André BOURDIL (1911-1982), Abstraction, 1959, gouache
Description
What I like
First of all, I like the marvelous compositional work of this work by André Bourdil: the dark orthogonal frame of a beautiful black, in which each square is different and dances. The colorist’s work is just as beautiful: a clear blue contrasts with an orange-red awakened with light blue and yellow; and then suddenly, white: what talent! We think of certain works by Bazaine and of course of Vieira da Silva (and her grid sytem): in any case, we are in a sensitive abstraction, all of sensitivity: which is not surprising with Bourdil, who had a figurative period at the time of the Casa Velasquez and its Abd- al-Tif. His work is oriented towards a mystical cubism, which can be found in this gouache.
I like the fact that this work is created by a recognized painter, André Bourdil, who knew how to be both figurative and then abstract, each time in his own way. His work is very typical of a certain French creation of the 1950s/1960s: a peaceful, poetic abstraction, in the tradition of Vieira da Silva, Manessier or Bazaine, two painters also very inclined to spirituality.
The fact that he exhibited at the Galerie Charpentier in an exhibition devoted to the Ecole de Pairs is a sign of his great talent.
Technical description
André BOURDIL (1911-1986)
Abstraction, 1959
Gouache on paper signed and dated lower right.
At sight: 63.5 x 48,2 cm
Small cracks. Framed under glass, repainted white.
Provenance: Henriette and Marcel Reggui Collection, Orléans.
Dimensions and weight
Height: 63,5 cm – Width: 48,2m – Depth: 0,1 cm
Frame: Height: 71 cm- Width: 56 cm- Depth: 2,5 cm
Weight: 1 kg
Mix & Match
This 1959 gouache by André Bourdil is a true work of art, carrying its abstract poetry high: its composition and muted palette make it a successful, complete work, which will take its place on your walls: either next to another gouache, Enrico Cervelli’s “Africano N1-1961”, which also oscillates between equally poetic figuration and abstraction: Cervelli has a range favoring ochres and browns in this work, which will match the palette by Bourdil. In both cases, the painters were exhibited with the greatest and are expected to be better recognized!
We can also think of our diptych by Charles Piquois, the softness of pinks and browns combined with poetry: a refined atmosphere guaranteed!
On the walls, next to our gouache, why not hang the tapestry “Composicion metallica” by Enrique Broglia, whose chromatic range of brown, beige, black and bursts of brass also create a soft and poetic atmosphere.
On the ceiling, the molded amber glass plates of the chandelier by Erik Höglund and Boda Glasburk will contribute to this colorful atmosphere full of nuances.
For the furniture, the G10 armchair by Pierre Guariche accompanied by the ottoman by Paul Geoffroy upholstered in bouclé from Bisson Bruneel will take up a restrained palette but we can also think of the four fireside chairs in oak and purple plywood, from the 1980s: their very pure and slightly rounded will respond well to the softness of our gouache.
Because of the warmth of the wood and remaining in the same period of creation, I wouldn’t mind installing near our gouache the large desk from the Banque de France, or the amusing “Oeils” sideboard by Joseph André Motte for the Huchiers!
In stock
Description
To know more
The painter
André Bourdil is a French painter, born in Pau (Pyrénées Atlantiques) on June 11, 1911, and died in Avignon on May 12, 1982.
Very fond of Berber culture and history, he met and married Jean Amrouche’s sister, Taos Amrouche. After having been an art critic, he will follow the Decorative Arts in 1933-1934. Begins the long friendship with André Lhote and the discovery of lyrical cubism and surrealism.
He obtained, via Jean Alazard, the 1942 Abd-el-Tif prize with Jean-Eugène Bersier and studied at Casa Vélasquez during the war. He will be appointed drawing teacher at the Lycée Jean Baptiste Say then at the Lycée Montaigne in Paris. In 1958, he founded the Modern Painting Academy in Marseille. His best-known painting is the Portrait of André Gide produced in 1943 in Algiers, with which he often played chess (Journal d’André Gide, 1943-1944).
In 1958 he founded the Academy of Modern Painting in Marseille and participated in various exhibitions, in particular those of the School of Paris at the Galerie Charpentier (1955-1956-1960); Raymond Nacenta likes His painting: “His art is made of abstract compositions full of imagination and always harmonious colors”.
The French and foreign press hailed his talent on the occasion of his exhibition at the Galerie Synthèse in Paris in November 1959; art critics of the time discovered a mystical, secret and discreet artist with a hieratic style, with works made of muted, strange tones, where we discover a set of symbols at the junction of figuration and abstraction, nostalgia and tragedy. Everything, in Bourdil, develops from totemic themes, signs in the form of amulets, recalling both the shores of the Orient and the distant Antilles, lost in his subconscious.
Primary works:
National Museum of Fine Arts of Algiers (MNBA)
Calvet Museum in Avignon
Radio adaptation of the novel The Hussard on the Roof by Jean Giono in 1953, with the voices of Gérard Philipe and Jeanne Moreau to interpret the romantic couple formed by the main characters of this work: Angelo Pardi and Pauline de Théus.
A beautiful and authentic gouache at a fair price
This gouache has been carefully selected for its aesthetic qualities, its originality and its fair price. Our choice favors above all the acuity of the drawing and the innovative power of the painter, of which the Abd-el-Tif price guarantees, a guarantee of an enhancement of your new acquisition in your interior and of an ability to dialogue with your furniture , to match and mix to create a unique decoration.
Buying works from the 1960s is surely a reasonable investment, so great is the appetite for these decisive years.
Finally, buying vintage works preserves the resources of planet earth.
Additional information
| Weight | 1 kg |
|---|---|
| Dimensions | 2,5 × 71 × 56 cm |
| Editeur | |
| Epoque | |
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