Description
Jean LE MOAL (1909-2007) Composition, 1983, reworked in 1988 Oil on canvas, signed lower right, countersigned and dated on the back 33 x 34 cm - 13 x 13 ¼ in. This work is in the archives of Monsieur Michel-Georges Berna Provenance: private collection Luxembourg Jean Le Moal is considered one of the leading exponents of French non-figuration in the second half of the 20th century, in a body of work that transcends aesthetic divisions. Alongside Bertholle, Bissière and Manessier, Jean Le Moal exhibited with the "Témoignage" group, led by Marcel Michaud, which brought together painters, sculptors, musicians and writers, at its first show in 1936 at the Salon d'Automne in Lyon, then in Paris in 1938 and 1939. The emergence of this new style enabled Le Moal to approach the marine element differently, like the metamorphoses of light throughout the cycle of the seasons. The last punctuation marks that used to run through his canvases as lines of force soon fade and disappear, as the strokes pass into one another in vibrant bangs that finally dissolve all linear structure. "More and more, I feel the need to draw through the brushstroke and from within the form", he confides at the time. In the élan of unstable masses of color traversed by the ravines of a now dynamic graphic style, his canvases seem to show, beyond the spectacles of "naturified" nature, the mobile interplay of the elemental energies of a continually "naturating" nature. Building on the impetus of his 1974 exhibition at the Galerie de France, Jean Le Moal continued his research into familiar themes, marine and terrestrial spaces. During these years, in parallel with his constant work in stained glass, he multiplied what he familiarly called his "Small Formats", on which he worked until the early 2000s. "Le Moal's art is an example of the contribution of the language of abstraction to French painting, or conversely of the contribution of French painting to abstract art. He submits neither to the pure expression of form, nor to a purely subjective message: a human and communicative art, his beauty and inner quality broaden our perception of life. "Hans-Friedrich Geist (1961)
40
Jean LE MOAL (1909-2007) Composition, 1983, reworked in 1988 Oil on canvas, signed lower right, countersigned and dated on the back 33 x 34 cm - 13 x 13 ¼ in. This work is in the archives of Monsieur Michel-Georges Berna Provenance: private collection Luxembourg Jean Le Moal is considered one of the leading exponents of French non-figuration in the second half of the 20th century, in a body of work that transcends aesthetic divisions. Alongside Bertholle, Bissière and Manessier, Jean Le Moal exhibited with the "Témoignage" group, led by Marcel Michaud, which brought together painters, sculptors, musicians and writers, at its first show in 1936 at the Salon d'Automne in Lyon, then in Paris in 1938 and 1939. The emergence of this new style enabled Le Moal to approach the marine element differently, like the metamorphoses of light throughout the cycle of the seasons. The last punctuation marks that used to run through his canvases as lines of force soon fade and disappear, as the strokes pass into one another in vibrant bangs that finally dissolve all linear structure. "More and more, I feel the need to draw through the brushstroke and from within the form", he confides at the time. In the élan of unstable masses of color traversed by the ravines of a now dynamic graphic style, his canvases seem to show, beyond the spectacles of "naturified" nature, the mobile interplay of the elemental energies of a continually "naturating" nature. Building on the impetus of his 1974 exhibition at the Galerie de France, Jean Le Moal continued his research into familiar themes, marine and terrestrial spaces. During these years, in parallel with his constant work in stained glass, he multiplied what he familiarly called his "Small Formats", on which he worked until the early 2000s. "Le Moal's art is an example of the contribution of the language of abstraction to French painting, or conversely of the contribution of French painting to abstract art. He submits neither to the pure expression of form, nor to a purely subjective message: a human and communicative art, his beauty and inner quality broaden our perception of life. "Hans-Friedrich Geist (1961)
You may also like
