French painting today

BORES Francisco Bo r n i n Ma d r i d o n the 6 t h May, 1898. Studied a t a Ma d r i d Academy conducted by a professor f r om the Ecole des Beaux-Arts. I n 1925 h e came to France where h e worked independently. Exhibits i n various galleries i n Paris a n d abroad. Hi s art, influenced by cubism is, however, conscious of t h e problems of the orchestration of colour a n d the symphony of tones. i i Still life with chicken (Na t u r e morte au poulet) 1951 Galerie Louis Carré 0.60 x 0.73 1 2 Small girl i n a n interior (Fillette dans u n intérieur) 1951 0.89 x 1.16 Galerie Louis Carré BRAQUE Georges Bo r n a t Argenteuil o n the 13th o f May, 1882, his father, a house-painting con- tractor, gave h i m his first lessons in painting. His first paintings were i n the style of "Les Fauves," b u t after his t r i p t o L a Ciotat wi t h his fellow-countryman, Friesz, his asthetic ideas changed u n d e r Cezanne's influence. I n 1908 his paint- ings ma d e a sensation a t the Salon d'Automne, a n d t he a r t critic Vauxelles wrote the following i n Gil Bias: "he scorns true shape, reduces everything t o a geometrical pattern, t o cubes." Cub i sm was born. Braque's cubism was t o evolve towards abstraction, a n d r e t u r n later towards the f o rm o f the subject; it was to become a mo r e a n d mo r e personal search for mystery. I n 1948 h e received the international G r a n d P r i x d e la Peinture a t the Biennial Exhibition of Venice. 1 3 Still life (Nature morte) 1913 0.73 x 0.54 (oval canvas) BRAUNER Victor Private Collection Bo r n a t Pietra Neamtz (in t he Carpathians) o n t he 15th of J une , 1903. He acquired a personal artistic training a n d associated w i t h mo d e r n a r t groups and t he surrealists un t i l 1948. A complete period of his wo r k from 1927 u p to 1938 revealed a n unconscious obsession, a n d a few paintings prophesied the loss of his left eye. T h e period ex t end i ng from 1938 t o 1942 has been called the "Lycanthropic" period t o which the "wax painting" a n d "candle drawing" period succeeded (1943-1948). Br a un e r participated i n ma n y exhibitions of contemporaneous or surrealist art, b o t h i n France a n d abroad, namely: i n Paris, 1 9 7 ; i n Avignon, 1948; i n Lyons, 1949; i n Sarrebruck, 1952. His last private exhibition a t the Galerie de France (October, 1952) revealed the coming of a new period i n which the t h i r d dimension appears. 14 Oppression of the object (Oppression de l'ob jet) 0.89 x 1.16 BRAYER Yves Bo r n i n Versailles i n 1907. I n 1927 h e was deeply influenced by his first t r i p to Spain. T h e G r a n d Prix de R ome i n 1930 took h i m t o Italy for a prolonged stay. The s e last years h e has been working i n Provence a n d Camargue, then again i n Castille a n d i n Italy. W i t h the simplicity a n d pu r i t y of line he expresses the light, poetry a n d solitude of these peaceful scenes. Creator of decors and costumes for the Op e r a Ballets, cartoons for t he Gobelin tapestries, h e has illustrated a n umb e r of books, including one of Mon t he r l an t a n d one of Claudel. 15 T h e asylum of Saint P a u l d e Mausole (L'Asile St-Paul de Mausole) 0.81 x 1.00 BR IANCHON Maurice Bo r n o n the 3rd of J anua r y , 1899, a t Fresnay-sur-Sarthe. Studied a t the school o f Decorative Arts wi t h Ou d o t a n d Legueult. Shared a studio i n Montparnasse wi t h the latter. Wa s first influenced by Ma n e t a n d Bonnard. Ma d e settings for ballets a t t he Opera, decorative panels for t he Lycée Janson, for t he music foyer of the Palais Chaillot a n d for the Conservatorium, a n d tapestry cartoons for the Compagnie des Arts Français (Adnet). I n 1934, Bl umen t ha l Prize. In 1939, Carnegie Prize. 16 Fancy dress (Travestis) Musée National d ' Ar t Moderne 0.89 x 1.30 BUFFET Bernard Bo r n i n Paris, i n 1928, of a bourgeois family. After his primary studies he attended courses a t the school of Fine Arts. Wa s t h e n strongly influenced by Gruber. Exhibited a t Drouant-David, a t the Salon d'Automne, a n d a t the Salon of the Indépendants. I n 1948 h e received t h e "P r i x d e la Critique" together with Bernard Lo r j ou which signified t h a t h e belonged t o the young French expressionist school. I n 1951 his exhibition a t Drouant-David displayed large religious compositions characterized by their realistic sharp lines. 1 7 T h e painter ( L e Peintre) 1949 Galerie Drouant-David 2.00 x 1.00 CAPRON Jean-Pierre Bo r n o n the 4 t h of August, 1921, i n Cannes (Alpes Maritimes). After his secondary studies, started learning architecture a t the University o f Lausanne. I n 1915 devoted all his time to painting, a n d a t t ended the school of Fine Arts for eight months, t h e n studied a t the Academy of the Gr a nd e Chaumière, and chiefly alone. I n 1950, first private exhibition a t t he Galerie Visconti. I n 1951 h e won the Eugene Carrière Prize. F o r the last f ou r years has be en exhibiting his paintings a t t he Salon d ' Au t omne a n d a t t he Salon d e la J e u n e Peinture; h e participated i n the groups of the galleries Drouant-David, J e a n n e Castel, Visconti, Bignou, Saint-Placide. 18 Fishing po r t n e a r Venice (Port de Péche en Véndtie) 0.97 x 1.46 CARZOU Bo r n o n the 7 t h of January, 1907. Started d r awi ng wh e n a child. After his secondary studies wo n a fellowship t o t he Special School of Architecture. When leaving this school i n 1929 h e devoted his time to painting. I n 1932 h e made several decorative panels for Marcel L 'He r b i e r ' s flat. Un t i l t he wa r h e lived amidst a world of journalists, a r t critics, a n d painters, a n d illustrated reviews a n d papers. I n 1944 h e r e t u r n e d t o Paris a n d participated i n ma n y group exhibitions. F r om 1946 o n h e displayed his paintings a t the Galerie Drouant- David. I n 1950 h e l d several exhibitions o f his paintings i n Egypt a n d Lebanon. Participated i n the Biennial Exhibitions o f Sao-Paulo, Genoa, etc. I n 1952 made the setting for Rame a u ' s opera Le s I nd e s Galantes. Carzou expressed a personal poetry r a t he r t h a n a surrealistic theory i n his landscapes of d e a d cities with jagged wreckage shrouded i n moonlight. 1 9 T h e invaded city ( La cite envahie) 1951 0.97 x 1.30 [ 1 4 ] [15]