Null Jean Criton (1930-2022)
Abstract Composition [B25] 1957 Oil and lacquer on …
Description

Jean Criton (1930-2022) Abstract Composition [B25] 1957 Oil and lacquer on board, signed and dated lower right 21.5 x 29.5 cm Jean Criton was born in Paris in 1930. At just 17, he entered the Charpentier academy, where he befriended Bernard Réquichot. In 1950, they tied for first place at the École des Beaux-Arts de Paris. Initially influenced by Jacques Villon and Vieira da Silva, by 1956 he was fully committed to lyrical abstraction - and successfully so! He then bought a house in the Luberon with his wife, also an artist, Dominique d'Acher and his friend Bernard Réquichot... but 1961 marked a definitive turning point: Réquichot committed suicide and Jean Criton discovered the work of Francis Bacon. Little by little, he incorporated figuration into his work, which he never abandoned. Pierre Restany invited him to take part in the Paris Biennial with Martial Raysse, and his works became increasingly colorful, with flesh, eyes and bodies making their appearance. In the 70s, he exhibited alongside the great names of narrative figuration (Monory, Aillaud, Klasen, Rancillac, Stämpfli etc.).) and mutilated body parts appear in architectural settings that soon give way to a long series of imaginary buildings and places worthy of the best science-fiction scenarios... soon all that remains are the lines and a return to strict abstraction in the late 1990s.

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Jean Criton (1930-2022) Abstract Composition [B25] 1957 Oil and lacquer on board, signed and dated lower right 21.5 x 29.5 cm Jean Criton was born in Paris in 1930. At just 17, he entered the Charpentier academy, where he befriended Bernard Réquichot. In 1950, they tied for first place at the École des Beaux-Arts de Paris. Initially influenced by Jacques Villon and Vieira da Silva, by 1956 he was fully committed to lyrical abstraction - and successfully so! He then bought a house in the Luberon with his wife, also an artist, Dominique d'Acher and his friend Bernard Réquichot... but 1961 marked a definitive turning point: Réquichot committed suicide and Jean Criton discovered the work of Francis Bacon. Little by little, he incorporated figuration into his work, which he never abandoned. Pierre Restany invited him to take part in the Paris Biennial with Martial Raysse, and his works became increasingly colorful, with flesh, eyes and bodies making their appearance. In the 70s, he exhibited alongside the great names of narrative figuration (Monory, Aillaud, Klasen, Rancillac, Stämpfli etc.).) and mutilated body parts appear in architectural settings that soon give way to a long series of imaginary buildings and places worthy of the best science-fiction scenarios... soon all that remains are the lines and a return to strict abstraction in the late 1990s.

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