41
前往
前往

拍品詳情

皮耶‧貝爾傑:四海為家

|
巴黎

Bernard Buffet
LES POULETS, 1948
signed Bernard Buffet and dated 48 towards upper right; oil on canvas
125,8 x 126,5 cm; 49 1/2 x 49 3/4 in.
參閱狀況報告 參閱狀況報告

來源

Pierre Bergé, Paris (gift from the artist)

展覽

Paris, Fondation Pierre Bergé-Yves Saint-Laurent
Saint-Rémy de Provence, Musée Estrine, Bernard Buffet, la collection Pierre Bergé, 2018

出版

Jérôme Coignard, Bernard Buffet, Les années 1950, Entretien avec Pierre Bergé, Paris, 2016, no. 73, illustrated p. 129

相關資料

The authenticity of this work has been confirmed by the Galerie Maurice Garnier.


"Jean Cocteau asserted that a painter always painted his own portrait, even with a landscape or a still-lfe. This is particularly true of Buffet. He resembles his paintings. The hanging chickens are him […]."

Pierre Bergé


From early on in his career, Bernard Buffet sought to confront the great genres of painting. The still-life, a genre abandoned since the 19th century but rehabilitated by Cézanne and by Cubism, became one of his preferred subjects. A fine-art student and a regular visitor of the Louvre, the young artist's first works follow in the great tradition of figurative painting and evoke in particular the theme of hunting trophies, typical of 18th century art. The close-up perspective and the motif of dead, hanging birds recall Jean-Baptiste Oudry's painting Canard Blanc.

If the subject, the clarity of composition and its monochromatic palette are patent, nothing is shown of Bernard Buffet's pronounced taste in his youth for natural science, nor Oudry's precise rendering of weight, volume and matter. Bernard Buffet's chickens seem to float on the canvas, tied up, stiff and scrawny to the extreme, a quality also evident in the artist's nudes. Marked by the Occupation and by the post-war context, Bernard Buffet's painting is ash colored, in replica of an austere, disenchanted vision of the world.

The style is harsh, the lines dry and incisive, the palette reduced to a brutal contrast between light and dark tones. Bernard Buffet reveals here already, at the end of the 1940s, a very personal pictorial language, identifiable as his alone. Simplification is extreme in every way. Few objects are represented, a table, three birds and a few hooks suffice, arranged with rigor and objectivity, refusing all illusion of depth which is only hinted at in the slight tilt of the table. There are no excessive curves, the geometrical logic is almost freed from any representation, imposing a squared grid in the background. If this obsessive grid is the justification of painting itself as an echo of Piet Mondrian's compositions, a pioneer of Russian abstraction, it appears throughout Bernard Buffet's works, resolutely attached to figuration. With Les Poulets in 1948, the artist's ambition and talent were great, as he sought to set his painting against frivolity and carefreeness by enveloping it an eloquent silence.

皮耶‧貝爾傑:四海為家

|
巴黎