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MAURICE ESTÈVE (Culan, France, 1904-2001)."Jeune cavalier, 1983.Pastel on paper.Provenance: Claude
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Description
MAURICE ESTÈVE (Culan, France, 1904-2001).
"Jeune cavalier, 1983.
Pastel on paper.
Provenance: Claude Bernard Gallery (Paris).
Presents inventory number of the Bernard Gallery: IBERNARD 42.
Signed and dated in the lower left corner.
Measurements: 41.5 x 31 cm; 71 x 58 cm (frame).
"Jeune Cavalier", (Young Horseman) is the title of this work which, despite its abstract aesthetic language, does not abandon the idea of reality, thus creating an image which appeals to the viewer, in an evocative way, forcing him to recognise the forms of the horse and rider in this work. The use of dark tones based on ochre, black and blue are characteristic of a stage of maturity of the artist, who abandoned his colourful compositions in favour of a more settled and sober chromatic range. In this work the artist uses a language based on irregular geometry, organic in both its outline and its colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, are not limited to a composition but go beyond it, indicating to the spectator that they are forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Maurice Estève moved to Paris in 1913, where he began his training as an artist. He worked for a year as a designer in a textile factory in Barcelona in 1923. During his visits to the Louvre in the 1920s, Estève was particularly impressed by the painters Jean Fouquet and Paolo Uccello, although Paul Cézanne exerted a greater influence on Estève's work. Maurice Estève was largely self-taught, only attending the free studio of the Académie Colarossi in 1924, where he tried to constructively implement his motifs on the model of Georges Braque and Fernand Léger, thus creating a kind of Cubist Fauvism.
Estève began to move away from realism in 1928, and in the following years he was influenced by Léger, Matisse and Bonnard. His first solo exhibition was held at the Galerie Yvangot, Paris, 1930. He worked as an assistant to Robert Delaunay on huge decorative panels for the Paris International Exhibition of 1937. In the 1940s, his stylised figure compositions, still lifes and landscapes in strong colours gradually became completely abstract, with tightly knit interlocking forms in rich, bold colours. Esteve's extensive oeuvre was not limited to the genre of painting. He was also active in collage, textile design and murals. Maurice Estève participated in the 1954 Venice Biennale. His work, like the works of his art colleagues Riopelle and Bazaine, established a new pictorial language: lyrical abstractions with the aim of representing form and colour with an almost poetic attitude.
"Jeune cavalier, 1983.
Pastel on paper.
Provenance: Claude Bernard Gallery (Paris).
Presents inventory number of the Bernard Gallery: IBERNARD 42.
Signed and dated in the lower left corner.
Measurements: 41.5 x 31 cm; 71 x 58 cm (frame).
"Jeune Cavalier", (Young Horseman) is the title of this work which, despite its abstract aesthetic language, does not abandon the idea of reality, thus creating an image which appeals to the viewer, in an evocative way, forcing him to recognise the forms of the horse and rider in this work. The use of dark tones based on ochre, black and blue are characteristic of a stage of maturity of the artist, who abandoned his colourful compositions in favour of a more settled and sober chromatic range. In this work the artist uses a language based on irregular geometry, organic in both its outline and its colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, are not limited to a composition but go beyond it, indicating to the spectator that they are forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Maurice Estève moved to Paris in 1913, where he began his training as an artist. He worked for a year as a designer in a textile factory in Barcelona in 1923. During his visits to the Louvre in the 1920s, Estève was particularly impressed by the painters Jean Fouquet and Paolo Uccello, although Paul Cézanne exerted a greater influence on Estève's work. Maurice Estève was largely self-taught, only attending the free studio of the Académie Colarossi in 1924, where he tried to constructively implement his motifs on the model of Georges Braque and Fernand Léger, thus creating a kind of Cubist Fauvism.
Estève began to move away from realism in 1928, and in the following years he was influenced by Léger, Matisse and Bonnard. His first solo exhibition was held at the Galerie Yvangot, Paris, 1930. He worked as an assistant to Robert Delaunay on huge decorative panels for the Paris International Exhibition of 1937. In the 1940s, his stylised figure compositions, still lifes and landscapes in strong colours gradually became completely abstract, with tightly knit interlocking forms in rich, bold colours. Esteve's extensive oeuvre was not limited to the genre of painting. He was also active in collage, textile design and murals. Maurice Estève participated in the 1954 Venice Biennale. His work, like the works of his art colleagues Riopelle and Bazaine, established a new pictorial language: lyrical abstractions with the aim of representing form and colour with an almost poetic attitude.
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MAURICE ESTÈVE (Culan, France, 1904-2001).
"Jeune cavalier, 1983.
Pastel on paper.
Provenance: Claude Bernard Gallery (Paris).
Presents inventory number of the Bernard Gallery: IBERNARD 42.
Signed and dated in the lower left corner.
Measurements: 41.5 x 31 cm; 71 x 58 cm (frame).
"Jeune Cavalier", (Young Horseman) is the title of this work which, despite its abstract aesthetic language, does not abandon the idea of reality, thus creating an image which appeals to the viewer, in an evocative way, forcing him to recognise the forms of the horse and rider in this work. The use of dark tones based on ochre, black and blue are characteristic of a stage of maturity of the artist, who abandoned his colourful compositions in favour of a more settled and sober chromatic range. In this work the artist uses a language based on irregular geometry, organic in both its outline and its colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, are not limited to a composition but go beyond it, indicating to the spectator that they are forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Maurice Estève moved to Paris in 1913, where he began his training as an artist. He worked for a year as a designer in a textile factory in Barcelona in 1923. During his visits to the Louvre in the 1920s, Estève was particularly impressed by the painters Jean Fouquet and Paolo Uccello, although Paul Cézanne exerted a greater influence on Estève's work. Maurice Estève was largely self-taught, only attending the free studio of the Académie Colarossi in 1924, where he tried to constructively implement his motifs on the model of Georges Braque and Fernand Léger, thus creating a kind of Cubist Fauvism.
Estève began to move away from realism in 1928, and in the following years he was influenced by Léger, Matisse and Bonnard. His first solo exhibition was held at the Galerie Yvangot, Paris, 1930. He worked as an assistant to Robert Delaunay on huge decorative panels for the Paris International Exhibition of 1937. In the 1940s, his stylised figure compositions, still lifes and landscapes in strong colours gradually became completely abstract, with tightly knit interlocking forms in rich, bold colours. Esteve's extensive oeuvre was not limited to the genre of painting. He was also active in collage, textile design and murals. Maurice Estève participated in the 1954 Venice Biennale. His work, like the works of his art colleagues Riopelle and Bazaine, established a new pictorial language: lyrical abstractions with the aim of representing form and colour with an almost poetic attitude.
"Jeune cavalier, 1983.
Pastel on paper.
Provenance: Claude Bernard Gallery (Paris).
Presents inventory number of the Bernard Gallery: IBERNARD 42.
Signed and dated in the lower left corner.
Measurements: 41.5 x 31 cm; 71 x 58 cm (frame).
"Jeune Cavalier", (Young Horseman) is the title of this work which, despite its abstract aesthetic language, does not abandon the idea of reality, thus creating an image which appeals to the viewer, in an evocative way, forcing him to recognise the forms of the horse and rider in this work. The use of dark tones based on ochre, black and blue are characteristic of a stage of maturity of the artist, who abandoned his colourful compositions in favour of a more settled and sober chromatic range. In this work the artist uses a language based on irregular geometry, organic in both its outline and its colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, are not limited to a composition but go beyond it, indicating to the spectator that they are forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Maurice Estève moved to Paris in 1913, where he began his training as an artist. He worked for a year as a designer in a textile factory in Barcelona in 1923. During his visits to the Louvre in the 1920s, Estève was particularly impressed by the painters Jean Fouquet and Paolo Uccello, although Paul Cézanne exerted a greater influence on Estève's work. Maurice Estève was largely self-taught, only attending the free studio of the Académie Colarossi in 1924, where he tried to constructively implement his motifs on the model of Georges Braque and Fernand Léger, thus creating a kind of Cubist Fauvism.
Estève began to move away from realism in 1928, and in the following years he was influenced by Léger, Matisse and Bonnard. His first solo exhibition was held at the Galerie Yvangot, Paris, 1930. He worked as an assistant to Robert Delaunay on huge decorative panels for the Paris International Exhibition of 1937. In the 1940s, his stylised figure compositions, still lifes and landscapes in strong colours gradually became completely abstract, with tightly knit interlocking forms in rich, bold colours. Esteve's extensive oeuvre was not limited to the genre of painting. He was also active in collage, textile design and murals. Maurice Estève participated in the 1954 Venice Biennale. His work, like the works of his art colleagues Riopelle and Bazaine, established a new pictorial language: lyrical abstractions with the aim of representing form and colour with an almost poetic attitude.
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