Description
In administrative processing phase!!
Large format lithograph by the Cobra artist Jacques Doucet from 1991. Framed in a beautiful way with a work like this, a very impressive work hangs on your wall.
Edition number E.A.
Signed and dated left under.
Numbered right’ E.A.
Image area 118 x 85 cm. (hxw)
Frame size 147 x 113 cm. (hxw)
Condition:
Work has not been checked outside of frame but is in good condition.
Info:
Read more about Jacques Doucet here
Or view our Jacques Doucet Collection
JACQUES DOUCET
Born in 1924 in Boulogne-Billancourt (France) – died in 1994 in Paris
From his early childhood, Jacques Doucet had to deal with traumatic family circumstances.
Doucet began painting with Paul Klee and Joan Miró as inspiration, borrowing his space from the former and graphics from the latter. He began exhibiting at the Salon d’Automne in Paris in 1943.
1947 marks a turning point in his evolution regarding the invention of an ironic and strange form of figuration. Without taking into account the academic aspects of art, he combines unusual materials such as tar, paper, torn cardboard and other techniques in his paintings.
That same year he became closer to the painters of Europai Iskola (group of Hungarian surrealist artists (from 1945 to 1948)) and exhibited with them, later joining the Cobra movement in 1948. Cobra seduced him with the liberation of color and the conquest of spontaneity. Experimentation and materialism are palpable and accentuate all his work, which tirelessly begins with “a vague memory that arises during the development of a canvas”. At the end and after the Cobra movement in 1951, Doucet’s painting broke with the division between abstraction and figuration. He maintains a certain brutality, sometimes with the help of a knife, and processes the material, making it increasingly thicker and more lively. He constantly deletes, scratches, transforms, deconstructs and recomposes.
The widow Andrée Doucet remembers that he was “a lover of the material”. That his plastic universe was regenerated and achieved a “new freedom” in 1963 when he made collages and later “petrifications”. The latter are merged in resin and integrate elements of drawings, fragments of everyday objects. The artist will draw on the sources of children’s drawings and primitive art until the end of his life.