philippe charriol (france)

Press release
On the occasion of its participation in
from 14th to 18th October 2015
Applicat-Prazan
will be presenting
A selection of museum quality paintings
amongst which two stunning blue compositions from the 50’s
by Pierre Soulages
Pierre SOULAGES (born 1919)
Peinture 130 x 97 cm, 5 mai 1959
Oil on canvas
Pierre SOULAGES (born 1919)
Peinture 100 x 73 cm, 25 février 1955
Oil on canvas
For the second consecutive year, Applicat-Prazan is pleased to participate in Frieze Masters in
London from 14th to 18th October 2015. The organisers of this event, which is one of the most
discerning art fairs in the world, say that Frieze Masters “offers a contemporary focus on
historical art.” It is precisely in this spirit that Applicat-Prazan will be showing museum quality
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paintings, true landmarks of modern art, by Alberto Magnelli, Wifredo Lam, André Masson,
Pierre Soulages, Nicolas de Staël and Zao Wou-Ki.
Two stunning blue paintings from the 50’s by Pierre Soulages have been specifically gathered
for the fair. In the 50’s Pierre Soulages exhibited his works abroad. He had exhibitions at the
Birch Gallery in Copenhagen in 1951, at the Stangl Gallery in Munich in 1952, at the Kootz
Gallery in New York and at the Art Club of Chicago in 1954, at the Gimpel & Fils Gallery in
London and at the Kootz Gallery again in 1955. In this year, his painting underwent a
metamorphosis. “Towards 1955, the signs tend to disappear from my painting and often give
way to juxtaposed brush strokes. A spatial rhythm of sorts arises from the repetition of these
almost similar strokes and the stronger the rhythm becomes, the less the temptation of a
figurative association becomes possible.” It is this rhythm which is a constant feature of
Soulages’ work and he describes it: “The rhythm I express is born when a given form is
associated with another, experiencing space and its subdivision. He who observes my painting
reads it with his own sensitivity and his own experience of the world which are confronted with
the proposition of my painting. My painting has always been external to the dilemma of
figurative or non-figurative art. My work does not arise from an object or a landscape that is
subsequently transformed, nor, conversely, do I paint to elicit their apparition. I expect more
from the rhythm, from the measures/beats of the shapes in the space, of the carving up of the
space by time. Space and time…. become the instruments of the poetry of the canvas.” 1
Soulages’ work carries an extraordinary physical weight, a density and a depth that are closely
related to the importance he gives to the materials and the unusual instruments he uses some
of which being more often used by book-binders, tanners, carpenters and apiarists. His passion
for technique and tools has brought him to make some of them himself such as scrapers, plane
blades, coating knives, large or miniscule Chinese-type brushes. He also uses paint brushes
with long handles allowing him to paint standing directly over the canvas spread out at his feet
on the floor.
In 2005, Applicat-Prazan showed Alberto Magnelli’s 1917 La Toilette, an oil on canvas which
subsequently held for a long time the world record at auction. This year, Applicat-Prazan is
proposing L’Attente, also painted in 1917 and shown at all the important retrospective
exhibitions of the artist. A self-taught artist, Alberto Magnelli became one of the most inventive
avant-garde painters, exploring the visual impact of flat areas of colour surrounded by black
contours from his first visit to Paris in 1914. Stranded in his native Florence by World War I in
1915, he painted his first series of non-figurative works. The first Italian artist to turn to
abstract painting and a close friend of Apollinaire, Max Jacob, Picasso and Léger, Magnelli
worked on an elliptical figuration, progressively eliminating figurative devices by logical
simplification. In 1916 and 1917 he went back to introducing figures into his compositions. His
painting evokes a metaphysical dimension echoing certain realms of his friend de Chirico.
Magnelli’s palette is resplendent with flat areas of colours now leaving out the black contours
altogether, with nothing separating the colours which are now in direct confrontation with one
another.
The French curator, Daniel Abadie has said of this painting: “By keeping only the contour of an
arm, of a hand, only suggesting the volume of an area by a void, as Archipenko used to do with
his sculpture, Magnelli sought intuitive solutions, surprising even to Picasso. It was a technique
he had already alluded to earlier, in his Femme au bouquet (1913), now in the Musée Magnelli
in Vallauris. He would render an incidental fragment of a composition invisible by substituting it
with a flat colour-equivalent. The geometries and schematic shapes of his paintings recall the
spirit of cubism. Not in the same manner of his paintings of 1913 which analyse the forms by
decomposing them, but in a newly nascent movement of synthetic cubism.”
1
Jean Grenier « Entretiens avec dix-sept peintres non figuratifs » Calmann-Lévy 1963
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Originally from Cuba, born of a Chinese father and an Afro-Cuban mother, Wifredo Lam joined
the Surrealist movement in 1938. He frequented many groups of avant-garde painters but
always remained attached to his own specific cultural origins. Incarnating a combination of the
identities of diverse continents, Lam was close friends with Picasso, Breton, Duchamp and Jorn.
He often showed his works with the Surrealists but also with artists of other experimental
movements of his time. The Nu à la chaise is characteristic of Lam’s paintings of 1942, a
particularly favourable year in his life when he had his first personal exhibition at the Pierre
Matisse Gallery in New York. The specialist, Pierre Loeb wrote of him, “He was greatly
encouraged by Picasso, to whom Lam owed a great deal, not stylistically speaking, but by
inspiring him with a spirit of freedom and with the audacity to express his myriad painting in a
western register whilst capturing the attributes of tropical magic and poetry.”
André Masson’s Leonardo da Vinci et Isabella d’Este, another work painted in 1942, is a
capital painting in the artist’s production. After his Spanish period, the American period is a
period of exile full of fundamental discoveries and extreme experiences which durably nourished
the imagination and work of André Masson, another member of the Surrealist movement. He
was close friends with Paul Eluard, Georges Bataille and Antonin Arthaud. As of October 1941,
Masson lived in the United States with his family where he frequented André Breton, Alexander
Calder, Marc Chagall and Georges Duthuit. From automatism to dripping, Masson’s work was
characterized by a combination of pure instinct and intellectual reasoning which map-out the
principal themes of modern art. His work was a major source of inspiration to the young
generation of American expressionists and particularly to Jackson Pollock.
Pots et Pinceaux is a chromatic marvel painted by Nicolas de Staël in 1955, the last year of
his life. This still-life painted in Antibes emanates an atmosphere of extraordinary serenity and
evokes tones and shapes reminiscent of some of Giorgio Morandi’s compositions. In February
1955, Staël worked vertiginously, simultaneously painting many canvasses representing the
painter’s studio, boats, seascapes, skies and still lives. On the 17 th February, he wrote to his
dealer Jacques Dubourg: “Generally speaking, Antibes is good for me, my painting is less
virulent, more balanced.” “Stimulated by the project of an exhibition with Jacques Dubourg in
Antibes and with the Museum of Zurich (which only took place in 1965), Nicolas de Staël
worked on many paintings at the same time, starting them, coming back to them again and
again, from dawn to dusk, playing with contrasting themes such as the still life, the artist’s
workshop, boats, in order to reveal his colours or to reach out to the frontiers of absolute
whites. […]These still-lives and artist’s studios are defined by contrived juxtapositions of
squares, rectangles which gather force and mystery as in La Cathedrale, in which his palette is
either elevated to an instant of time, or flattened by the darkness of black.” 2
In 1962, the year the Chinese-born painter Zao Wou Ki became a French citizen, he painted
this oil on canvas entitled 16.4.62. Since 1959, he lived and worked in a house located rue
Jonquoy, a quiet street in the 14 th arrondissement in Paris with natural light streaming in
through large bay-windows and where the outside world could not interrupt his tranquility. His
finished paintings were turned around to face the wall. The titles disappeared to be replaced by
the dates of the termination of his works. His paintings became more fluid, following the
rhythm of the weather and the seasons. The art critic Michel Ragon, describes his work as an
“abstract landscapism.”
Zao Wou Ki explained his inspiration saying “It is undeniable that the influence of Paris on my
painting has been central to my learning process as an artist, but I must also say that I
gradually rediscovered China as my personality affirmed itself. In my more recent work, my
personality expresses itself instinctively. Paradoxically, perhaps, it is my being in Paris that
reveals this return to my origins.”
2
Françoise de Staël, Nicolas de Staël, Catalogue raisonné de l’œuvre peint, Ides et Calendes, Neuchâtel 1997, p. 1251
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Images available
Pierre SOULAGES (born 1919)
Peinture 130 x 97 cm, 5 mai 1959
Oil on canvas
Signed lower right
130 x 97 cm
Provenance:
Kootz Gallery, New York (1959)
Galerie Claude Bernard, Paris (1960)
Galerie Benador, Geneva
Private collection, Paris (1977)
Important private collection, Switzerland
Private collection, Brussels
Exhibited:
Zurich, Galerie Charles Lienhard, Ausstellung, Dec. 1962 – Jan.
1963, n° 1223
Literature:
Pierre Encrevé, Soulages, l’œuvre complet, Peintures, Vol. I.
1946 – 1959, Seuil, Paris, November 1994, n° 361, ill. col. p.
267
Pierre SOULAGES (born 1919)
Peinture 100 x 73 cm, 25 février 1955
Oil on canvas
Signed lower right; Dated and signed on the reverse
100 x 73 cm
Provenance:
Kootz Gallery, New York (1955)
Peter A. Rubel, Fillmore, California (1955)
Private collection, Lugano (1991)
Exhibited:
New York, Kootz Gallery, Soulages, 9 – 28 May 1955, cat.
Paris, Galerie de France, Soulages, 13 March – 9 Apr. 1956,
cat. n° 10
Boston, Massachussets Institute of Technology (M.I.T.), 10 – 30
Jan. 1962, cat. n° 2
Literature:
Pierre Encrevé, Soulages, l’œuvre complet, Peintures, Vol. I.
1946 – 1959, Seuil, Paris November 1994, n° 173, ill. col.
p. 199
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Alberto MAGNELLI (1888 - 1971)
L'Attente, 1917
Oil on canvas
140 x 93 cm
Provenance:
Artist’s collection
Private collection
Exhibited:
New York, Leonard Hutton Galleries, Alberto Magnelli, a
Florentine Painter, 18 Oct. - 14 Dec. 1985, cat. n° 12, ill. p.
17
Milan, Ruggerini & Zonca, Magnelli, Oct. – Nov. 1991, cat., ill.
f/p. col. pl. n° 1
Verviers, Musée des Beaux-Arts, Rétrospective Alberto
Magnelli, 21 Apr. – 1st Jul. 2001
Milan, Galleria Gruppo Credito Valtellinese, Alberto Magnelli
Retrospettiva, 23 Nov. 2001 - 6 Jan. 2002, cat. 19, ill. f/p.
col. p. 39
Antibes, Musée Picasso, Magnelli, entre cubisme et futurisme,
3 Jul. - 10 Oct. 2004, cat. 63, ill. f/p. col. p. 104
Barcelona, Museu Picasso, Magnelli, entre el cubisme i el
futurisme, 28 Oct. 2004 – 6 Feb. 2005, cat. 63, ill. f/p. col. p.
104
New York, Marlborough Gallery, Alberto Magnelli: a
retrospective 1912 – 1965, 12 Feb. – 8 Mar. 2008
Brussels, Patrick Derom Gallery, Magnelli, 16 Jan. – 28 Mar.
2009
Sao Paulo, Museu de Arte Contemporanea, Universidade de
Sao Paulo, Magnelli, 13 Jul. – 12 Sept. 2010, cat., ill. f/p. col.
p. 50
Literature:
Anne Maisonnier, Alberto Magnelli, Catalogue raisonné de
l'œuvre peint, XXe siècle, Paris 1975, n° 142, ill. p. 73
It was in 1915 that Magnelli, unable to leave Florence
because of WW1 and Italy’s entrance into the conflict, painted
his first series of abstract paintings (of which only thirteen
are known and which bear the numbers 0520 to 0533).
These works, which appear but five years after Kandinsky’s
first watercolour abstract and belong to the very infancy of
abstraction, show a significant difference compared with
previous paintings from 1913-1914.
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Wifredo LAM (1902 - 1982)
Nu à la chaise, 1942
Tempera on paper mounted on canvas
Signed and dated lower left; Signed and dated on the reverse
165 x 98 cm
Provenance:
Private collection, Miami
Exhibited:
Charlottenlund (Denmark), Ordrupgaard; Høvikodden (Norvège),
Fondation Sonja Henie – Niels Onstad; Wifredo Lam, 14 Sept. –
15 Oct. 1978, n° 12, ill. n/b p. 27
Madrid, Museo Nacional de Arte Contemporáneo, Homenaje a
Wifredo Lam 1902 – 1982, 20 Oct. – 12 Dec. 1982, n° 30, ill.
col. p. 60
Brussels, Musée d’Ixelles, 7 Jan. – 6 Mar. 1983; Paris, Musée
d’Art Moderne de la Ville de Paris, 23 Mar. – 22 May 1983;
Wifredo Lam 1902 – 1982, n° 38, ill. col.
Düsseldorf, Kunstsammlung Nordrhein Westfallen, 2 Jul. – 4
Sept. 1988; Hamburg, Kunstverein, 19 Nov. 1988 – 4 Jan.
1989; Wifredo Lam, n° 22, ill. col. p. 47
New York, Galerie Lelong, Wifredo Lam, paintings, 17 Nov. – 22
Dec. 1990
San Juan (Puerto Rico), Arsenal de la Puntilla, Wifredo Lam,
obras desde 1938 hasta 1975, de regreso al Caribe, 14 Feb. –
30 Apr. 1992, ill. col.
Paris, Musée Dapper, Lam Métis, 26 Sept.2001 – 20 Jan. 2002,
n° 14, ill. col. p. 38
Milan, Galleria Gruppo Credito Valtellinese, Refettorio delle
Stelline, Wifredo Lam, Cuba – Italia, Un percorso, 15 Nov. 2002
– 25 Jan. 2003, n° 11, ill. col. p. 57
Paris, Galerie Boulakia, Wifredo Lam, l’oiseau du possible, 25
May – 31 Jul. 2004, ill. col. p. 37
Milwaukee, Marquette University, Patrick & Beatrice Haggerty
Museum of Art, Wifredo Lam in North America, 11 Oct. 2007 –
21 Jan. 2008
Miami, Miami Art Museum, Wifredo Lam in North America, 7 Feb.
– 18 May 2008
Literature:
Michel Leiris, Wifredo Lam, Fratelli Fabri, Milan 1970, n° 27, ill.
col.
Gérard Xuriguéra, Wifredo Lam, Filipacchi, Paris 1974, ill. col. p.
31
Max-Pol Fouchet, Wifredo Lam, Poligrafa / Cercle d’Art,
Barcelona / Paris 1976, n° 50, ill. b/w. p. 49
Max-Pol Fouchet, Wifredo Lam, 2ème Ed., Poligrafa, Barcelona
1989, n° 50, ill. b/w. p. 53
Lou Laurin-Lam, Wifredo Lam, Catalogue Raisonné of the Painted
Work, Vol. I 1923 – 1960, Acatos, Lausanne / Paris 1996, n°
42.31, ill. b/w. p. 299 and f/p. col. p. 77
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André MASSON (1896 - 1987)
Leonardo da Vinci et Isabella d'Este, 1942
Oil on canvas
Signed and dated lower left; titled and dated on the reverse
100 x 127 cm
Provenance:
The Buchholz Gallery (Curt Valentin), New York (1943)
The Museum of Modern Art, New York, Inv. 72.43
Private collection
Exhibited:
New York, The Museum of Modern Art, Recent Acquisitions:
European and American Paintings, 1943
Toronto, Art Gallery, Canadian National Exhibition, 22 Aug. –
6 Sept. 1952
Minneapolis, Walker Art Center, Reality and Fantasy 1900-1954,
23 May – 2 July 1954, n° 106
Boston, Museum of Fine Arts, Surrealism, Feb. – March 1964
Berlin, Akademie der Kunste, 3 – 24 May; Amsterdam, Stedelijk
Museum, 1st June – 19 July 1964, André Masson, n° 31
Paris, Musée national d'art moderne, André Masson, March –
May 1965, n° 40
Santa Barbara, University of California, Surrealism, a State of
Mind, 1966
New York, The Saidenberg Gallery, André Masson, Major
Beginnings, 1966, n° 16
Marseille, Musée Cantini, André Masson, July – Sept. 1968, n°
26, ill.
Paris, Galeries nationales du Grand Palais, André Masson,
5 March – 2 May 1977, n° 88, ill.
Brussels, Musées royaux des Beaux-Arts de Belgique, Surrealism
from the collection of The MoMA, New York, 15 June – 30 July
1978, n° 43
Marseille, Centre de la Vieille Charité, La Planète affolée:
surréalisme, dispersion et influences, 1938-1947, 12 April – 30
June 1986
Basel, Art 43 Basel, Applicat-Prazan, 14 - 17 June 2012; Paris,
Applicat-Prazan Rive droite, 13 Sept. - 27 Oct. 2012; André
Masson, cat., ill. f/p. col. p. 39, ill. double p. col. (détail) f/p. 5657
Literature:
Jean-Paul Clébert, Mythologie d'André Masson, Genève 1971, n°
139, ill.
William Rubin and Carolyn Lanchner, André Masson, 1976, ill. p.
66
Alfred H. Barr, Jr., Painting and Sculpture in The Museum of
Modern Art, 1929 - 1967, New York, 1977, ill. p. 177
Dawn Ades, André Masson, Collection Les grands maîtres de l’art
contemporain, Albin Michel, Paris 1994, n° 81, ill. f/p. col.
This work will be included in the forthcoming catalogue raisonné
of the work of the Artist being prepared by Guite Masson.
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Nicolas de STAËL (1914 - 1955)
Pots et pinceaux, 1955
Oil on canvas
73 x 100 cm
Provenance:
Private collection, France
Exhibited:
Martigny, Fondation Pierre Gianadda, Nicolas de Staël 1945 –
1955, 18 June – 21 Nov. 2010; cat. n° 72, ill. f/p. col. p. 193
Literature:
Françoise de Staël, Nicolas de Staël, Catalogue raisonné de
l’œuvre peint, Ides et Calendes, Neuchâtel 1997, n° 1042, ill.
col. p. 620
ZAO WOU-KI (1921 - 2013)
16.4.62, 1962
Oil on canvas
Signed lower right; signed and titled/dated on the reverse
73 x 100 cm
This work will be included in the forthcoming catalogue
raisonné of the work of the Artist being prepared by Françoise
Marquet and Yann Hendgen.
Certificate from the Zao Wou-Ki Foundation n° 2014-45
established on 18 June 2014.
For images, please mention :
Courtesy Galerie Applicat-Prazan, Paris
Photos Art Digital Studio
© Adagp, Paris 2015
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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 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
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Lignes groupées: tel +33 (0) 1 43 25 39 24 - fax +33 (0) 1 43 25 39 25 - [email protected] - www.applicat-prazan.com
A p p l i c a t – SAS au capital de 12 000 € - 390 477 255 RCS PARIS - NAF 4779Z - TVA FR 25390477255
Siège social et adresse de correspondance: 16 rue de Seine - 75006 Paris - France