Jean Le Moal. 1909-2007.
Lienart| N° d'inventaire | 23442 |
| Format | 24 x 27 |
| Détails | 232 p., publisher's hardcover. |
| Publication | Paris, 2017 |
| Etat | Nine |
| ISBN | 9782359062069 |
Considered one of the main representatives of French non-figuration in the second half of the 20th century, Jean Le Moal (1909-2007) appears today as a painter to be rediscovered as his work - both recognized and little known - transcends aesthetic compartmentalization and resists theoretical simplifications. Too often associated with clichés linked to post-war art, wrongly linked to a religious interpretation, too quickly confined to the practice of an "abstract landscape" from the School of Paris, his works implicitly invite another, much more contemporary reading.
Because it has not benefited from a major exhibition for almost thirty years, Jean Le Moal's painting can now be understood for what it truly is: that of a man who draws on tradition - from Chardin to Picasso, from Matisse and Bonnard to the surrealist heritage -, places himself on the frontier of figurative representation and develops, between color and light, a personal writing which attests to the constantly awakening curiosity of an artist open to the world.
"For me, the most important thing is freedom. It's my freedom as a painter. Always moving forward, without worrying about what you've done before."
Considered one of the main representatives of French non-figuration in the second half of the 20th century, Jean Le Moal (1909-2007) appears today as a painter to be rediscovered as his work - both recognized and little known - transcends aesthetic compartmentalization and resists theoretical simplifications. Too often associated with clichés linked to post-war art, wrongly linked to a religious interpretation, too quickly confined to the practice of an "abstract landscape" from the School of Paris, his works implicitly invite another, much more contemporary reading.
Because it has not benefited from a major exhibition for almost thirty years, Jean Le Moal's painting can now be understood for what it truly is: that of a man who draws on tradition - from Chardin to Picasso, from Matisse and Bonnard to the surrealist heritage -, places himself on the frontier of figurative representation and develops, between color and light, a personal writing which attests to the constantly awakening curiosity of an artist open to the world.
"For me, the most important thing is freedom. It's my freedom as a painter. Always moving forward, without worrying about what you've done before."