AUGUSTE HERBIN « Parcours »

Du 16 mai au 12 juillet 2024

Auguste Herbin, "Adam et Eve", 1943 Huile sur toile, 73 x 92 cm

Nous sommes heureux de vous convier à l'exposition personnelle d'Auguste Herbin.

Vernissage jeudi 16 mai, de 18h30 à 20h30

Le parcours d'Herbin dans l'histoire de l'art est celui d'un artiste de la fin du 19ème siècle qui, parti de l'oeuvre de Cézanne et, avec la palette de Van Gogh comme première balise, devint dans la seconde moitié du 20ème siècle un phare pour de nombreux artistes quelques soient leurs nationalités, tant Paris de 1945 à 1955 fut la grande capitale de l'art abstrait international. Après 1945, son activité au sein du Salon des Réalités Nouvelles, l'engagement auprès de lui de critiques et de galeristes, ses talents de pégagogue contribuèrent à une meilleure connaissance de son grand œuvre : l'alphabet plastique. Auguste Herbin est l'artiste qui permit à l'art abstrait géomérique de se renouveler et de dépasser les synthèses constructivistes et néoplastiques. Cette conclusion abstraite éblouissante comme le disait Victor Vasarely, ne doit pas faire oublier qu'à chacun des mouvements qu'il traversa et dont il fut contemporain, en particulier le fauvisme et le cubisme, il laissa une œuvre magistrale qui le plaça d'emblée parmi les plus grands.

Céline Berchiche - Avril 2024

Published 15/04/2024 - Born in France in 1921, Françoise Gilot was a remarkable artist whose expansive oeuvre bridged twentieth-century avant-garde and contemporary aesthetics.  After completing a degree in English literature in 1938 and briefly attending law school, Gilot began her formal artistic education. In 1941, she began studying with Hungarian painter Endre Rozsda and took classes at the Académie Julian. Two years later during her first gallery exhibition, Gilot met Pablo Picasso. The pair maintained a relationship from 1946 until 1953, during which they had two children, Claude and Paloma.

Black and white photograph of Gilot working at the Tanstone Group in LA, 1971. Image courtesy of The Philip and Muriel Berman Museum of Art.

Around 1946, Gilot deserted oil paintings in favor of graphite, and occasionally gouache, on paper. Gilot's early drawings can be seen in the exhibition and range from portraits and still lifes to abstract works in which she explored formal and symbolic transformations obtainable from simple forms. Gilot began accompanying Picasso to Fernand Mourlot's Atelier in 1950, where she became the first woman to make lithographs in the acclaimed studio—Gilot continued printmaking with Mourlot for decades.

Jean-Michel Basquiat, Hollywood Africans, 1983, acrylic and oil stick on canvas, 84 1/8 × 84 inches (213.5 × 213.4 cm),
Whitney Museum of American Art, New York © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photo:
© Whitney Museum of American Art/Licensed by Scala/Art Resource, New York

BEVERLY HILLS, February 6, 2024—Gagosian is pleased to announce Made on Market Street, the first exhibition focused exclusively on works that Jean-Michel Basquiat produced in Los Angeles. Curated by Fred Hoffman with Larry Gagosian, the exhibition will be on view from March 7 to June 1, 2024. With exhibition design by Stefan Beckman, Made on Market Street features loans from the Estate of Jean-Michel Basquiat; Nicola Erni Collection, Steinhausen, Switzerland; the Broad Art Foundation, Los Angeles; Museum Brandhorst, Munich; Museum of Modern Art, New York; Whitney Museum of American Art, New York; and other public and private collections.
Between November 1982 and May 1984, Basquiat produced approximately a hundred paintings, numerous works on paper, and six silkscreen editions in Venice, California. For an artist closely affiliated with the New York art scene of the 1980s, Basquiat was extraordinarily prolific in Los Angeles

Made on Market Street reflects on this consequential era by bringing together nearly thirty works—several of which are among his most important paintings. Larry Gagosian notes, “Los Angeles has always been a great city for artists and Jean-Michel seemed to find it a refreshing change from New York. While the immensity of his talent was immediately apparent, it was nonetheless a highlight of my own career to work with him, to introduce him to Los Angeles, and to witness the amazing impact that his art and legacy have made on our culture.”

C'est avec une immense joie que nous vous annonçons l'ouverture de notre galerie à Soho, à New York. Nous vous invitons dès a présent à venir nous rendre visite !
Du mardi au samedi 10h-19h - 85 Mercer St #87, New York, NY 10012, États-Unis - Téléphone : +1 917-621-7604 -  https://www.ameliemaisondart.com/fr/

With immense joy, we announce the opening of our gallery in Soho, New York.
We invite you to come and visit us!
Tuesday to Saturday 10am-7pm
85 Mercer St #87, New York, NY 10012, États-Unis - Téléphone : +1 917-621-7604 - https://www.ameliemaisondart.com/fr/

Du 27 au 30 mars 2024 - Le Molière - 40 rue de Richelieu, 75001 Paris

JAOUAD BENTAMA  -  https://www.jaouadbentama.com/  Video : https://www.youtube.com/watch?v=rlG_TwDoZjo

JAOUAD BENTAMA, peintre franco-américain d'origine marocaine vit et crée à New York depuis plus de 10 ans. Il intègre en 2017 en tant qu'artiste résident le centre "Mana Contemporary". A collaboré avec plusieurs collectifs d'artistes dans le Lower East Side et a présenté son travail dans de nombreux lieux culturels aux Etats Unis et en France (https://www.jaouadbentama.com/exhibitions).

JAOUAD BENTAMA, a French-American painter with Moroccan origin, has lived and created in New York for over 10 years. In 2017, he joined 'Mana Contemporary' as a resident artist. He has collaborated with several artist collectives in the Lower East Side and has presented his work in numerous cultural venues in the United States and France (https://www.jaouadbentama.com/exhibitions).

JAOUAD BENTAMA présente à Paris une trentaine d’œuvres autour du thème «DECHIRURES». Elles signent sa renaissance artistique après un accident qui l’a laissé pour mort.

JAOUAD BENTAMA presents about thirty works in Paris on the theme of «DECHIRURES».

They mark his artistic rebirth after an accident that left him for dead.

Ses «DECHIRURES» sont les stigmates d’une longue convalescence, une référence a ces pansements qu'on arrache, sans retirer la peine : "il y a des cicatrices qui ne se referment jamais et demeurent nos déchirures ". Les «DECHIRURES» sont une réflexion universelle sur la fragilité de la vie et le triomphe possible de l'espoir. (www.jaouadbentama.com)

His «DECHIRURES» are the scars of a long convalescence, a reference to those bandages that are torn off, without removing the pain: 'there are scars that never heal and remain our rips'. The 'DECHIRURES' are a universal reflection on the fragility of life and the possible triumph of hope. (www.jaouadbentama.com)

Paul Delvaux Femme et  Squelette 1949 watercolour, pen, ink and wash on paper 56 x 74 cm

PAUL DELVAUX EARLY WATERCOLOURS AND DRAWINGS FROM A PRIVATE COLLECTION

Linda and Guy Pieters are pleased to invite you to the private view of the exhibition on Saturday 30 March from 4 PM until 6 PM

exhibition from 31 March until 13 May 2024

The Office at Guy Pieters Gallery : https://www.guypietersgallery.com/en/home

Zeedijk - Het Zoute 755 – 8300 Knokke-Heist

Open every day from 11 AM until 6 PM

Closed on Tuesday and Wednesday

+32 50 80 00 15 - knokke'at)guypietersgallery.com