Michel CADORET (1912-1985) acrylic on canvas abstraction.

Description: Michel Cadoret (1912-1985) Acrylic on canvasTitled on the back "Mallarmé at 36 rue de Poithune" (former residence of the poet in Besançon) Top left on chassis, inscribed "CADORET"Provenance: Galerie Artuel (back stamp)Format 114 x 146 cm Mint condition ------------ FREE SHIPPING ------------------Others works from this artist available. For any information contact us such: 06 81 01 49 19This work can be seen by appointment at Galerie Montfort 5, rue de Provence 75009 PARIS------------------------------ Michel Cadoret PARIS 1912 - Cerny 1985A student of the Beaux-Arts de Paris in Luc Simon’s studio (1928-1932), he made his debut at the Salons d’Automne et des Tuileries in 1935. He traveled in 1937 to Colombia, Venezuela, and the West Indies. During the war he joined the Free French Forces in North Africa and in 1944 was in London where he worked with Professor Vaucher on the constitution of la " Mac Millan Commission for the Restitution of the Works of Art ", then participates in the Normandy landings. In 1946 he was in Paris, befriending Picasso, Dora Maar, Dominguez, Artaud, Laugier, Marcel Zahar and making his first exhibition at the Galerie Roux-Hentschel, prefaced by Jacques Lassaigne."In 1948 he moved to New York where he resided until 1951.In 1949, he was invited by the French Embassy to participate in the first traveling exhibition in the United States:" " France come to you ".From 1951 to 1954, he lived in Mexico and settled on the shores of Lake Patzcuaro in Erongaricuaro, in an old mill "El Molino" frequented by André Breton, Pierre Matisse, Matta, Benjamin Perret, Paalen, Max Ernst. " He meets the Surrealists L. Carrington, R. Varo, R. Bloch. Decisive step in the evolution of his art. His last figurative work is a scene from the "Apocalypse" painted for Erongaricuaro’s church.With the Indians, he created tapestry workshops, exhibited in 1956 in New York, whose violence of color is reflected in his paintings. Back in New York in 1954, he worked hard and passionately. His research, imbued with his sensations accumulated during his travels, confronts that of Motherwell, Kooning, Pollock, Rothko, Kline. His stay across the Atlantic, which lasted until 1963, when he returned to Paris, didn’t take him away from the Parisian scene.In 1955, the Furstenberg Gallery presented works executed in Mexico, including The Joyful City (acquired by the state in 1974), playful transcript of the memoir left by New York. His rhythmic writing and colorful chromaticism underscore the consummate break with the above (Mr. Seuphor reproduces this canvas in his Dictionnaire de la Peinture abstracte published by Hazan in 1957). Tapestries are also featured, some of which were woven in Aubusson.In 1957 he participated in the international event "Fifty Years of Abstract Painting " at Galerie Creuze…” To define Cadoret’s art, two words come to mind: freedom and violence (…) pictorial forms flourish, transcend emotions and perceptions…” writes Jacques Lassaigne inviting the painter to appear in the section he entitled " "In the bursting of a world" " as part of " l’Ecole de Paris ", Galerie Charpentier, 1959.Three paintings appear, The Weights, A Ruth, The Street.The following year he exhibited a painting again. Cadoret, who asserts himself abstract by abandoning identifiable images, orients his research in the figuration of colors, which Dora Vallier defines as "figuration in proximity" (in "L’Art Abstrait", 1967).1956 paintings titled Towners, which belong to the so-called " des mosaics, hint at all the dynamic potential of the material, worked in full knife paste and holding any light source. The colorful shapes fit together while articulating on a core that will appear as a "permanence" throughout the work. There is gradually an increasing tension of the major internal axes, until the structures burst, together with the runoff of colors: blue, red, pink and a wide variety of cadmiums." Glazes cover the clear parts. If the traditional perspective is rejected, the depth effect is achieved by gradients, transparency plays." In the years 1958-1959, a tumultuous appearance predominated and hinted at the proliferation of colorful flows that would characterize his painting. Pure tones triumph with yellow ochre culminating in, even though the land of Siena remains.""Around 1960, the figure of the circle accentuates the phenomenon of movement: Series of the strainer: Cadoret, at an exhibition in New York, releases " The bullshit strainer of which he writes with Varese, with a musical introduction by Marcel Duchamp (here we find the Dada legacy that never left him)."In 1961, he exhibited at the Galerie XXe Siècle, presentation by Pierre Restany and Jacques Lassaigne. The painter Pierre Courthion names le New York Parisian and to which he devoted the first published monograph (Ed. Hazan, 1963) multiplied exhibitions in this city, where he taught from 1961 at the Graduate Faculty of the New School.Returning to Paris in May 1963, he entered the Kaganovitch Gallery and participated in the exhibition "les Cinq de la galerie" (Ackerman, Cadoret, de Caro, Haefliger, Osborn)." A special exhibition will take place in 1967.Cadoret always drew in ink and in 1965 he developed new techniques: micro-drawings (1968) and acrylic inks (1970)."From 1972 he worked at Cerny where he had his workshop.

Price: 2237.55 USD

Location: Paris

End Time: 2024-12-22T19:01:39.000Z

Shipping Cost: 21.36 USD