The Painters of Autun 1900-1950. Inspiration from the Autun region.
Somogy| N° d'inventaire | 20571 |
| Format | 25 x 28 |
| Détails | 144 p. 100 illustrations, bound. |
| Publication | Paris, 2017 |
| Etat | Nine |
| ISBN | 9782757212172 |
For years, they painted this corner of France: about fifteen artists, friends, gathered around the strong personality of Louis Charlot (1878 -1951), all attached to this land and its emblematic city, Autun. The work of these painters was not notably influenced by the great movements (Fauvism, Expressionism, Cubism, Surrealism, Abstraction, etc.) with a few rare exceptions. They preserved their own style and techniques. They made them evolve, perfecting them, sticking to their time, without deviating from their original source of inspiration or seeking to draw technically from new pictorial expressions, except for the work of Paul Cézanne, of which they were all more or less familiar. In fact, they remained authentic and without ostentatious cheating. This book traces their artistic and human adventure, their faithful and claimed attachment to these places that fascinated them, but also, before them, the immense William Turner, whose drawing of the Porte d'Arroux is known. Does this constant source of inspiration explain the depth of their vision, the accuracy of their painting? In any case, it reveals a love of these landscapes, an acuity and an "honesty that do them credit. They did not paint for glory or to sell, but to convey the truth of what they saw.
For years, they painted this corner of France: about fifteen artists, friends, gathered around the strong personality of Louis Charlot (1878 -1951), all attached to this land and its emblematic city, Autun. The work of these painters was not notably influenced by the great movements (Fauvism, Expressionism, Cubism, Surrealism, Abstraction, etc.) with a few rare exceptions. They preserved their own style and techniques. They made them evolve, perfecting them, sticking to their time, without deviating from their original source of inspiration or seeking to draw technically from new pictorial expressions, except for the work of Paul Cézanne, of which they were all more or less familiar. In fact, they remained authentic and without ostentatious cheating. This book traces their artistic and human adventure, their faithful and claimed attachment to these places that fascinated them, but also, before them, the immense William Turner, whose drawing of the Porte d'Arroux is known. Does this constant source of inspiration explain the depth of their vision, the accuracy of their painting? In any case, it reveals a love of these landscapes, an acuity and an "honesty that do them credit. They did not paint for glory or to sell, but to convey the truth of what they saw.