Galerie Jean-François Cazeau

Galerie Jean-François Cazeau-Press file

Galerie Jean-François Cazeau pays tribute to its roots in the Impressionist and Modern Masters with a painting by Baranoff-Rossiné, La Carrière (1912), showing the passage to Cubism through Cézanne. In the midst of the Cubist period, we also find La Ville abandonnée (1923) by André Masson, at the crossroads with the nascent Surrealism. Homme (1967-68) by Judit Reigl and Paysage tavelé, ciel rougeâtre (1954) by Jean Dubuffet show the surrealist affinities of two great representatives of the postwar School of Paris, with their free gesturality and emphasis on materiality. Olivier Debré follows a similar path in his Signe musicien (1948), a painting from the artist's first truly abstract series, inspired by

Picasso's synthetic cubism. Like T'ang Haywen (1927-1991), a great master of twentieth-century ink and contemporary of Zao Wou-Ki and Chu Teh-Chun, the artist seeks rhythm and dynamism...

Galerie Jean-François Cazeau-Press file