André Masson. There is no finished world.
Centre Pompidou Metz.| N° d'inventaire | 30841 |
| Format | 24.5 X 32.5 |
| Détails | 296 p., numerous illustrations, publisher's hardcover, bound. |
| Publication | Metz, 2024 |
| Etat | Nine |
| ISBN | 9782359830736 |
Exhibition catalog for André Masson. There is no such thing as a finished world, presented at the Centre Pompidou Metz (March 29 - September 2, 2024).
This major retrospective explores the various facets of André Masson's work as well as his close ties to the intellectuals, poets, filmmakers, playwrights, and artists of his time. Following a chronological thread, it opens with the forests, erotic drawings, and interior scenes that the artist created following his traumatic experience of the First World War. The revolution of automatism and the shock it introduced into his painting culminated in the experiment of sand paintings, the culmination of this research.
His non-doctrinaire presence among the surrealists, the invention of automatic drawing and sand paintings, his fruitful collaborations with the artists and thinkers of his time, the influence of his drawings and paintings on the beginnings of American abstract expressionism, form the best-known part of a work that still remains to be read in the power of its entirety.
The catalog gives voice to the artist's friends and commentators through a selection of texts that interact with the body of works exhibited and fully reproduced.
These historical writings are complemented by a largely unpublished text by Bernard Noël, as well as two lengthy essays that retrace the life and work of the artist — they are signed by Chiara Parisi, curator of the exhibition, and William Jeffett, chief curator of the Salvador Dalí Museum in Saint Petersburg (Florida, United States).
Exhibition catalog for André Masson. There is no such thing as a finished world, presented at the Centre Pompidou Metz (March 29 - September 2, 2024).
This major retrospective explores the various facets of André Masson's work as well as his close ties to the intellectuals, poets, filmmakers, playwrights, and artists of his time. Following a chronological thread, it opens with the forests, erotic drawings, and interior scenes that the artist created following his traumatic experience of the First World War. The revolution of automatism and the shock it introduced into his painting culminated in the experiment of sand paintings, the culmination of this research.
His non-doctrinaire presence among the surrealists, the invention of automatic drawing and sand paintings, his fruitful collaborations with the artists and thinkers of his time, the influence of his drawings and paintings on the beginnings of American abstract expressionism, form the best-known part of a work that still remains to be read in the power of its entirety.
The catalog gives voice to the artist's friends and commentators through a selection of texts that interact with the body of works exhibited and fully reproduced.
These historical writings are complemented by a largely unpublished text by Bernard Noël, as well as two lengthy essays that retrace the life and work of the artist — they are signed by Chiara Parisi, curator of the exhibition, and William Jeffett, chief curator of the Salvador Dalí Museum in Saint Petersburg (Florida, United States).