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Premium Jean-Pierre PINCEMIN (1944 - 2005)
Untitled - circa 1965-70
…
See original version (French)
Jean-Pierre PINCEMIN (1944 - 2005)
Untitled - circa 1965-70
…
See original version (French)
Lot no. 59
Description
Jean-Pierre PINCEMIN (1944 - 2005)
Untitled - circa 1965-70
Oil on panel
167,50 x 103,50cm (65,9 x 40,7in)
Annotated and referenced on the back of the work
Provenance: Artist's studio
Remained in the same family by descent
Private collection Luxembourg
Certificate of authenticity by Judith Pincemin, daughter of the artist
"The Supports/Surfaces movement set out to define the components of "painting": the canvas, most often without a stretcher, its dimensions, the colour and its extent, the place and the way it was hung, to put an end to the painting as the illusion of a theme or as the sentimental debauchery of the artist's state of mind. "Painting" never means "painting something" (and especially not oneself). It is a work
on method[2]. "
Our painting with horizontal stripes is a powerful example of his work on the construction of painting. Pincemin conceived of painting in terms of repetition and seriality, and emphasised its materiality. Playing with the inspired force of colour, our painting is illustrated by a simple and monumental architectural structure, with a top and a bottom, a seat, a partition of space, and reveals a primordial interpretation of his palisades executed from 1974 onwards.
Jean-Pierre Pincemin, born in Paris in 1944 and died in 2005, was a French painter, engraver and sculptor. A major figure in abstraction and a pioneer, Jean-Pierre Pincemin never ceased to experiment with a wide variety of techniques and materials: planks, panels, metal sheets, squares of canvas dipped in paint.
After working as an art critic, Pincemin designed his first paintings and sculptures and held his first exhibition in 1968.
Between 1962 and 1966, he made a number of modern pictorial attempts, from lyrical abstraction to action painting. Highly innovative and creative, his works are the result of research into traditional brush painting: folding, impressions of bricks and wire mesh, acting on the canvas like a new material.
In the paintings of the 60s and 70s, Jean-Pierre Pincemin asked himself the question of combinatorics, i.e. how to structure the surface through modular repetition, how to organise the nuances of a colour in order to achieve harmony? For him, this question was not simply one of random structuring, but of the transition from one coloured plane to another from the moment when colour takes on its autonomy in relation to structure, a purely pictorial question.
In 1971, Jean-Pierre Pincemin joined Supports/Surfaces, a movement created in the late 60s. Jean-Pierre Pincemin featured in the exhibition "Nouvelle peinture en France-Pratiques/théories", organised by the Musée de Saint-Etienne in 1974, which brought together representatives of Supports/Surfaces. This movement was continued by the new abstraction, the hard edge, in the USA and in France, by Simon Hantaï and Claude Viallat. The concept of this movement focuses on the physical reality of the painting.
According to Pincemin:
"The Supports/Surfaces movement set out to set out the components of "painting": the canvas, most often without a stretcher, its dimensions, the colour and its extent, the place and the hanging, to do away with the painting as an illusion of a theme or as a sentimental debauchery of the artist's states of mind. "Painting" never means "painting something" (and especially not oneself). It is a work
on method[2]. "
"Through its versatility, colour destroys and reconstructs all figures, however precise they may be. Its particularity is therefore to modify perception, to disrupt communication". The painting should therefore be seen primarily from the angle of colour, not from that of its geometry. The colour itself is the figure. The global and synthetic perception of structure is matched by a stratified, prolonged and varied perception of colour, each of which introduces a different temporality depending on the space it occupies and the other colour it adjoins: "the difficulty is the passage and contiguity of colour, a difficulty in the painting, but one that is not observed in the visible reality of the world. Those who know how to ensure the passage and contiguity of colour in a painting know how to paint".
Exhibited and conserved in major private collections and museums in France and abroad.
See original version (French)
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