#Jean Fautrier

[oldsardens]

Jean Fautrier - Senza titolo

[389]

Jean FAUTRIER Blue Lake I

[germanpostwarmodern]

Jean Fautrier, Tête d‘Otage no. 20, 1944, oil on paper on canvas, Cologne, private collection. Photo from August 2024 taken in the Exhibition "Jean Fautrier. Genie und Rebell" at Emil-Schumacher-Museum in Hagen, Germany.

[weepingwidar]

Jean Fautrier (French, 1898-1964) - La Mort du Sanglier (The Death of the Boar) (1927)

[random-brushstrokes]

Jean Fautrier (French, 1898 - 1964) - Portrait de Femme

[thebeautycove]

Art.

Jean Fautrier, Rain, 1959.

[disease]

"VASE DE GIROFLÉES" JEAN FAUTRIER // 1925 [oil on canvas | 55 x 46 cm.]

[artsinet]

Jean Fautrier - Flowers (1928)

[fromthedust]

Jean Fautrier (French, 1898-1964)

Sans Titre (untitled) - oil on canvas - 1926

[frenchcurious]

Jean Fautrier (1898-1964) Surfaces de couleurs, tableau à 4 cotés,1958. - source Bonhams.

[sardens]

Jean Fautrier - Sans Titre

[oldsardens]

Jean Fautrier - L'Orange coupée (Mason OM2)

[sytalice]

Jean Fautrier and Neon Genesis Evangelion (mostly from Der Mond artbook)

- Tête d’Otage (1945) - Jean Fautrier

- Lilith (Unknown source) - Yoshiyuki Sadamoto

- L’écorché (1944) - Jean Fautrier

- Eva 0.1 concept art - Yoshiyuki Sadamoto

- Forêt (1928) - Jean Fautrier

[germanpostwarmodern]

It‘s been more than a month since I visited the exhibition „Jean Fautrier - Genie und Rebell“ at Emil Schumacher Museum in Hagen, Germany, and hence the recently published catalogue comes in handy to freshen up my memories. The exhibition presents a great array of works from different work phases, also including the sculptures Fautrier produced during the 1950s. They also are the subject of the preliminary catalogue raisonné included in the catalogue, compiled and knowledgeably elucidated by Katja Blomberg. But the anchor point of the catalogue undoubtedly is Siegfried Gohr‘s long essay that serves as a bracket around the exhibition and analyzes as well as contextualizes Fautrier’s work. Along the exhibited works he leads the reader through the artist‘s life and career. What becomes clear is the singular vision Fautrier followed and gradually realized: a new type of painting in which the colors take on a relief-like quality. Fautrier put them to the test by means of a limited quantity of motifs, a strategy that is rooted in his idiosyncratic realism of using only motifs surrounding him. Consequently, the painting materials took precedence over potential motif effects. In keeping with the exhibition’s emphases the catalogue also devotes considerable space to Fautrier’s 1950s „originaux multiples“ with which he anticipated the multiples of the 1960s. In two essays Dirk Volmer and Dieter Schwarz shed light on this somewhat neglected part of his oeuvre that the Hagen exhibition finally shows in its entirety. Based on a production process developed by his partner Jeannine Aeply, who initially focused on the high-quality reproduction of Fautrier’s illustrations in books as well as other artists’ works, Fautrier produced beautiful multiples that unfortunately weren’t a financial success. Accordingly their production was stopped by the mid 1950s. With the present catalogue the editors provide a perfect supplement for the exhibition at ESMH that very knowledgeably contextualizes and explains the impressions gained. Highly recommended, especially since it is a bilingual edition!

[weepingwidar]

Jean Fautrier (French, 1898-1964) - Portrait de Ma Concierge (1922)

[nunc2020]

Jean Fautrier in der Niebuhrstraße

Es ist schwierig zu unterscheiden, zwischen den inneren Bildern und den Bildern, die man in seinem Leben gesehen hat. Es gibt immer wieder die Vorstellung, unmögliche Bilder zu malen. Bilder sind vollkommen stumm und lassen sich nicht auf Worte zurückführen.