Geneviève Claisse Rare c 1968 "UNIVERSAU 3" HAND SIGNED

Description: PLEASE NOTE: This Genevieve Claisse is a rare authentic original circa1968 work bearing the Famous French Gallerist/art publisher Galerie Denise René's embossed seal. Denise René exhibited and published the most famous artists of the sixties including Victor Vasarely, Kazinsky, Calder and Genevieve Claisse. (Galerie Denise René 1968 exhibition reference 1968 May-JuneVasarelyGalleria de Cavallino, VeneziaCatalog1968 julyClaisse, «Universaux», 6 colour silkscreen prints, Editions Denise René Denise René Gallery Geneviève Claisse Title: "UNIVERSAU 3 " circa 1968HAND SIGNED Paper with Embossed Galerie Denise René's publisher seal. Approx size: 31.5" x 25.5" very good condition, never framed, (see wear as pictured)Geneviève Claisse (1935-2018)(Born 1935, in Quiévy), was a French geometrical abstract painter. A relative to Auguste Herbin, born in the same place, her painting vocation was born through reading the magazineArt d'aujourd'hui, tribune of geometrical abstraction."(My vocabulary is open to the research of movement – and of multiple spaces – which animates the plan of the painted surface. The circle and the triangle, addressed one after the other and separately, are my favorite topics of serial compositions where the extreme simplicity of the shapes is transfigured by the intensity, every time different of the color relationship)"Galerie Denise RenéArt is first and foremost a matter of choice. At the end of the Second World War, and while for five years the German occupation had reduced cultural life to its most agreed-upon version, everything seemed possible at a young gallery. The first exhibitions organized in June 1945 by Denise René testified to this fierce need for freedom, this desire to experiment which, even then channeled into the paths of geometric abstraction, then kineticism, is undoubtedly the most constant feature of her character. From Max Ernst and Picabia to Atlan or Lapicque, what prevails is, during his first five years of activity, the pleasure of showing both the forgotten (and then unknown) masters of the pre-war period and the new artists who then invent a different image of the already famous School of Paris. A common point - and it is essential in the virulent debates that then agitate the art world - all these artists are "abstract" (even if today this name can logically be contested for many of them): that is to say, to create a new aesthetic, they first refuse any academicism that could be linked to a figurative tradition. This feeling that art to exist must invent new paths, Denise René will make it her principle, the founding intuition of her analyses. This is why in this still confused set that then covers the term abstract art - where the non-figuration of a Manessier, an Estève or a Bazaine as well as the informal research of Fautrier or Dubuffet for whom the image always remains underlying - it favors formal abstraction, the one that develops the data of Cubism intends to make the painting a pure plastic fact, where emotion arises not from the narrative but finds its source in the combination of shapes and colors. This option taken, Denise René brings together, in a dialogue that the gallery will maintain throughout, historical artists and young creators. Thus, from the first years, she brings together Arp and Magnelli, Sophie Taeuber and Herbin, all pioneers of the first abstract generation with young artists that she reveals and imposes as Vasarely, Jacobsen, Dewasne or Mortensen. This dialogue of generations, this feeling of continuity in the history of art that the work of a gallery must update, to make familiar until museums take over is the basis of the historical exhibition realized in 1955 by Denise René and Pontus Hulten: The Movement. By searching for historical antecedents - Marcel Duchamp or Calder -, by recalling the articulations represented by the works of Vasarely or Jacobsen, the exhibition gave a framework and justified the research of these young artists - whom it is difficult to imagine today that they were then unknown - Tinguely, Soto, Agam and Pol Bury - and who together then laid the foundations of kinetic art. Denise René developed this work of putting into perspective the different generations of abstract art by introducing in Paris the historical figures of the concrete avant-gardes of Eastern Europe - a tradition hitherto ignored in Paris and which the gallery highlighted with the retrospective of the Hungarian Lajos Kassak, the Polish Stazewski or the exhibition of the Precursors of Abstract Art in Poland in 1957 bringing together Malevich, Kobro, Strezminski, Berlewi... - as today it presents the young Russian artist Ratsourakis. At a time when international exchanges were infinitely rarer than today, the gallery wanted to be open to creators from all over the world. It thus became for artists from the Latin American continent who preferred plastic research to storytelling - the names of the Brazilian Cicero Dias, the Venezuelans Soto and Cruz Diez, the Argentines Le Parc, Tomasello or Demarco testify to this - a natural rallying point. This privileged relationship with Latin America originated in 1956, when Denise René published Venezuela, an album by Vasarely that echoed the painter's architectural experience with architect Carlos Raul Villanueva. An exhibition of Vasarely, organized by the gallery and presented in 1958 in Buenos Aires, Montevideo and Sao Paulo will be, during its inaugurations, the occasion for new encounters and multiple exhibitions. Because if she, one of the first among French dealers, understood that a gallery had to report on international creation and not be limited to artists who came to live in Paris, Denise René knew, very quickly too, that post-war information tended to take on a global character and that it was no longer enough to wait for foreigners to take advantage of a trip to Paris to inform themselves and discover new artists. A militant gallery, Denise René's gallery has sought to find new organizations, new audiences to make the most contemporary creation accessible to them. From April 1948, she organized exhibitions in Denmark, finding in large local galleries (Birch, Tokanten, Rasmussen ...) partners who could relay her action in the dissemination of built art. The organization in 1951 of the exhibition Klar Form, which will tour for a year in the museums of Scandinavia and Belgium, will be the concrete and obvious result of this visionary conception of the work of the galleries. It happens from time to time that a dealer accompanies the art of his time, seems inseparable from it. This was the case with Kahnweiler and Cubism, Herbert Walden and German Expressionism, Castelli and Pop'art. By organizing the exhibition Le Mouvement in 1955, Denise René sparked a new concept of art, created a movement at the same time as she introduced a generation of unknown artists. Kinetic art, to use the term used in 1955 by Vasarely, followed by the developments of op'art, would establish itself for fifteen years as one of the major trends in international contemporary art. Perhaps we must see in the public success of kinetic art, its immediate impact in Europe as in the United States, the fact that it seemed the natural and indispensable counterpoint of pop'art. Where the latter restored the image in his powers, intended to testify to the social world, kinetic artists questioned art, questioned vibration, virtual color, everything that in the still image solicited the optical nerve or on the contrary introduced by real movement a dimension of duration that modified the approach of the visual arts by bringing them closer to the development in time offered by cinema and music. The immediate resonance of these ideas, the influx of new artists rallying to them, testified to the correctness of the intuitions of the initiators of the movement, they also carried in germ the academicization. The multiple, a generous social idea that consisted in making art accessible to the greatest number and not only to wealthy collectors, by spreading by the hundreds the images of the artists made them a common consumer good little different from those praised by pop'art; the Grand Prix de Peinture of the Venice Biennale awarded in 1966 to Julio Le Parc, by marking the official recognition of kineticism, as that awarded two years earlier to Rauschenberg had marked that of pop'art, made optical art a fashion phenomenon. As always in art, the public recognition of a movement actually marks the end of it. In the second half of the twentieth century, Denise René has been, much more than the witness, an essential actor. Without it, some of the art of this century would have taken many more years to emerge. Perhaps some artists would not have found without his support the means to continue their creation. We can certainly make, after the fact, the inventory of what the gallery has not taken into account: to wonder why Bridget Riley or Takis did not find a place there, to be surprised that minimal art was not the logical continuation of the line of thought defended by Denise René... But next to these shortcomings, what remains admirable is the loyalty of a merchant to a line of conduct, the ability to resist the effects of fashion, the financial or media flows that accompany them. If everyone today agrees on the rigor and importance of the choices made, what is perhaps the most impressive is the moral dimension that Denise René has been able to give to a profession that few think is the first quality.1968 09 January-27 January"Light in Movement"Exhibition Hall, Trinity College, DublinThe Park, Lijn, Maline, Rossi, Schöffer...16 works on loan from Denise RenéCatalog 18 January-31 March"Pentacle"Museum of Decorative ArtsLoans D.R. (Baertling) 27 January-11 March"Kinetic art and space"Le Havre, House of Culture.Participation of Galerie Denise RenéCatalog (poor condition) 11 February-31 March"Kunst der jungen generation in Paris"Dortmund, Museum at the OstwallG.R.A.V.16 photos 15 February-1erMarch"An invention of Konrad Lueg"Sound accompaniment by the live band Psychedelic Music.Presentation of models by the couturier Emmanuel Ungaro.Denise René Gallery1 poster. 08 Mar-06 AprAlbers, recent paintingsDenise René GalleryInvitation-catalog-photo displays-2 photos 15 Mar-06 AprAlbers, screen printing-engravingDenise René GalleryInvitation-photo poster-catalog-7 photos-5 negatives 23 March-10 MayT Morgan, Hugo DemarcoGalerie Denise René, Hans Mayer, Krefeld1 catalog 29 Mar-27 AprSoto, Vasarely, The ParkRichie Hendriks Gallery de DublinParticipation of Galerie Denise RenéCatalog 30 March-20 May"Kinetic art and space"Museum of Louviers, EureCatalog 13 April-30 June"Living Art 1965-1968"Maeght Foundation, Saint PaulDenise René loans: Albers, Cruz Diez, Demarco, Duarte, G.R.A.V., Kelly, Mack, Mari, Pohl, Schöffer, Tomasello, Vasarely.Catalog April-May"Image dynamics"DemarcoDenise René GalleryCatalog invitation April-MayVasarelyMuseum of Contemporary Art, Zagreb, Yugoslavia 02 May-25 MaySoto, Vasarely, The ParkUlster Museum, Art Gallery, BelfastCatalog May-JuneClaisse, circlesDenise René GalleryInvitation-catalog-photo displays (poor condition) May-June"Kineticism-spectacle-environment"House of Culture, GrenobleKunstnernes Hus, OsloNumerous loans Denise RenéCatalog May-JuneVasarelyGalleria de Cavallino, VeneziaCatalog June-AugustSotoGallery of Contemporary Art, Zagreb, Yugoslavia June"Denise René in London"Geometric abstraction, light and movement, Optical and kinetic art.Redfern Gallery, LondonCatalog JuneXXXIV Venice BiennaleLoans Denise RenéCatalog julyClaisse, «Universaux», 6 colour silkscreen prints, Editions Denise RenéDenise René Gallery View more great items

Price: 4975 USD

Location: New York, New York

End Time: 2024-08-21T02:25:37.000Z

Shipping Cost: 145 USD