This article, which proposes an original perspective of the Parisian and international artistic context between 1946 and 1958, recounts the little known participation of Pierre Soulages in the exhibitions and publications organized by the poet and art critic Edouard Jaguer, who played an important role in the debate surrounding non- gurative painting in postwar Paris. Director of the revue, Phases, Jaguer put for- ward a very open de nition of the new non- gurative research and was opposed to the “cold” geometric forms and the de nitions of abstrac- tion proposed by Degand and Estienne, preferring automatism as “passion against reason” and “hot against cold.” He also attempted to reconcile Surrealism, automa- tism and abstraction. He defended an open conception of abstraction against labels (“tachism,” “new School of Paris”). Soulages never claimed any af liation to a group or to a movement, never participated in the exhibitions of one tendency or another. Nevertheless, with Jaguer, the opposite occurred: both were attached to the idea of the freedom of the observer to imagine, and were especially interested in the poetic experiences that led them to the accomplishment of a work, whether painted or written.

Pierre Soulages et Édouard Jaguer. Œuvres et contexte dans l’art français d’après-guerre

Giuseppe Di Natale
2018

Abstract

This article, which proposes an original perspective of the Parisian and international artistic context between 1946 and 1958, recounts the little known participation of Pierre Soulages in the exhibitions and publications organized by the poet and art critic Edouard Jaguer, who played an important role in the debate surrounding non- gurative painting in postwar Paris. Director of the revue, Phases, Jaguer put for- ward a very open de nition of the new non- gurative research and was opposed to the “cold” geometric forms and the de nitions of abstrac- tion proposed by Degand and Estienne, preferring automatism as “passion against reason” and “hot against cold.” He also attempted to reconcile Surrealism, automa- tism and abstraction. He defended an open conception of abstraction against labels (“tachism,” “new School of Paris”). Soulages never claimed any af liation to a group or to a movement, never participated in the exhibitions of one tendency or another. Nevertheless, with Jaguer, the opposite occurred: both were attached to the idea of the freedom of the observer to imagine, and were especially interested in the poetic experiences that led them to the accomplishment of a work, whether painted or written.
File in questo prodotto:
Non ci sono file associati a questo prodotto.

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11697/166162
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus 0
  • ???jsp.display-item.citation.isi??? ND
social impact