Aurelie Nemours, Composition, huile sur toile, 1961, 116 x 81,1 cm Aurelie Nemours Aurelie Nemours built on the work of Theo Van Doesburg and Auguste Herbin, putting the square at the centre of her creations and her thinking. The claim of the objectivity and autonomy of artistic language outside any reference to the reality of […]
Joel Shapiro, Untitled, Fusain et crayon gras sur papier, 1977, 74 x 82,2 cm Joel Shapiro The American artist Joel Shapiro developed a formal language made up of primary structures, like his orthogonal constructions drawn in charcoal on certain works on paper, similar to his sculptural compositions. Fondation Gandur pour l’Art collection For more information:
François Morellet, 3 doubles trames 0° 30° 60°, huile sur panneau de bois, 1971, 80 x 80 cm François Morellet The adoption of a stripped-down language with limited colours – here only black and white – allowed François Morellet to create his structures and his system of arranging shapes, in two and then three dimensions,
Jules Olitski, Larro Two, Acrylique sur toile, 1972, 168 x 183 cm Jules Olitski The American Jules Olitski developed a process of spraying paint and pigments on canvas from 1964 that allowed him to structure the surface and play with the depth of the paint using a spray gun. After representing the United States at
Jean Degottex, Horsphère 30, Acrylique, peinture vinylique et encre noire sur toile montée sur panneau de bois, 30 mars 1967, 162,3 x 405,6 cm (triptyque) Jean Degottex The question of gesture was central for Jean Degottex, influenced by the philosophy and religion of the Far East – Taoism, Buddhism and Zen – which inspired his
Pol Bury, Mélangeur (x 4), Cartes découpées libres sous plexiglas, 1970 Pol Bury A number of artists, the successors to geometric abstraction, imagined their own new languages. Similar to kinetic and spatialist artists, the Belgian Pol Bury invented mobile geometric shapes, the works being infinitely recomposed by their movements. He sought to go beyond painting
Jean Tinguely, Méta-Herbin, Trépied en fer, tiges métalliques, fils de fer, formes en métal et carton peints et moteur électrique, 1955, 124,8 x 52,5 x 75 cm Jean Tinguely Jean Tinguely paid tribute to the formal language of abstract avant-garde with his meta-mechanical sculpture in 1955. Presented the same year in the exhibition Le Mouvement
Auguste Herbin, Bien, Huile sur toile, 1952, 130 x 89 cm Auguste Herbin Born in 1882, Auguste Herbin turned towards geometric abstraction in 1917 and advocated on its behalf within the Abstraction-Création group between 1931 and 1936 and then at the Salon des Réalités nouvelles from the summer of 1946. He emerged as a master
Serge Poliakoff, Composition en rose, 1954, huile sur toile, 130,5 x 97 cm Serge Poliakoff Influenced by meeting Sonia and Robert Delaunay as much as by Wassily Kandinsky, Serge Poliakoff combined curves and right angles in his paintings. He did not identify with “pure” geometry, nor with lyrical, gestural or informal abstraction, which was tending
Martin Barré, 56-80-P, huile sur toile, 1956, 145,5 x 97 cm Martin Barré Martin Barré worked by superimposing layers of paint from a palette reduced to only a few colours. Starting in 1957, he used a “knife equally to apply the paint and to scrape it off to reveal the fabric of the canvas” in
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