Lauren Laz, Cécile Reims. L’œuvre gravée 1945-2011 (avec des textes de Dominique Radrizzani, Laure Beaumont-Maillet, Rainer Michael Mason, Emmanuel Pernoud, Cécile Reims, Laurence Schmidlin, Pierre Wat), Vevey, Musée Jenisch, 2011, 327 pages, 1464 illustrations.
Waldemar-George after 1945. The art critic and Pablo Picasso, Pierre Restany, Edouard Pignon..., by Yves Chevrefils DesbiollesHidden in the south of France during the Second World War, Waldemar George immediately resumed his activities as an art critic upon the liberation of Paris in 1944. In the we...
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| Natura: | Article ou chapitre numérique |
| Lingua: | Français |
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2012
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| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Riassunto: | Waldemar-George after 1945. The art critic and Pablo Picasso, Pierre Restany, Edouard Pignon..., by Yves Chevrefils DesbiollesHidden in the south of France during the Second World War, Waldemar George immediately resumed his activities as an art critic upon the liberation of Paris in 1944. In the weekly Opera, he tried unsuccessfully in 1949 to impose a new « Award of contemporary painting » on the Parisian art scene, in order to rehabilitate a sense of composition among painters. A long time enemy of abstraction, Waldemar George eventually found, in the Informal or « Tachiste » trend of the Parisian avant-garde in the late 1950s, an acceptable form of expression for his tireless quest for the human figure in art. During those years, he met and gave advice to the young art critic Pierre Restany, while allowing himself be moved by the almost abstract paintings of an Edouard Pignon or an Asger Jorn. |
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