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Claude VenardPaintbrush, Vases & Fruits - Post Cubist Still Life Oil by Claude Venardc.1950
c.1950
About the Item
Signed post-cubist oil on canvas circa 1950 by French painter Claude Venard. The piece, painted predominantly in green and grey tones depicts various items placed on a table - a vase with a paintbrush in it, fruit bowls filled with pears and apples, a plate, scissors, a glass and broken ceramic pieces. A wonderful piece.
Signature:
Signed lower right
Dimensions:
Framed: 29.5"x40"
Unframed: 21.5"x32"
Provenance:
Galerie Cardo - Paris (original labels verso)
Claude Venard was born in Paris to parents from Burgundy. He attended the École des Beaux-Arts for just two days, followed by six years of study at the École des Arts Appliqués. In 1936 he worked in the Louvre as a restorer.
As with André Marchand, Tal-Coat and Gruber, the strict disciplines of the New Forces ( Forces Nouvelles) group, to which he contributed, did not suit him for long, and he and the members of the movement abandoned it one by one. In 1945 he became a friend of Gruber, André Marchand and Civet, the group which put so much energy into post-war painting, and participated in their joint efforts and in their successes. Determining the influence of one or another of them, since they were always together and worked with the same creative exhilaration, would be as pointless as it is impossible. Venard became enthusiastic easily and deeply absorbed that which he admired. He said: 'Works which are at first overly seductive should not be trusted. I do not mean by that that ugliness is the greatest of virtues but that a work should impose by its power, without the aid of pleasing artifices.' Remaining faithful to Post-Cubist spatial composition, he accentuated the colour range of his palette progressively until he obtained the rawest of colours, always applied in very thick layers, often with a knife.
From 1935 Venard showed work at exhibitions devoted to modern art around the world, particularly in Paris. From 1936 he participated in the exhibitions of the Forces Nouvelles with Humblot, Gruber, Tal-Coat and other artists, and also exhibited at the Salon des Indépendants, the Salon des Tuileries and the Salon de Mai, of which he was a founder member, from 1945 to 1963. His career was punctuated by solo exhibitions, including at the Galerie Félix Vercel in Paris from 1969, and in London. He held other solo exhibitions all over the world from 1952 at New York, Milan, Geneva, Philadelphia, Chicago, San Francisco, Copenhagen, Stockholm, Düsseldorf, Munich, Buenos Aires, Tokyo, Canada, Belgium, The Netherlands, Dallas, Beverly Hills and Lyons, among others. A retrospective of his work was shown at the museum of Reading in Pennsylvania in 1969.
Museum and Gallery Holdings
London (Tate Collection): Still-life (1955-1956, oil on canvas)
Paris (MAMVP)
- Creator:Claude Venard (1913-1999, French)
- Creation Year:c.1950
- Dimensions:Height: 29.5 in (74.93 cm)Width: 40 in (101.6 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good original condition.
- Gallery Location:Marlow, GB
- Reference Number:
Claude Venard
Claude Vénard has a distinct style — it’s post-Cubist in its composition and he progressively accentuated the chromaticism of his palette up to reaching the crudest of colors, which he used in very thick forms and sometimes applied with a pallet knife.
Vénard was born in France in 1913 and, dedicating himself fully to making paintings at the age of 17, he studied at the École des Arts Appliqués for six years, having fled the Académie des Beaux-Arts after just 48 hours. In 1938 he signed the Rupture manifesto and participated in the first exhibition of the influential group Forces Nouvelles, alongside Francis Gruber and Pierre Tal-Coat at the Galerie Billiet-Vorms. A close affinity subsequently developed among these painters and together they were instrumental in forging the aesthetic of the immediate postwar period of the Ecole de Paris.
Vénard quickly became known for his rich impasto and varying texture. He received critical acclaim and was personally championed by Andre Salmon and Waldemar George, who described his painting as “Apocalyptic art! Beings and everyday things suddenly regain their meaning. Emotional values are once more felt.”
Vénard’s distinct and alluring compositions developed through a post-Cubist system that oscillates between abstraction and naturalism. He opens up perspectives projecting spatial vistas into every part of the canvas, in accordance with an emotional rather than a physical order. Familiar objects arise in the midst of a network of striations and hatching. Colors grow more intense in certain zones to stress the solidity of the composition; in other zones the light is more tenuous and diaphanous, as if to indicate space of different emotional intensity.
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(Biography provided by Gallery of the Masters)
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