it as "a continuous flow, in a way of constant stream, carrying in its current cities and cars, men and women, planes and and women, planes and clouds, trees and smoke. trees and smoke". With its evocative name, Allées-Retours offers us a comic answer to the existential anguish of our place in the our place in the world.