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André Brasilier in London

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Another reoccurr<strong>in</strong>g subject of <strong>Brasilier</strong> is the horse, which he has admired and loved s<strong>in</strong>ce<br />

he was a little boy. Set aga<strong>in</strong>st the most simplistic and romantic backgrounds, the artist<br />

effortlessly transports us <strong>in</strong>to surreal landscapes, lighten<strong>in</strong>g the soul with dreamy<br />

<strong>in</strong>fusions of figures set <strong>in</strong> modest hues of colour, shape and form. In an <strong>in</strong>timate communion<br />

with nature, <strong>Brasilier</strong> draws his <strong>in</strong>spiration from its language, sounds and colours,<br />

rem<strong>in</strong>d<strong>in</strong>g us of a natural beauty untouched by daily trivialities and events. <strong>Brasilier</strong>’s<br />

pa<strong>in</strong>t<strong>in</strong>gs depict a peaceful, comfortable world, free from care, <strong>in</strong> a very simple, stylish<br />

manner, with delicate harmonies bathed <strong>in</strong> accommodat<strong>in</strong>g sunlight.<br />

<strong>Brasilier</strong> had his first retrospective of one hundred artworks from 1950-1980 at the<br />

Château de Chenonceau <strong>in</strong> 1980 and a retrospective exhibition at the Musée<br />

Picasso-Château Grimaldi <strong>in</strong> Antibes, the French Riviera, <strong>in</strong> 1988. He has s<strong>in</strong>ce been<br />

honoured with major retrospectives both at Russia’s renowned State Hermitage Museum<br />

<strong>in</strong> Sa<strong>in</strong>t Petersburg <strong>in</strong> 2005 and at the Museum Haus Ludwig für Kunstausstellungen<br />

Saarlois <strong>in</strong> Germany <strong>in</strong> 2007.<br />

The artist’s palette<br />

andré brasilier (b. 1929)<br />

<strong>André</strong> <strong>Brasilier</strong> was born <strong>in</strong>to an artistic family <strong>in</strong> Saumur, France <strong>in</strong> 1929. Possess<strong>in</strong>g<br />

a natural <strong>in</strong>cl<strong>in</strong>ation for pa<strong>in</strong>t<strong>in</strong>g at an early age, he went to Paris to study at the École<br />

de Beaux-Arts when he was twenty years old. In 1952, <strong>Brasilier</strong> received a grant from<br />

the Florence Blumenthal Foundation. The follow<strong>in</strong>g year, when he was only 23, <strong>Brasilier</strong><br />

won the Premier Grand Prix de Rome which entitled him to study at the Académie<br />

de France <strong>in</strong> Rome. He lived at the Villa Medici from 1954 to 1957. He also received<br />

the Prix Charles-Morellet at the Salon de la Jeune Pe<strong>in</strong>ture <strong>in</strong> 1961 and the Prix de<br />

Villeneuve-sur-Lot <strong>in</strong> 1962.<br />

While <strong>Brasilier</strong>’s works reflect the <strong>in</strong>fluences of Expressionist artists and Japanese pr<strong>in</strong>ts,<br />

he has reta<strong>in</strong>ed a personal style of schematised nature and imagery that makes him<br />

an anomaly <strong>in</strong> the contemporary zeitgeist. His subdued pa<strong>in</strong>t<strong>in</strong>gs often feature themes<br />

and motifs of horses, nature, music and women, provocative <strong>in</strong> their timelessness and<br />

emotional subjectivity. One of <strong>Brasilier</strong>’s ma<strong>in</strong> subjects <strong>in</strong>cluded his wife, the muse he<br />

has loved his entire life and that he depicts as his constant source of <strong>in</strong>spiration.<br />

The artist’s studio<br />

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