&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
&w=3840&q=75)
42
CLAUDE VIALLAT (né en 1936)
The item was sold for 23 940 €
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CLAUDE VIALLAT (b. 1936)
Untitled, 1993
Acrylic on canvas
190 x 150 cm - 74 3/4 x 59 in.
Acrylic on canvas
PROVENANCE
Given by the artist, then passed down in the family
A certificate of authenticity will be given to the buyer
Claude Viallat, born in Nîmes in 1936, is a major French artist and one of the founders of the Supports/Surfaces movement. This movement, born in the 1960s, seeks to deconstruct the conventions of traditional painting by focusing on the material elements of the work - such as canvas, color and texture - rather than figurative representation. Supports/ Surfaces was born of a desire to explore painting as an object in its own right, and to question its relationship to space. Claude Viallat's work is characterized by the repetition of an abstract bonelet motif, creating a unique dynamic. True to the movement's approach, he deliberately chose not to use a stretcher, thus freeing the canvas from the traditional constraints of painting. By working on loose fabrics, he questions the very nature of the support, transforming the canvas into an autonomous object, freed from conventions.
Claude Viallat, born in 1936 in Nîmes, is a prominent French artist and one of the founders of the Supports/Surfaces movement. This movement, which emerged in the 1960s, seeks to deconstruct the conventions of traditional painting by focusing on the material elements of the artwork - such as the canvas, color, and texture - rather than on figurative representation. Supports/Surfaces arises from a desire to explore painting as an object in its own right and to question its relationship with space. Claude Viallat's work is characterized by the repetition of an abstract motif in the form of a bone, creating a unique dynamic. Staying true to the movement's principles, he deliberately chooses not to use a stretcher, thus freeing the canvas from the traditional constraints of painting. By working with free fabrics, he questions the very nature
of the support, transforming the canvas into an autonomous object, liberated from conventions.
Untitled, 1993
Acrylic on canvas
190 x 150 cm - 74 3/4 x 59 in.
Acrylic on canvas
PROVENANCE
Given by the artist, then passed down in the family
A certificate of authenticity will be given to the buyer
Claude Viallat, born in Nîmes in 1936, is a major French artist and one of the founders of the Supports/Surfaces movement. This movement, born in the 1960s, seeks to deconstruct the conventions of traditional painting by focusing on the material elements of the work - such as canvas, color and texture - rather than figurative representation. Supports/ Surfaces was born of a desire to explore painting as an object in its own right, and to question its relationship to space. Claude Viallat's work is characterized by the repetition of an abstract bonelet motif, creating a unique dynamic. True to the movement's approach, he deliberately chose not to use a stretcher, thus freeing the canvas from the traditional constraints of painting. By working on loose fabrics, he questions the very nature of the support, transforming the canvas into an autonomous object, freed from conventions.
Claude Viallat, born in 1936 in Nîmes, is a prominent French artist and one of the founders of the Supports/Surfaces movement. This movement, which emerged in the 1960s, seeks to deconstruct the conventions of traditional painting by focusing on the material elements of the artwork - such as the canvas, color, and texture - rather than on figurative representation. Supports/Surfaces arises from a desire to explore painting as an object in its own right and to question its relationship with space. Claude Viallat's work is characterized by the repetition of an abstract motif in the form of a bone, creating a unique dynamic. Staying true to the movement's principles, he deliberately chooses not to use a stretcher, thus freeing the canvas from the traditional constraints of painting. By working with free fabrics, he questions the very nature
of the support, transforming the canvas into an autonomous object, liberated from conventions.