NÉOPLASTIC GOUACHES

NÉOPLASTIC GOUACHES

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« The large gouaches I made between 1926 and 1929, almost all of which have been destroyed, bear the clear imprint of technical or morphological problems closely related to neoplasticism: the doubled line, the line thickened to the point of becoming a plane, the plane of color separated from the black dividing line, the single-color split into nuances, etc.
It was too close to the work of Mondrian, for whom I had a great friendship, and I refused to be a « brilliant disciple» ; so I abandoned this path in 1930.
For several years, I navigated in the waters of uncertainty and questioning, until, through unilinear drawings, I slowly reached the definition of the horizontal line repeated endlessly as one traces a furrow.
I had found the simplest, easiest, most pacifying plastic exercise, both for the author and for the spectator. Almost at the same time, the white space, which I named lacuna, revealed itself to my astonishment. I thereby begun the path that I have never left since 1951.»

December 17, 1983, Seuphor

PATH

« The large gouaches I made between 1926 and 1929, almost all of which have been destroyed, bear the clear imprint of technical or morphological problems closely related to neoplasticism: the doubled line, the line thickened to the point of becoming a plane, the plane of color separated from the black dividing line, the single-color split into nuances, etc.
It was too close to the work of Mondrian, for whom I had a great friendship, and I refused to be a « brilliant disciple» ; so I abandoned this path in 1930.
For several years, I navigated in the waters of uncertainty and questioning, until, through unilinear drawings, I slowly reached the definition of the horizontal line repeated endlessly as one traces a furrow.
I had found the simplest, easiest, most pacifying plastic exercise, both for the author and for the spectator. Almost at the same time, the white space, which I named lacuna, revealed itself to my astonishment. I thereby begun the path that I have never left since 1951.»

December 17, 1983, Seuphor

Seuphor à Vanves 1929 assis devant l'une de ses gouaches

« Mondrian saw these works on the walls of my small apartment in Vanves when he came on Sundays to join other friends, and he said nothing. It was this stubborn silence of my great friend that, without a doubt, dissuaded me from pursuing this path, and that’s fine. Mondrian was right. Already then I knew, without formulating it clearly, that there are no great disciples and that art forms are only useful once. »

Jean Branchet, in Entretiens sur Michel Seuphor. Actes du colloque international de l’université de Nantes, 13,14 et 15 mars 1985. Meridiens Klincksiec Editions

Seuphor à Vanves 1929 assis devant l'une de ses gouaches

« Mondrian saw these works on the walls of my small apartment in Vanves when he came on Sundays to join other friends, and he said nothing. It was this stubborn silence of my great friend that, without a doubt, dissuaded me from pursuing this path, and that’s fine. Mondrian was right. Already then I knew, without formulating it clearly, that there are no great disciples and that art forms are only useful once. »

Jean Branchet, in Entretiens sur Michel Seuphor. Actes du colloque international de l’université de Nantes, 13,14 et 15 mars 1985. Meridiens Klincksiec Editions

Première gouache géométrique de Seuphor, 1926

Photo en noir et blanc du tableau original

Composition n°II

Sérigraphie de 1974 (originale de 1929)

Transcription d'une gouache en noir et blanc, dessin à lacunes, 16 avril 1974

Esquisse d'une gouache, 1929

Photo en noir et blanc du tableau original

Transcription d'une gouache en noir et blanc, dessin à lacunes, 19 juin 1929

Composition n°VIII, gouache

Sérigraphie de 1974 (originale de 1929)

Gouache de 1929, originale, album photo

Photo en noir et blanc du tableau original

Composition sans titre

Sérigraphie de 1974 (originale de 1929)

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Composition n°II, 1929, originale, album photo

Photos en noir et blanc du tableau original

Composition n°V

Sérigraphie de 1974 (originale de 1929)

Composition n°VIII, gouache

Photo en noir et blanc du tableau original

1929, album photo

Composition géométrique avec grand jaune

Sérigraphie de 1974 (originale de 1929)

Transcription en noir et blanc d'une gouache d'une gouache de 1929, dessin à lacunes, 16 avril 1974

Première gouache géométrique de Seuphor, 1926

Composition n°II

Sérigraphie de 1974 (originale de 1929)

Composition n°II, 1929, originale, album photo

Photos en noir et blanc du tableau original

Transcription d'une gouache en noir et blanc, dessin à lacunes, 16 avril 1974

Esquisse d'une gouache, 1929

Composition n°V

Sérigraphie de 1974 (originale de 1929)

Composition n°VIII, gouache

Photo en noir et blanc du tableau original

1929, album photo

Composition n°VIII, gouache

Sérigraphie de 1974 (originale de 1929)

Transcription d'une gouache en noir et blanc, dessin à lacunes, 19 juin 1929

Gouache de 1929, originale, album photo

Composition géométrique avec grand jaune

Sérigraphie de 1974 (originale de 1929)

Transcription en noir et blanc d'une gouache d'une gouache de 1929, dessin à lacunes, 16 avril 1974

Composition sans titre

Sérigraphie de 1974 (originale de 1929)

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