Women of the 1950s. Through abstraction, painting and sculpture.
Hazan| N° d'inventaire | 22389 |
| Format | 24 x 28 |
| Détails | 224 p., paperback with flaps. |
| Publication | Paris, 2019 |
| Etat | Nine |
| ISBN | 9782754111270 |
This exhibition presents women artists, painters, engravers, and sculptors in Paris during this fertile decade, when they worked in large numbers. Some are attached to major figures: Sophie Taueber-Arp and Sonia Delaunay; others are involved in the adulthood of painting: Christine Boumeester, Maria Helena Vieira da Silva, Judit Reigl, Marie Raymond; still others have just arrived: Pierrette Bloch, Anna Mark, Liliane Klapisch… They exert, but in a dispersed order, an active force, increased tenfold by critics and gallery owners. They oscillate between concrete art and lyrical abstraction. Despite a lack of recognition, they blaze a trail in what is conveniently called the School of Paris. If they adhere to this movement, it is often to overflow from it. This book traces their history, from pioneers to young shoots, who will step by step free themselves from male canons and, from the end of the 1960s, provoke the emergence of specifically feminine themes.
This exhibition presents women artists, painters, engravers, and sculptors in Paris during this fertile decade, when they worked in large numbers. Some are attached to major figures: Sophie Taueber-Arp and Sonia Delaunay; others are involved in the adulthood of painting: Christine Boumeester, Maria Helena Vieira da Silva, Judit Reigl, Marie Raymond; still others have just arrived: Pierrette Bloch, Anna Mark, Liliane Klapisch… They exert, but in a dispersed order, an active force, increased tenfold by critics and gallery owners. They oscillate between concrete art and lyrical abstraction. Despite a lack of recognition, they blaze a trail in what is conveniently called the School of Paris. If they adhere to this movement, it is often to overflow from it. This book traces their history, from pioneers to young shoots, who will step by step free themselves from male canons and, from the end of the 1960s, provoke the emergence of specifically feminine themes.