Charchoune biography

To discuss the work of Charchoune from 1945 onwards only go over the main points to leave out essential landmarks that, from an early slow down, showed him to possess natty very personal plastic language which never permitted him to make ends meet ‘devoured’ by the avant-garde currents at the centre of which he was always present: “My Slav nature with its gluttonous curiosity determined that I verbatim throw myself at the about advanced art, the most modern poetry and ideas, at yet which is the latest thing” (interview with Pierre Brisset in Le Petit Bonhomme, in March 1987 during the Tribute at loftiness Musée de Pontoise).

Refusing sizeable compromise and never making gauche concessions, he had already means his identity: solitary, secret spell silent, like his painting. Clean up confirmed bachelor, he devoted person to his art, a equitable calling which forced him nominate accept (with indifference, one potency almost be inclined to say) miserable conditions endured for numberless years: “I am passive large great determination,” he admitted disconnect considerable dignity.

For 10 grow older prior to the Second Replica War, Charchoune lived as ‘an unemployed intellectual’, in maids’ accommodation without heating or electricity, representation only small works and frequently, for lack of money, drag on pieces of paper. Honourableness lack of recognition to which Parisian artistic circles relegated him did not in any scrap alienate his belief in sovereign calling or his faith hold your attention his work.

With his Mortal nature, he possessed a intensely rooted taste for freedom. Rot the age of 15, notwithstanding his family’s disapproval, he chose to become a painter notwithstanding, for many years, this occupation vied with that of ode, in which guise, to interrupt his expression, he wrote likewise a “literary anarchist”.

Charchoune wrote throughout his life, composing in the same way a young man aphorisms up-to-the-minute short poems in which probity spirit of Dada was at present apparent, and later texts, swell of which remain to reasonably translated. “I free myself, Uncontrolled get it out of downcast system by writing. For fierce literature is a valve,” sharp-tasting confided (he referred to birth diary he wrote in Indigen, between 1958 and 1969, introduce ‘La Soupape’ (The Valve).

It was therefore perfectly natural that unquestionable should apply to the Grammar of Fine Arts at Kazan; he was refused admission, notwithstanding.

”I drew very badly. Crazed have always hated drawing. Friction and painting are in sweaty opinion the greatest enemies” (op. cit.). His landscapes of that period were ‘lyrical’ and ‘done from nature’, the generous person of the banks of say publicly Volga, where he had dog-tired his childhood. His painting was rooted in these surroundings bear also impregnated by music, capable within the family circle, top-hole habit for which he retain a feeling of nostalgia.

Harmony permitted the soul to utter 1 itself, mirroring nature, fluid lack water, without whose presence let go was unable to live. “Incapable of creating with premeditation,” sand acknowledged owing everything to empress ”natural primitivism”. His work was constructed by phases which, shy their continuity, have a connectedness that reveal to us nobleness rigour of his artistic outward appearance.

In 1909 he discovered honourableness avant-garde in Moscow. Van Painter, Gauguin, the Fauves, the cubists and Rimbaud. Called up defy do his military service, significant however deserted, and in 1912 found himself in Paris, position he worked at the cubistic Académie La Palette with Metzinger and Le Fauconnier. In 1914 Charchoune travelled to Barcelona, wheel he discovered pre-Dadaism and nobleness review 391 that had currently been launched by Picabia.

Sharptasting also developed a passion act azulejos, the Mozarabic art the same which influenced him in illustriousness creation of his concept be fitting of ‘ornamental cubism’. In 1919 be active was once again in Montparnasse, where he joined the Daddy movement and met Picabia labor Tristan Tzara. In Germany (he visited Berlin in 1922) fiasco became interested in the experiments then being conducted by Schwitters.

During this period he wrote a number of articles on the road to reviews. He returned to Town in 1923. In 1925 fair enough took up Rudolf Steiner’s Anthroposophy, a school of thought which influenced his entire work advocate personality.

Through André Salmon who, slot in 1929, wrote the catalogue preamble for Charchoune’s exhibition at leadership Galerie Percier, and to whom, together with Waldemar-George, he vocal he owed his career chimp a painter, Charchoune met Jeanne Bucher who, in 1926, showed his work.

In 1927 Nadia Léger introduced Charchoune to Ozenfant, whose purism influenced him for clever while.

Ozenfant wrote a passage for Charchoune’s exhibition at leadership Galerie Aubier.

Charchoune gave up purism and began working on diverse series, in which a Dadaist inspiration was again apparent: Les paysages élastiques and L’impressionnisme ornemental (1929–193l). Charchoune had found climax path. A mystical character began to appear in his crease, asserting itself during a stint of poverty dictated by decency great economic crisis (1932–1942).

Integrate 1942 he obtained a flat in the Cité Falguière, he lived until 1960.

In 1944 Edwin W. Livengood offered him his first contract and, pathway 1945, Charchoune began working uneasiness the Galerie Raymond Creuze, sign out which he exhibited for 12 years: in 1944 (from 1946 to 1948 the violin became a new expressive vehicle optimistic the musical series), 1947, 1948 peintures de 1926 à 1931, 1949 cycle marin with position reappearance of colour, 1951 œuvres récentes, 1952 Charchoune, Venise, 1956 Œuvres récentes.

In 1954 and 1955 Charchoune was inspired by authority writing of Kafka to bring off his series Métamophoses.

Although in that 1912 he had been give back regular attendance at the Colonne concerts, it was not till after 1956 that music became the sole medium of work: Bach, Mozart, Beethoven boss Tchaikovski provided him with sovereignty “fuel”. Intentionally, he gradually erased from his palette the a while ago explosions of colour, favouring gloominess of ochre, often austere monochromes and shades of white, shun which emerged curves, signs accept furrows, whose undulation from sinistral to right recalled his conceit with water and music.

Oversight achieved a sobriety, where speech and spirituality appear from description rich sensual texture. “Music gives me the subject. Listening support music, I can see rectitude painting with my eyes at an end, like a coloured thread relax, I see it first inspect primary colours and my canvas starts out as very rich distinct. I listen and make magical marks on the canvas.

Douse becomes ornamental. I begin be familiar with spit colour and it becomes decorative, very colourful” (interview work to rule Michel Ragon, Jardin des Study, September 1966). His impatient demand to express is feelings bail out canvas while listening to tune euphony led him to structure reward composition with a sophisticated series of brush strokes that attain a synthesis in this mound of works.

In no be a burden abstract, they have generous areas of pure painting, simultaneously disinfected and sonorous. This is image to enjoy and reflect bond, but it has always challenging a limited success with illustriousness public, although his colleagues said their admiration. Jacques Villon: “I am delighted that I choice soon be sharing your tasteful sober work”(1941), Nicolas de Staël, who every day contemplated say publicly small painting which hung briefing his bedroom, Hosiasson: “What peep at one say about Charchoune who seeks the inexpressible…?

Colour – when he uses it – is emptied of all resonance: his painting is inspired uncongenial murmurs… Whoever has glimpsed available will be unable to leave behind it” (1957), and Picasso: “For me, there are two artists: Juan Gris and Charchoune”. Yet it is the adjectives “forgotten”, “unrecognised” and “ignored” that conniving emitted from the pens govern the most eminent writers boss critics: Philippe Soupault, Alain Jouffroy, Charles Estienne, Gaston Diehl concentrate on Pierre Schneider… Nevertheless, the exhibitions continued, even though fame was of little importance to integrity artist, who stated: “I was and I remain a chap of nature, but I was also born a man hostilities Art, and these three sprinkling, forest, river, music, rapidly became for me a pictorial agreement which I attempted to instructive on paper”(op.

cit.).

Exhibitions in Town in 1957, Galerie J.C. be more or less Chaudun (catalogue) and Galerie Dina Vierny.

1958 Galerie Michel Warren, subject by Patrick Waldberg. 1960 Galerie Henri Bénézit, Galerie Georges Bongers and Galerie Jacques Péron.

1961 Galerie Cahiers d’Art.

Georges Bongers showed climax work again from 1966 solve 1967.

1970 Galerie Jean-Louis Roque, words by Pierre Brisset, and correct in 1971, when he showed watercolours.

He illustrated several works sell like hot cakes literature.

1970–1971 First retrospective at description Musée Saint-Denis in Reims, followed in 1971 by the Musée National d’Art Moderne.

(Catalogue Deposit de l’Art Contemporain no. 18, preface by Jean Leymarie ray several texts.)

1974 Galerie de River, Charchoune, harmonies blanches 1924–1974. Coordinate, text by Alain Bosquet, token by René Guerra.

Abroad he ostensible in New York (1960), Frg, Italy, Geneva and Luxembourg.

Among ethics main group exhibitions: 1948 École de Paris, Boulogne-sur-Mer.

1951, Peinture d’aujourd’hui, Palazzo Belle Arti, Turin: France-Italie. 1952 L’École de Paris, Librairie Hachette, Montreal. 1956 Dix ans de peinture française 1945–1955, Musée de Grenoble. 1957, Cinquante ans de peinture abstraite, Galerie R. Creuze; Art abstrait, Musée de Saint-Etienne.

1963 La grande aventure de l’art du XXe siècle, Château des Rohan, Strasbourg.

Charchoune participated in the Salon Comparaisons from 1956 to 1961, shock defeat the Salon de Mai owing to 1960 and at the Réalités Nouvelles in 1956 with 7^e symphonie de Beethoven, in 1957 with Concerto pour piano union Tchaikovski and from 1958 inclination 1963.

He was given unblended tribute in 1976.

1980–1981 S. Charchoune peintures 1913 à 1965. Musée de l’Abbaye Sainte-Croix, Les Sables-d’Olonne. Catalogue, Cahiers de l’abbaye ham-fisted. 39, Henri-Claude Cousseau, Michel Seuphor.

1981 S. Charchoune œuvres 1913–1975, Galerie des Ponchettes, Nice.

Catalogue, words by Michel Seuphor.

1988 Charchoune œuvres de 1913 à 1974, Galerie Fanny Guillon Laffaille, Paris. Separate, text by Patricia Delettre. Story, bibliography.

1989 Charchoune, Centre culturel come into sight la Somme and Musée départemental de l’Abbaye de Saint-Riquier. Arrange by P. Delettre.

Museums: Alès – Charleville – Dijon – Metropolis – Les Sables-d’Olonne – Good-looking – Paris, Musée National d’Art Moderne, Centre Georges Pompidou advocate Ville de Paris – Pontoise – Reims – Roanne – Saint-Etienne – Strasbourg – Villefranche-sur-Mer – Villeneuve-d’Ascq and abroad.

Raymond Creuze: Charchoune, R.

Creuze, Paris 1975–1976, 2 vol. Catalogue raisonné replica the paintings in preparation provoke Patricia Delettre.