Null Jean Criton (1930-2022)
Catacamera, Vue depuis l'avenue menant à la gare ma…
Description

Jean Criton (1930-2022) Catacamera, Vue depuis l'avenue menant à la gare maritime 1997 Charcoal and gouache highlights on paper signed, dated and titled lower right, titled lower 40 x 30 cm Condition report: Framed In 1982, Jean Criton designed 6 lithographs to illustrate Alain Jouffroy's Catacamera ([CRITON (Jean)] & JOUFFROY (Alain). Narkopolis-Catacamera. Paris, ed. Pierre Bordas & fils, 1982). In 1997, he resumed this project, which had fascinated him: the 4 charcoals we present illustrate the period that began in Jean Criton's work in the 1970s, when the human disappeared from the compositions, giving way to the theme of the utopian city. These imaginary architectural views give rise to monumental, geometrically structured charcoal constructions. Thanks to this charcoal black, the façades sometimes appear bathed in light, sometimes hidden in shadow. And so, faced with these visions of fanciful cities, our eyes enjoy wandering down these alleyways, losing themselves in these convoluted perspectives, and lending themselves to the game of imagining the world of tomorrow.

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Jean Criton (1930-2022) Catacamera, Vue depuis l'avenue menant à la gare maritime 1997 Charcoal and gouache highlights on paper signed, dated and titled lower right, titled lower 40 x 30 cm Condition report: Framed In 1982, Jean Criton designed 6 lithographs to illustrate Alain Jouffroy's Catacamera ([CRITON (Jean)] & JOUFFROY (Alain). Narkopolis-Catacamera. Paris, ed. Pierre Bordas & fils, 1982). In 1997, he resumed this project, which had fascinated him: the 4 charcoals we present illustrate the period that began in Jean Criton's work in the 1970s, when the human disappeared from the compositions, giving way to the theme of the utopian city. These imaginary architectural views give rise to monumental, geometrically structured charcoal constructions. Thanks to this charcoal black, the façades sometimes appear bathed in light, sometimes hidden in shadow. And so, faced with these visions of fanciful cities, our eyes enjoy wandering down these alleyways, losing themselves in these convoluted perspectives, and lending themselves to the game of imagining the world of tomorrow.

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Jean Criton (1930-2022) La Nuit gonflable 1971 Oil on canvas signed and dated lower right, titled on back 130 x 97 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 appeared in architectural settings that soon gave way to a long series of imaginary buildings and places worthy of the best science-fiction scenarios... soon all that remained were the lines and a return to strict abstraction in the late 1990s. Here, a canvas from 1971, part of a series of works begun in 1961, a period of return to figuration. Here, Jean Criton explores the body and its organs in tight frames, where straps constrain them and fences enclose them. It's a dystopian universe, never seen before and belonging only to the artist, where we admire the precision of the drawing: the perspectives, the reliefs evoking swellings, the shadows, give life to beings that are nonetheless non-existent. Criton dares to predict that, like a science-fiction writer whose writings come true, his canvases could be painted today and proudly displayed on the white walls of contemporary art galleries alongside the most promising young artists!