Robert Droulers (1920-1994), the great escape.
Invent| N° d'inventaire | 26506 |
| Format | 19 x 27 |
| Détails | 160 p., color illustrations, paperback. |
| Publication | Lille, 2023 |
| Etat | Nine |
| ISBN | 9782376801023 |
A self-taught artist born in Lille in 1920, from a bourgeois background, Robert Droulers painted from his adolescence, first on location in the Lille region and in Belgium, then, from the 1950s, more in the studio.
Turning to abstract painting, Droulers exhibited at the Salon des Réalités Nouvelles and frequented the artists who posterity would bring together under the name of the Roubaix Group, as well as the members of the Atelier de la Monnaie in Lille. Eugène Leroy became a friend and loyal supporter. Living in Lambersart with his family from 1954 to 1964, Robert Droulers was employed as a manager in the family textile business. Working during the day, he devoted his nights to painting, exploring Expressionism, Cubism, and Orphism, and exhibited in galleries in Lille, Brussels, and Roubaix.
Following the expropriation of the land, Droulers ceased his activity as a textile manufacturer in 1964 and left the North for Provence, where the radically new light and the company of several poets profoundly changed his art. The house he bought and restored in Murs, for which he designed furniture, constituted his new work. From 1973 to 1980, Droulers lived in Aix-en-Provence before leaving for Saint-Rémy-de-Provence.
The Estrine and La Piscine museums are joining forces to produce a large-scale exhibition in two concurrent parts exploring the diversity of mediums used by this versatile artist: drawings (inks, watercolors, gouaches) but also collages and prints (monotypes, linocuts, drypoints), paintings (on wood or canvas) but also three-dimensional works (sculptures, textiles, furniture, architecture).
Thus we trace the deliberately indecisive, light and dancing path, imbued with obstinacy as well as fantasy, and guided by a form of spirituality, of a man of paradoxes. From the subtle and moving lights of the skies of his native North, to the dazzling and blinding whiteness of his adopted South-East. From his early works, marked by Goya, El Greco, Flemish expressionism and the formal experiments of the second School of Paris, to those of his maturity, inspired by the Italian masters. From the often dense and dark materials of Lambersart's time to the more fluid and refined materials of the Provençal period, in search of transparency and evanescence, to the dazzling light.
A self-taught artist born in Lille in 1920, from a bourgeois background, Robert Droulers painted from his adolescence, first on location in the Lille region and in Belgium, then, from the 1950s, more in the studio.
Turning to abstract painting, Droulers exhibited at the Salon des Réalités Nouvelles and frequented the artists who posterity would bring together under the name of the Roubaix Group, as well as the members of the Atelier de la Monnaie in Lille. Eugène Leroy became a friend and loyal supporter. Living in Lambersart with his family from 1954 to 1964, Robert Droulers was employed as a manager in the family textile business. Working during the day, he devoted his nights to painting, exploring Expressionism, Cubism, and Orphism, and exhibited in galleries in Lille, Brussels, and Roubaix.
Following the expropriation of the land, Droulers ceased his activity as a textile manufacturer in 1964 and left the North for Provence, where the radically new light and the company of several poets profoundly changed his art. The house he bought and restored in Murs, for which he designed furniture, constituted his new work. From 1973 to 1980, Droulers lived in Aix-en-Provence before leaving for Saint-Rémy-de-Provence.
The Estrine and La Piscine museums are joining forces to produce a large-scale exhibition in two concurrent parts exploring the diversity of mediums used by this versatile artist: drawings (inks, watercolors, gouaches) but also collages and prints (monotypes, linocuts, drypoints), paintings (on wood or canvas) but also three-dimensional works (sculptures, textiles, furniture, architecture).
Thus we trace the deliberately indecisive, light and dancing path, imbued with obstinacy as well as fantasy, and guided by a form of spirituality, of a man of paradoxes. From the subtle and moving lights of the skies of his native North, to the dazzling and blinding whiteness of his adopted South-East. From his early works, marked by Goya, El Greco, Flemish expressionism and the formal experiments of the second School of Paris, to those of his maturity, inspired by the Italian masters. From the often dense and dark materials of Lambersart's time to the more fluid and refined materials of the Provençal period, in search of transparency and evanescence, to the dazzling light.