Null Daniel AUTHOUART (1943)
A la porte du chaos, 1973, from the "Casses de voit…
Description

Daniel AUTHOUART (1943) A la porte du chaos, 1973, from the "Casses de voitures" series. Gouache and mixed media on paper. Signed and dated lower right Sight size: 47x27 cm Framed under glass. Artist's biography : An artist from Normandy, he began his career in the 1970s with a new form of narrative painting, referred to by some critics as "contemporary mythology". In 1980, he exhibited at the FIAC, and in 1983 created the decorations and posters for Eddy Mitchell's concerts. Since then, several retrospectives have been devoted to his work. This work is part of his "Casses de voitures" period (1972-1973), the essence of which he explains in an interview: "My paintings presented rusty wrecks, abandoned objects that evoked 'Le Voyage de la Vie', dreams that are running away...". He also explains his work in the 70s and 80s: "My canvases were often imbued with a certain violence. I couldn't imagine a stable horizon. While I was looking for ways to distinguish myself from my colleagues, contemporary artists, I felt it necessary to express "the terrible passions of humanity".

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Daniel AUTHOUART (1943) A la porte du chaos, 1973, from the "Casses de voitures" series. Gouache and mixed media on paper. Signed and dated lower right Sight size: 47x27 cm Framed under glass. Artist's biography : An artist from Normandy, he began his career in the 1970s with a new form of narrative painting, referred to by some critics as "contemporary mythology". In 1980, he exhibited at the FIAC, and in 1983 created the decorations and posters for Eddy Mitchell's concerts. Since then, several retrospectives have been devoted to his work. This work is part of his "Casses de voitures" period (1972-1973), the essence of which he explains in an interview: "My paintings presented rusty wrecks, abandoned objects that evoked 'Le Voyage de la Vie', dreams that are running away...". He also explains his work in the 70s and 80s: "My canvases were often imbued with a certain violence. I couldn't imagine a stable horizon. While I was looking for ways to distinguish myself from my colleagues, contemporary artists, I felt it necessary to express "the terrible passions of humanity".

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