DUBORGEL Bruno.
Soulages and distant Chinese art.
Bernard Chauveau.
Regular price
€35,00
| N° d'inventaire | 26812 |
| Format | 17 x 24 |
| Détails | 112 p;, color illustrations, bound in Japanese. |
| Publication | Paris, 2022 |
| Etat | Nine |
| ISBN | 9782363063090 |
Pierre Soulages has always shown curiosity for art from elsewhere, these "distant arts" whether it be the prehistoric art of Altamira, Pech-Merle, the scenes of Lascaux, the paintings of the Chauvet Cave, Romanesque art and medieval art, or even more broadly from the Americas, Africa, Asia, Oceania. He likes to contemplate these artistic productions, to meditate on them, to dialogue with them. For him, "true art has neither borders nor temporality."
Pierre Soulages' work has already been associated with African art or examined in terms of its artistic kinship with Cistercian aesthetics and architecture. But surprisingly, this work has hardly been considered in terms of its relationship to ancient Chinese art.
The author Bruno Duborgel wanted, through this publication, to question the possible confrontation and dialogue between such and such aesthetic characters that emerged throughout the work of Pierre Soulages and, in the history of ancient Chinese painting, corresponding mainly to so-called "literate" painting.
Could these two artistic worlds have nothing to say to each other, particularly about architectural space and the correspondence of elements in calligraphy? About the relationships between black and white and the pair formed by these two colors? About the pair associating emptiness and fullness? About black as the original color, and its chromatic palette? About the "mystery" of the world, about "meaning" and the "unknown"? So many questions that this text addresses, supplemented by a vast iconography.
Pierre Soulages' work has already been associated with African art or examined in terms of its artistic kinship with Cistercian aesthetics and architecture. But surprisingly, this work has hardly been considered in terms of its relationship to ancient Chinese art.
The author Bruno Duborgel wanted, through this publication, to question the possible confrontation and dialogue between such and such aesthetic characters that emerged throughout the work of Pierre Soulages and, in the history of ancient Chinese painting, corresponding mainly to so-called "literate" painting.
Could these two artistic worlds have nothing to say to each other, particularly about architectural space and the correspondence of elements in calligraphy? About the relationships between black and white and the pair formed by these two colors? About the pair associating emptiness and fullness? About black as the original color, and its chromatic palette? About the "mystery" of the world, about "meaning" and the "unknown"? So many questions that this text addresses, supplemented by a vast iconography.
Pierre Soulages' work has already been associated with African art or examined in terms of its artistic kinship with Cistercian aesthetics and architecture. But surprisingly, this work has hardly been considered in terms of its relationship to ancient Chinese art.
The author Bruno Duborgel wanted, through this publication, to question the possible confrontation and dialogue between such and such aesthetic characters that emerged throughout the work of Pierre Soulages and, in the history of ancient Chinese painting, corresponding mainly to so-called "literate" painting.
Could these two artistic worlds have nothing to say to each other, particularly about architectural space and the correspondence of elements in calligraphy? About the relationships between black and white and the pair formed by these two colors? About the pair associating emptiness and fullness? About black as the original color, and its chromatic palette? About the "mystery" of the world, about "meaning" and the "unknown"? So many questions that this text addresses, supplemented by a vast iconography.