Daniel Dezeuze. A retrospective.
Somogy| N° d'inventaire | 20980 |
| Format | 22.7 x 28.7 |
| Détails | 320 p., 360 color and black and white illustrations, hardcover. |
| Publication | Paris, 2017 |
| Etat | Nine |
| ISBN | 9782757213100 |
A founding member of the Supports/Surfaces movement in 1970, Daniel Dezeuze, born in 1942 in Alès, emerges as one of the most exciting French artists of his generation. Tracing his career from 1962 to the present day, this book allows us to grasp both the complexity and the coherence of his approach over more than five decades. It particularly highlights his originality in the analysis of the painting as an object in itself and a support for painting. It also describes the different paths he takes, always halfway between painting and sculpture, to renew his approach to artistic creation, while ensuring that it is anchored in reality. Thus, with a joyful freedom, Daniel Dezeuze transforms stretchers into sculptures, creates paintings with assemblages of objects, leaves the studio to wander in gardens, in search of natural motifs but also hybrid constructions made for gathering and hunting. In his work, the Middle Ages intersect with the 21st century, and ballistic studies with Taoism, with a profusion of forms and colors that constitutes a formidable demonstration of the capacity of art to move while enriching the vision and understanding of the world.
A founding member of the Supports/Surfaces movement in 1970, Daniel Dezeuze, born in 1942 in Alès, emerges as one of the most exciting French artists of his generation. Tracing his career from 1962 to the present day, this book allows us to grasp both the complexity and the coherence of his approach over more than five decades. It particularly highlights his originality in the analysis of the painting as an object in itself and a support for painting. It also describes the different paths he takes, always halfway between painting and sculpture, to renew his approach to artistic creation, while ensuring that it is anchored in reality. Thus, with a joyful freedom, Daniel Dezeuze transforms stretchers into sculptures, creates paintings with assemblages of objects, leaves the studio to wander in gardens, in search of natural motifs but also hybrid constructions made for gathering and hunting. In his work, the Middle Ages intersect with the 21st century, and ballistic studies with Taoism, with a profusion of forms and colors that constitutes a formidable demonstration of the capacity of art to move while enriching the vision and understanding of the world.