Colette Brunschwig. Painting the Ultimate Space.
Manuella Editions| N° d'inventaire | 23400 |
| Format | 21 x 32 |
| Détails | 272 p., 121 color ill., 147 black and white ill., paperback. |
| Publication | Paris, 2021 |
| Etat | Nine |
| ISBN | 9782490505005 |
Born in 1927 in Le Havre, Colette Brunschwig lives and works in Paris. Trained after the war at the Académie Julian, then, between 1946 and 1949, with Jean Sourbevie and André Lhote, whose studios were integrated into the École des Beaux-Arts in Paris, Colette Brunschwig presented her first solo exhibition in 1952 at the Colette Allendy gallery. She exhibited there regularly until the end of the 1950s, paintings and gouaches, combining formal research into line, compression and expansion of pictorial material and ink, and abstract motifs, an exploration of a dynamic space-surface, which brought her closer to the artists of her generation from the École de Paris, but from which, nevertheless, she distinguished herself.
In direct or indirect dialogue with Pierre Soulages, Nicolas de Staël, Arpad Szenes, André Marfaing, Yves Klein, Ung-No Lee, Pierrette Bloch, Marcelle Cahn, among others, also close to the philosopher Emmanuel Levinas, Colette Brunschwig quickly became part of the French artistic and intellectual scene of the 1950s-1960s, and beyond.
Although Colette Brunschwig has had numerous solo exhibitions in galleries (Nane Stern in the 1970s, Galerie Clivages in the 1980s and 1990s, etc.) and in art venues in France and abroad, and although her works on paper and acrylics have entered public collections (Musée d'art moderne de la Ville de Paris, FNAC), no monograph has yet been published to capture the formal richness of this unique (and critically acclaimed) work, which raises the question of the dissolution of the image and a possible new beginning.
Born in 1927 in Le Havre, Colette Brunschwig lives and works in Paris. Trained after the war at the Académie Julian, then, between 1946 and 1949, with Jean Sourbevie and André Lhote, whose studios were integrated into the École des Beaux-Arts in Paris, Colette Brunschwig presented her first solo exhibition in 1952 at the Colette Allendy gallery. She exhibited there regularly until the end of the 1950s, paintings and gouaches, combining formal research into line, compression and expansion of pictorial material and ink, and abstract motifs, an exploration of a dynamic space-surface, which brought her closer to the artists of her generation from the École de Paris, but from which, nevertheless, she distinguished herself.
In direct or indirect dialogue with Pierre Soulages, Nicolas de Staël, Arpad Szenes, André Marfaing, Yves Klein, Ung-No Lee, Pierrette Bloch, Marcelle Cahn, among others, also close to the philosopher Emmanuel Levinas, Colette Brunschwig quickly became part of the French artistic and intellectual scene of the 1950s-1960s, and beyond.
Although Colette Brunschwig has had numerous solo exhibitions in galleries (Nane Stern in the 1970s, Galerie Clivages in the 1980s and 1990s, etc.) and in art venues in France and abroad, and although her works on paper and acrylics have entered public collections (Musée d'art moderne de la Ville de Paris, FNAC), no monograph has yet been published to capture the formal richness of this unique (and critically acclaimed) work, which raises the question of the dissolution of the image and a possible new beginning.