L'Homme-Printemps, Circa 1973
Painting : pastel · 76 x 104 x 0.1 cm 29.9 x 40.9 x 0 inch · Ready to hang
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Shipped from: France
Delivery to: United States , $ 252
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
76 x 104 x 0.1 cm 29.9 x 40.9 x 0 inch Height x Width x Depth
Artwork dimensions including frame
90 x 118 x 5 cm 35.4 x 46.5 x 2 inch
Sold by
Art gallery
Credentials
Vetted seller since 2015 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Provenance: Galerie Nord, Randers (Denmark)Private collection, Munich
Bibliography: This work will be included in the Catalogue Raisonné of the artist's work, currently being prepared by Mr. Thomas Messagier.
Presentation
Jean Messagier joined Ecole nationale supérieure des Arts Décoratifs in Paris. The artist began an artistic career in the 40's and did his first solo exhibition in Paris at Galerie Arc-en-Ciel. At this time, Jean Messagier was strongly influenced by Pablo Picasso and François Desnoyer, his former teacher. He joined the Nouvelle Ecole de Paris group in the 50's, which led him to exhibit at Galerie de Babylone, during early 50's.
In 1953, the artist suddenly distanced himself from post-cubism and headed towards expressionism and tried to develop a more personal art. He drew inspiration from Jean Fautrier and Pierre Tal-Coat, using light to represent abstractly. His art was therefore qualified as lyrical abstraction, nuagist and tachist. Jean Messagier used many more mediums, ranging from sculpture to tapestry, carnival floats and wine bottle labels. He wrote poetry and composed music. Jean Messagier, the multidisciplinary artist liked to play with styles and artistic mediums in order to develop his own art. Moreover, he was never really attached to a movement, which went beyond the abstraction-figuration opposition.
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