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Rediscover Nicolas de Staël, in Brioude

In 2018, town of Brioude (Haute-Loire) inaugurated Le Doyenné, a very rehabilitated medieval constructing, with an exhibition on Marc Chagall (1887-1985). There adopted a show devoted to Joan Miro (1893-1983) and, this yr, one other to Nicolas de Staël (1913-1955). Few works (round sixty within the case of Nicolas de Staël) however judiciously chosen. We acknowledge the paw of Jean-Louis Prat, former director of the Maeght Basis of Saint-Paul-de-Vence (Alpes-Maritimes), who exhibits there a few of his favourite artists, with nevertheless a bonus over different curators of exhibitions: we all know he’s able to acquiring distinctive loans.

Learn additionally: The joyful bestiary of Marc Chagall on the Doyenné

That is nonetheless the case with de Staël, a number of of whose works offered right here had been beforehand unseen. Thus, a collection of oils on paper (9 in all) that had by no means left the workshop. The painter made them instantly after getting back from the Parc des Princes in Paris, the place he had attended in 1952 a soccer match between France and Sweden. We have no idea the rating, however the consequence, for de Staël, was decisive: he definitively deserted abstraction to return to the determine, which made him move for relapsing and heretic to his contemporaries.

The beauty of these extraordinary pochades is the sense of urgency that emerges from them

The beauty of these extraordinary pochades is the sense of urgency that emerges from them. Utilizing the coloured planes, squares and rectangles, to which his summary portray had then arrived, he juxtaposes them in an effort to symbolize our bodies in motion. He expresses it in a letter to his good friend René Char: “Between sky and earth, on the crimson or blue grass, a ton of muscle groups flutters in full self-oblivion with all of the presence that this requires in all improbability. What pleasure ! René, what pleasure! “

From these research emerge work, the place the comb provides approach to the painter’s knife. Typically he even makes use of a trowel. The fluidity of the diluted oil is changed by a thick materials, however by no means crusty, which provides sure giant materials – along with a substantial weight – an influence hardly ever achieved on this discipline. That is so in Princes Park, from 1952, a big portray (200 x 350 cm) which lately made the entrance web page of the gazettes: property of the household, it was bought in 2019 by Christie’s for the report sum of 20 million euros, prices included . Its new proprietor, a French collector, didn’t hesitate to lend it to Brioude.

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