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Maurice MiotMaurice Miot said "Melito", Open window, 1950, pencil on paper1950
1950
$587.07
£430.65
€490
CA$801.40
A$901.40
CHF 467.53
MX$10,934.59
NOK 5,928.06
SEK 5,578.64
DKK 3,728.65
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About the Item
Maurice MIOT dit "Melito" (1920-1994)
Open window, 1950
Pencil on paper
Signed "Melito" and dated "50" lower right
35 x 25 cm
Frame 50 x 40 cm
Son of a locksmith from the Aube region, Maurice Miot (who paints under the pseudonym Melito) studied higher mathematics and industrial design in Reims from 1934 to 1937, before moving to Neuilly-sur-Seine in the aftermath of the Second World War. Initially a figurative painter, he discovered Surrealism in Paris and quickly moved towards geometric abstraction.
In 1946, he participated for the first time in the Salon de l'Union des Arts Plastiques, held at the Musée d'Art Moderne de la Ville de Paris. Throughout his life, Melito exhibited in numerous salons and galleries in France and abroad: Salon des Réalités Nouvelles, Salon des Surindépendants, Galerie Bellechasse (Paris), Galerie de l'Université (Paris), etc. He is also a member of the "Structure", "Espace" and "Artistes associés" groups, where he interacts with other artists sharing a vision of aesthetics based on geometric form. He frequented artists such as Marcel Gromaire and Jean Cocteau, and befriended Marcelle Cahn and Sonia Delaunay.
Melito liked to say that he wanted to express, through his art, "the true reality, the inner reality, that of the soul", specifying: "I am neither for an imitation of nature, nor for realistic figuration, nor yet for total abstraction, but I seek to translate sensory things." Particularly sensitive to the tensions that emerge from linear forms, Melito creates an inventive and singular language mixing ideograms and symbols, whose apparent simplicity conceals arrangements designed to touch the viewer's innermost being. He uses a warm, brilliant chromatic range superimposed on his draughtsman's line in a variety of techniques: oils on canvas and panel, gouache on paper, collage, mixed media and tapestry cartoons. Art critic Robert Vrinat once said of Melito: "(He) creates plastic equivalents based on lines, simple forms, most often rectilinear, almost musical rhythms, and in this severity, knows how to introduce the sparkle of a fine, supple poetry, and maintain the sense of life".
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