philippe charriol (france)

Transcription

Press release
On the occasion of its participation in
FIAC
from 22nd to 25th October 2015
then in both left and right bank galleries
from 3rd November to 19th December 2015
Applicat-Prazan
presents
Maurice Estève (1904-2001)
Paintings 1929-1994
Trigourrec, 1972
Oil on canvas
146 x 97 cm
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Summary
Press release
page 3
Images available for the press
page 5
Biography
page 11
Gallery presentation
page 17
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Maurice Estève (July 1987)
Photo Baumann
Catalogue : Maurice Estève – Text by Germain Viatte
100 pages
Created by COMMUNIC’ART
ISBN 978-2-916277-41-7
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“One day maybe I’ll succeed in making it impossible to evoke landscapes in my work … Perhaps I
will never be able to prevent the observer from discovering a few visible fragments of the many
aspects of a “nature” which is dear to us only to the extent that we men are here. Imagine that
mankind was to disappear: what would happen to nature?”
Maurice Estève to Georges Boudaille, 30th October 19631
At each edition of the Paris FIAC Art Fair Applicat-Prazan presents a solo exhibition of works by
one of the great artists of the post-war school of Paris. This year the gallery will be showing a
selection of 24 paintings by Maurice Estève from 1929 to 1994. Estève always denied being an
abstract painter. His art is decidedly non-figurative and apprehends the concrete, clearing the way
to a sensitive and transmuting expression of emotion by means of a subtle exercise in colour.
A catalogue will be published for this occasion with a foreword by Germain Viatte who is Curator
General of Heritage Conservation, curator of many prestigious exhibitions and a highly respected
author of reference books. He was Director of the museums of Marseille, Director of the Musée
National d’Art Moderne, Centre de Création Industrielle at the Centre National d’Art et de Culture
Georges Pompidou, Director of heritage and collections at the Musée du Quai Branly, and Director
of the Musée des Arts d’Afrique et d’Océanie in Paris.
Maurice Estève was born in Culan in central France on 2nd May 1904. At the age of 9, after a visit
to the Louvre, he decided he wanted to become a painter. “From then on I was to see nature
through the paintings of the great masters.” In 1924, in spite of the disapproval of his parents,
Estève went to the Colarossi Academy in Montparnasse and from 1929 onwards he participated in
the Paris Salon des Surindépendants. In 1937, with the support of Georges Braque, he
participated in an exhibiton of French painters in Stockholm. The interest of the Scandinavian
public in his painting dates from this period.
Inspired by Cézanne, Estève showed his first still lifes in the 1920’s. In the 1930’s, his shapes and
perspectives became more geometric, connected in successive sequences of planes. Germain
Viatte explains, “The two 1929 paintings shown here, Feuillage aux trois pichets and Déjeuner sur
l’herbe, give the illusion that the painter had rapidly found his form of expression, because he
seemed to have integrated a transformed cubism by the irruption of a sort of mechanical object.”
“While Léger was fascinated by the poetic oddity of natural shapes such as leaves, flowers and
flint, and Ozenfant expressed his cosmic fantasy, Estève was to adopt a meticulous and calm
formal language with subtle harmonic curves, colours where nature and beings are enhanced by
embracing pure rhetorical eloquence pursuing themes worked on by Juan Gris before his death in
1927.”
In 1947, with the metiers series, he moved on to a new phase of non-figurative painting. Pierre
Francastel described it as “a passage towards a formal stylization of poetic forms and light.”
It is in his extraordinary mastery of colours that Estève has left his mark on the painting of his
period and, as Jean Leymarie said, by orchestrating his colours but never premeditating them. The
organization of his compositions, be they drawings, collages, watercolours or paintings, represent
the essence of the moment in which the work was created.
“I never make sketches, I paint directly on the canvas without any preliminary drawings. The
colour finds its place at the same time as the shapes. Each element seeks its place on the work in
progress… Each painting is a sequence of metamorphoses…” (Estève, Zodiaque, April 1979).
A metamorphosis which also arises in the creation of the titles of his works. Berlougane,
Bringuenailles, Ouachita-Swing, Ratuel, Roulti are his own inventions that reveal and accompany
1
Letter to Georges Boudaille, « Maurice Estève, Grand Prix national des Arts », Les Lettres Françaises, 30th December
1970.
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the works in their existence – a more intimate reality. Viatte adds “Estève greatly enjoyed finding
names of familiar hamlets or localities which he liked, inventing or transforming their unexplored
poetic sounds.”
Maurice Estève’s paintings have an aura of organic mystery about them. Viatte says that Boudara
(1967) and Bringuenailles (1972) brilliantly illustrate this characteristic of a new way of
fragmenting the field of the image, going beyond an eminently conceptual and sensitive
abstraction to invent a fictional landscape where the rhythmic fragments converse in colourful
forms.
Germain Viatte goes on to say: “When I approach the white canvas, it’s with the brush in hand –
it’s only to apply colour to it – the brush, like charcoal and sometimes better than charcoal, moves
around, experiments its pas de danse, warms itself up and then runs at its own rhythm,
attempting to determine the painting’s centre of gravity and its areas of repose, crushing a dark
surface, outlining the lines that catch the light as much as they are contrasted […].”
This exhibition presents a coherent representation of Estève’s paintings of the 1970’s , especially
with Trigourrec (1972) which Mr. Viatte describes as “…a work that opens this period during which
the painter managed to fend off his initial difficulty in gradually seeking out his personal form of
expression”. Estève said that for a long time, while he was working or simply taking a break to
look at a canvas, he had the impression that he could not actually see what the painting
expressed, he had the impression of being blind2 to what was being revealed. “In a painting,
whatever the final result, there is always an element of the composition that can be reborn or
have a fresh start. I sometimes discover this out of context, when I am in front of a painting.”
Mr. Viatte quotes another interesting phrase from Estève: “In the end, I’m much more interested
in light than in colour.3 Having discovered the particularity of abstraction which is meant to be
instinctive and, to me, intimately conceptual, my abstraction is dissimilar to that of my period
because it defies dry geometry or mathematical speculation, it does not seek the dazzling
immediacy of movement, nor the effect of matter for its own sake.”
Maurice Estève died in Culan in 2001. He has left behind a magnificent and poetical art-form
composed of 818 oils on canvas that have been included in the catalogue raisonné by Robert
Maillard and Monique Prudhomme-Estève in 1995.
While collaborating regularly for a long time with the Louis Carré and Claude Bernard galleries in
Paris, Maurice Estève also participated in a number of exhibitions throughout Europe. A personal
retrospective show was dedicated to his work at the Grand Palais in 1986-87. In 1986, a Maurice
Estève Museum was inaugurated on the occasion of the donation from the Monique and Maurice
Estève estate to the Museum in Bourges.
2
In his Mémoires d’aveugle, l’autoportrait et autres ruines, Musée du Louvre, 1990-1991, p. 69, Jacques Derrida wrote:
“From the very moment he observes, fascinated, the suspended image disappearing in an abyss before his gaze, the
gesture with which the artist desperately attempts to recompose himself is already, at that precise moment, an act of
memory. Baudelaire alludes to this in his L’art mnémonique, the use of our memory is not dependant on the pencil stroke,
it is the essence of the drawing and its accomplishment.”
3
Conversation with Charles Juliet, 1979.
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Images available for the press
Maurice ESTEVE (1904 - 2001)
Déjeuner sur l’herbe, 1929
Oil on canvas
Signed and dated lower left; dated and titled on the reverse
97 x 130 cm
Provenance:
Artist’s studio
Exhibited:
Paris, Galerie Yvangot, Estève, 20 Nov. – 5 Dec. 1930
Basel, Kunsthalle Basel, 10 June – 16 Jul. 1961; Düsseldorf,
Kunstverein für die Rheinlande und Westfalen, Kunsthalle,
26 Jul. – 27 Aug. 1961; Copenhagen, Statens Museum for
Kunst, 15 Sept. – 15 Oct. 1961; Oslo, Kunstnernes Hus,
11 Nov. - 3 Dec. 1961; Estève
Literature:
Robert Maillard and Monique Prudhomme-Estève, Estève,
Catalogue raisonné de l’œuvre peint, Ides et Calendes,
Neuchâtel 1995, n° 65 p. 163
Maurice Estève has painted here a déjeuner sur l’herbe, a
subject which inspired numerous artists such as Cézanne, his
favourite master, Léger and Manet. The influence of Juan Gris’
Synthetic Cubism and Fernand Léger’s Purism is perceptible.
Sereine, 1951
Oil on canvas
Signed and dated lower right; signed, dated and titled on the
reverse
46 x 33 cm
Provenance:
Private collection, France
Literature:
Neuchâtel 1995, n° 364 p. 284
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Aéroport, 1951
Oil on canvas
Signed and dated lower left; signed, dated and titled on the
reverse
81 x 60 cm
Provenance:
Exhibited:
Paris, Galerie Galanis, Estève, 13 May – 30 June 1955
Copenhagen, Statens Museum for Kunst, May – June 1956 ;
Stockholm, Svensk-Franska Konstgalleriet, 20 Oct. – 18 Nov.
1956; Estève
Düsseldorf, Kunstverein für die Rheinlande und Westfalen,
Kunsthalle, 26 Jul. – 27 Aug. 1961; Copenhagen, Statens
Museum for Kunst, 15 Sept. – 15 Oct. 1961; Oslo, Kunstnernes
Hus, 11 Nov. 3 Dec. 1961; Estève
Meymac, Abbaye Saint-André, Les années 50, L’art abstrait,
1985
Saint-Rémy-de-Provence, Musée Estrine, Estève, La nature
morte sur le chemin de l’abstraction, 20 Mar. – 13 June 2010,
cat. n° 24, ill. f/p. col.
Literature:
Neuchâtel 1995, n° 373 p. 288
The 1950s saw the beginnings of civil aviation. Estève had been
struck by the lights on airport control towers as well as by
landing strip and signal box lights. He painted two other oil
paintings, Orly and Villacoublay, in 1952 and 1953.
Berlougane, 1956
Oil on canvas
reverse
54 x 65 cm
Provenance:
Exhibited:
Paris, Galerie Villand-Galanis, Estève, 11 Apr. – 20 May 1961,
ill.
Basel, Kunsthalle Basel, 10 June – 16 Jul. 1961; Düsseldorf,
Kunstverein für die Rheinlande und Westfalen, Kunsthalle,
26 Jul. – 27 Aug. 1961; Copenhagen, Statens Museum for
Kunst, 15 Sept. – 15 Oct. 1961; Oslo, Kunstnernes Hus,
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11 Nov. - 3 Dec. 1961; Estève
Marseille, Musée Cantini, Estève, June – Aug. 1981, ill.
Paris, Galeries nationales du Grand Palais, Estève, 17 Oct. 1986
– 12 Jan. 1987, cat. n° 53, ill. p. 176
Literature:
Neuchâtel 1995, n° 482 p. 333
In his Paris studio, Estève recreates in pictorial language,
without concession to narrative, the atmosphere of places he
has visited. Berlougane, an inhabitant of Beaulieu sur Mer, a
seaside resort near Nice, is the ‘word sound’ of this small
painting with its intense Mediterranean light. The compact forms
outlined in black are in bright red and blue evoking stained
glass. Extract from the catalogue of the Estève exhibition at the
Grand Palais, in Paris, 17th October 1986 – 12th January 1987.
Trigourrec, 1972
Oil on canvas
reverse
146 x 97 cm
Provenance:
Collection H.R. Astrup, Oslo
Private collection, Paris
Exhibited:
Paris, Galerie Claude Bernard, Estève, 1977, cat. n° 15, ill. col.
Houston, Wildenstein Art Center, 1977-1978
Paris, Forum des Halles, Paris, Patrie des peintres, 1978
Paris, Mairie du XVIIIème arrt., L’art vivant à Paris, 1978
Ancy-le-Franc, Château d’Ancy-le-Franc, Estève, 9 June –
16 Sept. 1979, cat., ill.
Marseille, Musée Cantini, June – Aug. 1981; Luxemburg, Musée
de l’Etat, 18 Sept. - 18 Oct. 1981; Metz, Musée de Metz,
23 Oct. - 6 Dec. 1981; Estève, cat. n° 38, ill. p. 51, ill. col. on
cover
Paris, Galeries nationales du Grand Palais, 17 Oct. 1986 –
12 Jan. 1987, cat. n° 80, ill. p. 188; Hövikodden, Fondation
Sonja Henie-Niels Onstad, 21 Feb. – 19 Apr. 1987; Tübingen,
Kunsthalle, 9 May – 5 Jul. 1987; Estève
Literature:
Neuchâtel 1995, n° 618, ill. p. 389
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Estève sometimes refers, through his words, to Brittany, to this
primitive and for long preserved land which, moving him deeply,
preserves parish enclosures, sacred fountains, mysterious
remains of the Celtic civilization and the standing stones of
prehistory. The title also suggests the composition’s tripartite
character. Extract from the catalogue of the Estève exhibition at
the Grand Palais, in Paris, 17th October 1986 – 12th January
1987.
Ratuel, 1975
Oil on canvas
reverse
60 x 73 cm
Provenance:
Exhibited:
Bourges, Maison de la Culture, 15 Jan. - 6 Mar. 1983;
Châteauroux, Musée Bertrand, 30 Mar. – 10 May 1983; Estève,
Proposition pour une rétrospective
Paris, Galeries nationales du Grand Palais, Estève, 17 Oct. 1986
– 12 Jan. 1987, cat. n° 85, ill. p. 190, ill. f/p col. p. 55
Paris, Galerie Claude Bernard, Hommage à Maurice Estève,
7 Mar. – 30 Apr. 2003
Literature:
Neuchâtel 1995, n° 638 p. 396, ill. col. p. 24
Maurice Estève greatly admired Gérard Philippe who is buried at
Ramatuelle. Ratuel is a verbal invention which evokes the
famous Provençal village.
This work is in the process of being acquired by the Musée des
Beaux-Arts de Dijon.
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Ouachita-Swing, 1979
Oil on panel
Signed and dated upper left; signed, dated and titled on the
reverse
69 x 54 cm
Provenance:
Exhibited:
Bourges, Maison de la Culture, 15 Jan. - 6 Mar. 1983;
Châteauroux, Musée Bertrand, 30 Mar. – 10 May 1983; Estève,
Proposition pour une rétrospective
Literature:
Neuchâtel 1995, n° 691 p. 415
Fond of Westerns and equally of jazz, Estève is referring here to
the Indian Ouachitas tribe, which he associates with jazz and in
particular with swing played by big bands.
Navicella, 1985
Oil on canvas
reverse
81 x 116 cm
Provenance:
Artist’s studio
Exhibited:
Paris, Galeries nationales du Grand Palais, 17 Oct. 1986 –
12 Jan. 1987, cat. n° 114, ill. p. 203, ill. f/p. col. p. 65;
Hövikodden, Fondation Sonja Henie-Niels Onstad, 21 Feb. –
19 Apr. 1987; Tübingen, Kunsthalle, 9 May – 5 Jul. 1987;
Estève
Paris, Galerie Claude Bernard, Hommage à Maurice Estève,
7 Mar. – 30 Apr. 2003, cat. vol. II, Huiles sur toile, n° 13, ill.
double p. col.
London, The Redfern Gallery, Maurice Estève, 14 June – 14 Jul.
2006, cat., ill. col. p. 31
Literature:
Neuchâtel 1995, n° 754 p. 437, ill. f/p col. p. 104
In Italian, “navicella” means small boat and also designates a
monument, such as a fountain, with the appearance of a boat. A
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strange yellow construction with white reflections, half megalith,
half boat with a reptile or bird’s head, stands on a green mound,
in front of a red screen, between two expanses of clear blue sky
and sea, one light, the other dark. Extract from the catalogue of
the Estève exhibition at the Grand Palais, in Paris, 17 th October
1986 – 12th January 1987.
Hommage à Jacques Villon, 1988
Oil on canvas
reverse
73 x 54 cm
Provenance:
Artist’s studio
Exhibited:
Paris, Galerie Claude Bernard, Hommage à Maurice Estève, 7
March – 30 Apr. 2003
Literature:
Neuchâtel 1995, n° 767 p. 441, ill. f/p col. p. 110
Maurice Estève greatly admired the work of Jacques Villon with
whom he had worked during the 1937 International Exhibition.
In this painting, we find a compositional rhythm similar to that
of Villon, particularly apparent in the vertical geometrical lines.
Géométrie 91, 1991
Oil on canvas
reverse
92 x 73 cm
Provenance:
Artist’s studio
Exhibited:
Literature:
Neuchâtel 1995, n° 800 p. 452
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BIOGRAPHY
1904
Maurice Estève was born on 2nd May in Culan, in the Cher, where he spent his childhood living
with his grandparents, who transmitted to him the values of rural life.
He always retained fond memories of the family house and, from 1954 onwards, used it as his
summer studio.
1913
During a first visit to Paris to stay with his artisan parents, he discovered the Musée du Louvre,
which he explored by himself. Despite not yet being ten years old, he was astonished and this first
visit was to be decisive: «From then on I was to see nature through the paintings of the great
masters.»
1914-1918
He spent the war years in Culan and obtained the Certificat d’Etudes Primaires.
1919
Estève was now living in Paris. His father, persuaded that only a manual profession could
guarantee his son a secure future, forbade Estève to pursue an intellectual career and placed him
in apprenticeship, first with a typographer and then with a modern furniture designer, who
permitted him to draw.
He attended evening classes in drawing organized by the Ville de Paris, meeting people who
encouraged him to think about the upheavals through which society was going. Self-educated, he
read widely and possessed an eclectic curiosity.
An Autoportrait in charcoal (1919) testifies to his maturity.
1923
His father’s violent opposition to his calling to become an artist caused Estève to accept an offer to
run a design studio for shawls and fabrics in Barcelona. He discovered Catalan Romanesque art
and for a year stopped painting.
1924
On his return to Paris, he frequented the free classes dispensed at the Académie Colarossi, in
Montparnasse; he studied the primitives in the Louvre and, among more recent artists,
appreciated Cézanne who remained for Estève the uncontested master; he also discovered the
work of Léger.
1925
Marie-Louise Calvet, director of a haute couture fashion house which employed the artist’s mother,
became Estève’s first collector, buying Paysanne endormie aux rideaux verts (1924, first state).
1928
He was influenced by Surrealism, in particular by Giorgio De Chirico, and abandoned study from
nature.
He became interested in the theory of Purism and in the manifesto published by Ozenfant and
Jeanneret (Le Corbusier).
1929
Estève participated in the Salon des Surindépendants, where he showed regularly until 1938,
alongside Braque, Léger, Picasso, etc….
His life was difficult, obliging him to do small jobs to earn a living and to paint only in his free
time.
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1930
He left the studio which he had been occupying in the rue de Fouarre, at his maternal
grandfather’s, for a studio rented from the Ville de Paris at the porte de Vanves.
The first solo exhibition of Estève’s paintings was organized at the Galerie Yvangot by Tony Meyer,
an art patron and buyer of Estève’s designs for shoes; his paintings were noticed by Maurice
Raynal, who wrote in his column in L’Intransigeant: “this work is appealing because of its sincerity
and its disdain for the easy solutions that violently attract but which never retain ones attention.
Talking with Estève, I found that he had something of the character of the regretted Juan Gris,
and this is not the smallest compliment that I can make him.” Affected by the economic crisis, not
a single work was sold.
1931-1936
Estève took part in numerous discussions on culture and the future of painting. An assiduous
enthusiast of cinema, he considered abandoning painting for film directing.
With other artists and artisans, he created the group Indélicats and published an antiestablishment review with linocuts by artists such as Falk, Robin and Debarbieux and, in the final
issue, Pignon and Fougeron. Under pressure from political exploitation, the group separated.
1936
Upset by the events of the Spanish Civil War, Estève painted three “expressionist” works that he
exhibited at the Salon des Surindépendants.
1937
On the advice of Braque, Gösta Olson, director of the Svensk-Franska Konstgalleriet in Stockholm,
asked Estève to participate in the exhibition “Peinture française” with Braque, Matisse, Picasso,
Juan Gris and Léger. During the exhibition, the Kunstmuseum at Göteborg acquired La Femme au
bain de pieds of 1933. The Scandinavian countries began to show an interest in Estève’s work. He
and Jacques Villon were invited to the exhibition of the 22 nd group of “Artistes de ce temps”, at the
Petit Palais in Paris, which also included Lipchitz, Georg, Desnoyer and Adam.
Estève participated in the creation of the large murals by Robert and Sonia Delaunay for the
Railway and Aviation pavilions at the Exposition internationale de Paris. During this project,
carried out in a disused garage, a small exhibition was held in honour of a visit paid by Matisse,
who remarked upon Estève’s paintings and in particular Le canapé bleu and la Partie de cartes of
1935; both of these works were acquired by Louis Carré in 1941.
1938
Group exhibition at the Galerie l’Equipe, in Paris. Estève did a large number of small ink drawings
and watercolours that prefigured his later shift towards abstraction, postponed by the war years.
1939-1940
Unable to pay the rent, Estève was forced to leave the studio rented from the Ville de Paris at the
porte de Vanves and in July, helped by Fougeron and Adam, moved to an attic at 66 rue Lepic.
A few weeks later, he was mobilized and, thanks to intervention by the poet André Frénaud,
assigned to a military base at Brétigny-sur-Orge.
Satirical notations and sketches enhanced with colour in his carnets de guerre record this period.
Demobilized at Auch, in August 1940, Estève returned to Culan and isolated himself on a farm,
Pétrus, to draw.
1941
On his return to Paris, he took up painting again.
1942
For his participation in the exhibition “Hommage aux Anciens”, organized by the Galerie Friedland
in Paris, Estève chose to pay tribute to Cézanne.
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He accepted an exclusive agreement with the Galerie Louis Carré, refusing however to sign a
written contract. Freed from material worries, he was now able to work more regularly, painting
several works simultaneously.
The groups of reflection and discussion frequented by Estève, Vieira da Silva, Szénès, Adam,
Hajdu and other artists, poets or musicians, were disbanded by the war.
Estève now isolated himself in his studio seeing only a few painters: Gischia, met in 1941 at
Jeanne Laurent’s, Lapicque, Legueult, Pignon and Bazaine.
1943
He exhibited at the Galerie de France (Paris) alongside Beaudin, Borès, Gischia and Pignon, on the
occasion of the publication by Editions du Chêne of an album, Cinq peintres d’aujourd’hui,
prefaced by Roger Lesbats (Frank Elgar).
1945-1947
Itinerant exhibition ‘Bazaine, Estève, Lapicque’ at the Galerie Louis Carré in Paris, Amsterdam
(1946), Stockholm (1947) and Copenhagen (1947), where the museum’s curator, Jörn Rubow,
acquired two paintings.
Estève met Henri Laurens in 1945 and Fernand Léger on two occasions in 1946.
In 1947, he continued work on the series “métiers”, begun in 1927 on the subject of the circus,
with Le Sculpteur, which marks “the passage from a formal style towards poetic forms and light.”
(Pierre Francastel).
1948
Second solo exhibition: Thirty paintings (1935-1947) – Galerie Louis Carré (Paris).
The Galerie Louis Carré, in partnership with a gallery in New York, proposed a contract to Bazaine,
Lapicque and Estève but the latter refused to sign the document. This project’s failure led to the
end of the professional relationship between Estève and Louis Carré and the termination of
relations between Estève and Jean Bazaine.
In 1951, the Musée national d’Art moderne acquired Intérieur de juillet (1950), in 1952 Danseur
du Far-West (1951) and in 1953 Rebecca (1952).
1952
Estève began working on colour lithography at the atelier Clot with Jour de fête – a tribute to the
film director Jacques Tati – continuing, in 1954, to explore this technique at the atelier Desjobert
and then, from 1955 onwards, at the atelier Fernand Mourlot. Estève engraved his stones or zinc
plates himself.
1954
First acquisitions of Estève’s work by the Galerie Villand-Galanis.
1955
Paris – solo exhibition at the Galerie Galanis: thirty paintings (1949-1954).
Estève moved to the rue Monsieur le Prince, in the Latin Quarter.
From now on, he would often return to his studio in Culan, in particular to work on the works on
paper.
1956
Retrospective of Estève’s work at the Statens Museum for Kunst, in Copenhagen.
In December, publication by Editions Galanis of the first monograph on Estève, written by Pierre
Francastel (the cover was decorated by an original lithograph by the artist). Essential to
understanding Estève’s work, this monograph retraces its beginnings and formative stages before
analyzing the workings of plastic invention and the connections between the real and the
imaginary. (…)
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1957-1958
Estève created a series of stained glass windows for the small church in the village of Berlincourt,
in the Swiss Jura.
Acquisition by Gabrielle Kueny for the Musée de Grenoble of the painting Tourdille (1958).
1960
Exhibition at the Galerie Villand-Galanis in Paris: One hundred drawings (1920 to 1954),
accompanied by the publication of a catalogue. Frank Elgar concluded his text with these words:
“The French art of drawing has never offered anything since Daumier, or since Seurat, as revealing
as this robust language, full and saturated with all the magnificences that a solitary heart and
lucid mind have accumulated for their most certain, their most remarkable, their most durable
glory.”
1961
The Galerie Villand-Galanis organized an important retrospective presented successively at the
Kunsthalle in Basel, the Kunstverein in Düsseldorf, the Statens Museum for Kunst in Copenhagen
and the Kunstnernes Hus in Oslo: one hundred and thirty-one paintings, nineteen watercolours,
twenty-three drawings.
Publication by Editions Fernand Hazan, in the collection “Peintres d’aujourd’hui”, of an album of
colour reproductions, with a text by Joseph-Emile Muller.
1963
On Pierre Baudouin’s recommendation, Estève created three tapestry cartoons, Le prince,
Chantlune and l’Accueil, woven by Pinton at Felletin, in Henri Bacaud’s workshop and published by
I. Iynedjian in Lausanne.
He worked again with tapestry in 1972 with Bodableu, in 1973 with Zacapa, in 1987 with
Massarbault (woven at Beauvais in the national workshops) and in 1990 with Modanatura.
Estève executed a series of more than one hundred monotypes, overlooked until their rediscovery
in 1980.
1964
The accidental death of Henri Villand and, the following year, of Estève’s wife Nelly, interrupted a
period of artistic fulfillment during which he had explored new techniques.
1965
In February, the review Connaissance des Arts reproduced, in its 156 th issue, the different states
of three of his paintings, begun in 1961 and completed in 1963 or 1964: Chamatoi, Célui and
Crouleplate, accompanied by an article by Francis Spar “The phases of creation” and three letters
from the artist; these reproductions give an excellent idea of the way in which Estève developed
his paintings until their completion. Excusing himself for his slowness, he wrote to F. Spar: “I
warned you that it would take a long time. It was not a joke or a caprice. I’ll tell you again: I’m
the slowest artist of the century. This is not insignificant in these times obsessed by speed. I
attach importance to my title (I’m not worried - there is little chance that it will be taken from
me).”
Estève made his first collages.
1967
Solo exhibition in Zurich at the Neue Galerie: oils, watercolours and drawings.
1968
Estève followed the events with interest attending a number of parties at the Sorbonne.
He left a portfolio of lithographs at Monique Prudhomme’s gallery in Culan.
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1969
First exhibition of sixty-nine collages at the Neue Galerie in Zurich with a catalogue prefaced by
Pierre Francastel. This aspect of his work was not shown in Paris until April 1974, at the Galerie
Claude Bernard, with a preface by Jean Leymarie.
1970
Estève was awarded the Grand Prix National des Arts: he left immediately for Culan to avoid the
award ceremony.
1971
The Musée national d’Art moderne (Paris) acquired two paintings: Moulin noir (1959) and Bélasse
(1966).
1972
After seven years without an exhibition in the capital, Estève, at the suggestion of Jeanne Laurent,
exhibited at the Galerie Claude Bernard sixty drawings, from 1960 to 1971.
1973
Exhibition of forty-two watercolours, from 1957 to 1972, at the Galerie Claude Bernard in Paris,
simultaneously with the Neue Galerie in Zurich which presented forty-two watercolours from the
same period with a preface by Dora Vallier.
1974
Publication by Editions Fernand Hazan, Paris, in the collection “Ateliers d’aujourd’hui”, of a
monograph by Joseph-Emile Muller.
1977
Paris - exhibition of paintings at the Galerie Claude Bernard with a preface by Pierre Volboudt. This
was the first exhibition of Estève’s paintings in Paris since 1961.
1981
The Musée Cantini in Marseille, the Musée de l’Etat in Luxemburg and the Musée de Metz
presented in succession a series of works from 1950 to 1980: fifty-six paintings, ten watercolours,
fifteen collages, ten drawings, with a preface by Marc Le Bot.
Acquisition by the Musée de la Cour d’Or in Metz of the painting Pouiraque (1970)
1982
Estève, who had kept a certain number of works in his studio, wished to make them accessible to
the general public through a museum of his work. This was the beginning of a long relationship
with the Ville de Bourges punctuated by:
1983: “Proposal for a Retrospective”: one hundred works and documents presented at
the Maison de la Culture to be followed by a donation to the town.
1983: creation of a poster for the 20th season of the Maison de la Culture.
1985: 2nd July: signature of the act of donation to the Ville de Bourges of fifty- nine
paintings, thirty-four drawings, twenty watercolours, ten collages and two tapestries.
The Ville undertook to restore the Hôtel des Echevins to create the Musée Estève.
1987: Bourges, 19th December: Inauguration of the Musée Estève in the Hôtel des
Echevins.
1987: creation of a cartoon for the tapestry Massarbault for the library of the Maison
de la Culture.
1988: decoration of an industrial chimney in Bourges-Nord, destroyed in 2009.
1989: Estève created a poster (1789. La prise de la parole) as part of the events
organized in Bourges to commemorate the bicentenary of the French Revolution.
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11th June: signature of the act of a second donation to the Ville de Bourges, adding
five works to the museum’s collection.
1991: creation of a poster for the 15th anniversary of the Printemps de Bourges.
1993: creation of a screen print for the listing of Bourges cathedral as a Unesco world
heritage site.
1997: donation of 80 lithographs, the complete collection, to the Ville de Bourges
1983
Donation by Estève of four paintings to the Musée national d’Art moderne (Paris): Liseuse (1929),
Aquarium (1944), Drôlu du Haut (1964), Le Poitevin (1977).
He married Monique Prudhomme, met in 1967 in Culan.
1986
12th April: issue of a French postage stamp printed in six million copies, reproducing Skibet, an oil
painting of 1979.
Paris October 1986 - January 1987: Estève retrospective, organized by the Réunion des musées
nationaux at the Grand Palais (one hundred and sixteen paintings, fifty watercolours, forty-six
drawings, fifteen collages, three tapestries), in recognition of the donation made by the artist to
the Ville de Bourges.
Retrospective presented in Norway, in Oslo, and in Germany, at Tübingen.
1990
Paris - exhibition of “recent paintings” at the Galerie Louis Carré with a catalogue prefaced by
François Chapon.
1993
Estève created the poster and programme cover for the opera festival at Aix-en-Provence. This
gave him the opportunity to revisit with emotion the sites painted by Cézanne and to discover the
Jas de Bouffand. On his return to Culan, he painted a series of watercolours, presented at the
Galerie Louis Carré in the spring of 1994, on the occasion of his 90 th birthday, and then at the
Musée Estève.
1994
The Danish musician Kim Menzer, and his brother John, working with Jean-Claude Carrière, made
a documentary about Estève filmed in Culan, Bourges and Paris.
Estève volontarily stopped his oil paintings, conscious of his difficulty in concentrating. He had
painted more than 818 oil paintings.
1995
Publication of the catalogue raisonné of his paintings, Editions Ides et Calendes (Switzerland).
1996-1999
He created three series of collages for the calendars of the years 1996, 1997 and 2000.
1999
Exhibition: Collages: Invention, subversion ou diversion? Text by François Chapon. Bourges,
Musée Estève.
2001
In March, Dr Plaussu, director of the Galerie Tendances in Paris and the artist’s personal doctor,
organized an exhibition of drawings, choosing them with Estève a few months before the artist
died.
26th June 2001 - Maurice Estève died in Culan.
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APPLICAT-PRAZAN: history
Bernard Prazan, an art-collector of long standing, founded his first gallery in 1989. Since its
inception Applicat-Prazan specialises exclusively in top quality works of art by:
Jean-Michel Atlan, Karel Appel, Jean Dubuffet, Maurice Estève, Jean Fautrier, Hans
Hartung, Auguste Herbin, Jean Hélion, Asger Jorn, Wifredo Lam, André Lanskoy, Alberto
Magnelli, Alfred Manessier, André Masson, Georges Mathieu, Serge Poliakoff, Jean-Paul
Riopelle, Gérard Schneider, Pierre Soulages, Nicolas de Staël, Victor Vasarely, Bram van
Velde, Geer van Velde, Maria Elena Vieira da Silva, Wols, or Zao Wou-Ki.
In 2004 Bernard’s son, Franck Prazan, took over the management of the gallery. Franck was
formerly Managing Director of Christie’s and was responsible for its move to Avenue Matignon in
Paris, overseeing its development from a simple representative office to a fully-fledged auction
house.
Applicat-Prazan’s philosophy is as follows:
Hyper-specialization which has led the gallery to concentrate uniquely on the European
Post-war and on the most significant Artists of this period
Hyper-selectivity – confining the gallery’s choice of paintings to those we judge to be the
most qualitative
A policy specifically adapted to the private collector who by definition takes a long term
view of things, smoothing out the effects of speculation.
Certain paintings are particularly worthy of note these last few years. For example:
Nicolas de Staël
La Table de l’Artiste, 1954
89 x 116 cm
Biennale 2008
Jean-Paul Riopelle
Hommage à Robert le Diabolique
1953, 200 x 282 cm
Tefaf 2010
Hans Hartung
T 1938-11, 1938
102 x 80 cm
Fiac 2010
Pierre Soulages
Peinture 195 x 130 cm,
1er sept. 1957
Fiac 2009
Nicolas de Staël
Agrigente, 1954
60 x 81 cm
Tefaf 2015
Jean Dubuffet
Epoux en visite, 1964
200 x 150 cm
Biennale 2010
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The “Schneider, Oeuvres majeures autour d’un tableau d’exception” exhibition, shown at the FIAC
in 2006 enjoyed great success. In May 2007 Applicat-Prazan showed at the gallery “Mes Années
50, Collection Alain Delon”. The subtle palette of a great artist, Geer van Velde, was on display in
September 2007 at “Presence, silences, hommage à Geer van Velde. In April-May 2008 the
Poliakoff exhibition marked a milestone for the artist’s career in the international art market, as
was the Atlan exhibition organised from October to December 2008 concurrently with an
exhibition at the Centre Pompidou of a gift to the nation of works by the same artist. Dialogues I
Autour de Pierre Soulages, October to December 2009, marked an important chapter in the life of
the gallery. The monographic exhibitions Pincemin and Fautrier in October 2010, followed by
Alfred Manessier: Tours, Favellas and other monumental works, in 2012 certainly made a deep
impression. Still in 2012, our exhibition of Masson, 1934 – 1944 at Art Basel revealed a fresh
interpretation of the talent of this great surrealist, the key to all post-war abstract expressionism.
In 2013, our Tribute to Maurice Esteve attracted many collectors at the Salon du Dessin in Paris.
In 2013 the Serge Poliakoff exhibition at the FIAC was a resounding success, and the 2014 FIAC
saw the opening of our exhibition of 16 major works in Georges Mathieu – Peintures 1948-1959
which met with great interest and approval from the public and the media.
Applicat-Prazan exhibits at Tefaf Maastricht, at the Salon du Dessin, the Biennale des
Antiquaires, Frieze Masters and the FIAC.
Applicat-Prazan is a member of the Syndicat National des Antiquaires and the Comité
Professionnel des Galeries d’Art.
Applicat-Prazan is located on the Left Bank at 16 Rue de Seine in the very heart of the art gallery
district of Saint-Germain-des-Prés. The end of 2010 saw the opening of a second address strategic
to the Paris art market on the Right Bank at 14 Avenue Matignon.
Contact:
Céline Hersant
Applicat-Prazan
Tél.: +33 (0)1 43 25 39 24 / Mob.: +33 (0) 6 78 42 70 04
[email protected]
www.applicat-prazan.com
Downloads:
The press release and high definition visuals of the works can be downloaded from the Private
section of our internet site.
Login:
Password:
Applicat
Prazan
For images, please mention :
Courtesy Galerie Applicat-Prazan, Paris
Photos Art Digital Studio
© Adagp, Paris 2015
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philippe charriol (france)

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