Description

What I like

I like this large abstract oil, very well dated: although entitled “Montmorency”, this work is not really figurative: it is the image of the place in the painter’s mind: we think of works coming from the same approach, like the early Mondrian, or shortly before, the works of Staël: in 1958 Ray Sutter had already reached full maturity in his abstract work, after having created a few figurative compositions. Very soon, the doors of the most important galleries (Colette Allendy and Claude Bernard) will dedicate personal exhibitions to him. It should be noted that when he oscillated between figuration and abstraction, the state had trusted him enough to commission a large fresco in 1947 and stained glass windows in 1948 for the church of Saint Jacques le Majeur in Montrouge!

The work itself combines a flexible composition and more geometric central elements: I really like the presence of three blues punctuating the painting: very strong in the center, light in the middle part circled in yellow, medium blue for the background. On these blues, the geometric elements stand out, in a harmony of beiges and creams.

Above all, the composition is warm, dreamlike: we go into enchanted worlds, circumscribed by this ocher yellow oval.

These shapes can be seen as a tribute to the creations of this friend of Ray Sutter, Calder. And therefore recall the approach of the greats, Mondrian and Staël.

Technical description

Raymond known as Ray SUTTER (1920-1988)

Montmorency, 1958

Oil on hardboard signed and dated lower left, signed, titled on the back.

It is possible that the work is an oil on paper glued to hardboard: a strip of gummed paper hides the edges of the work.

Small gaps around the edge.

Without frame.

Dimensions and weight

Height: 91 cm – Width: 63 cm – Depth: 1 cm

Weight:6 kg

Mix & Match

Like any work of art, our Montmorency- 1958 by Ray Sutter creates a specific atmosphere in a room. We have known for a long time that a painting, even abstract, provided it is of quality, fits into all interiors, classic, Art Deco, 1960, contemporary: our Montmorency- Composition on a blue background has the quality of to be perfectly representative of its period of creation, at the forefront of abstraction, neither truly lyrical nor geometric: we are rather in a dreamlike universe. This work is the mental representation of a landscape: we are beyond figuration. In addition, its palette, quite light, illuminates an entire room and the composition is not intrusive, even if it is demanding.

This avant-garde and elegant work will coexist with abstract compositions such as Abstraction by Philippe Roman, combining the same blues and beiges, the painting Aquarius#4- 1973 by Michiel Gloeckner, but also with the large horsehide tapestry Papillon de nuit-1976 or the tapestry with brass inserts by Enrique Broglia Composicion metallica, in their sand or brown harmonies.

I would happily place this work above the Œil sideboard by Joseph André Motte in warm mahogany, combined with the two armchairs by Adrian Pearsall in precious projected bronze. In front, our pair of G10 armchairs by Pierre Guariche will bring a different duck blue, the Adirondack armchairs by Philippe Parent their rigor combined with a soft green!

Finally, I would bring together the work of Ray Sutter with two demanding works: the monumental sculpture Colonnes – 1962 by Guillaume Leunens in colors of lead and zinc, the sculpture Memento Mori by Uwe Appold, for its dark blue stained glass window and its very special shape!