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Claude VenardNature morte aux deux coupes de verre (Still-life with Two Glasses), ca. 19701970
1970
About the Item
Claude Vénard was born in Paris in 1913 to an established, middle-class family from Bourgogne. Although he was a businessman, his father accepted and supported his devotion to the arts. The blossoming artist was accepted at the prestigious École des Beaux-arts but quickly rejected the formality of traditional academic art training. Instead, Vénard began attending night courses at the École de Arts Appliqués at age seventeen to supplement his independent education. After six years of dedicated study the painter was forced, due to economic difficulties, to withdraw from the school and seek employment. Vénard became a restoration specialist at the Louvre to support himself in 1936. The artist considered his experiences conserving Old Master paintings to be invaluable to the development of his style and technique.
In the same year that he started working at the Louvre, Vénard participated in a group show at Galerie Billet-Worms. Respected art critic Waldemar George hailed the exhibition as an immense success, proclaiming, “Let’s be young again! Painting is not dead. Its course has not stopped. Forces Nouvelles is born.” The Forces Nouvelles movement, which included artists like André Marchand and Francis Gruber, promoted a new form of figuration, marked by the rejection of Impressionism, Cubism and Surrealism. Their aim was to revive French art by reinstating strict principles of draftsmanship, while maintaining an expressive vigor relevant to the values of contemporary life. Over time, however, the group of Parisian artists became radically figurative, which did not appeal to Vénard any more than it did to Marchand or Gruber. In 1939, Forces Nouvelles officially disbanded, but Vénard remained friends with many of its members.
His first one-man exhibition was held at the Galerie Barreiro in Paris in 1944. He exhibited successfully around the world for the rest of his career, including shows in London, New York, Philadelphia, Chicago, Dusseldorf, Munich, Buenos Aires, and Tokyo. Claude Vénard enjoyed significant success in his lifetime and is beloved by modern collectors for his fearless and innovative approach to cubism.
- Creator:Claude Venard (1913-1999, French)
- Creation Year:1970
- Dimensions:Height: 32 in (81.28 cm)Width: 39 in (99.06 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Washington, DC
- Reference Number:1stDibs: LU2220211399182
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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