{"id":3839,"date":"2022-02-06T14:17:31","date_gmt":"2022-02-06T14:17:31","guid":{"rendered":"https:\/\/galerieballesteros.fr\/portfolio-items\/camille-bryen-1907-1977\/"},"modified":"2022-05-29T13:40:11","modified_gmt":"2022-05-29T13:40:11","slug":"camille-bryen-1907-1977","status":"publish","type":"avada_portfolio","link":"https:\/\/galerieballesteros.fr\/en\/portfolio-items\/camille-bryen-1907-1977\/","title":{"rendered":"Camille BRYEN (1907 \u2013 1977)"},"content":{"rendered":"

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Camille Bryen<\/em><\/h2>\n
Composition<\/em> , 1964<\/h6>\n
Oil on canvas
\nSigned and dated lower right
\nCountersigned and numbered 389 on the back
\nDimensions: 100 x 81cm
\nWith frame: 121 x 103 cm<\/h6>\n
Sold<\/h6>\n
<\/div><\/div>\n

Camille Bryen is a poet of signs, words and color. He was one of the initiators of lyrical abstraction. Called the “father of tachisme”, he wanted to dissolve form in favor of non-form. Poet attached to the Dadaist movement, it was only after the war that he gave free rein to his graphic activity.<\/p>\n

The first years, his painting is tormented with colors. From the 1960s, his language became more subtle. Pale colors, more nuanced, are placed in discrete touches. His paintings form mosaics of luminous and colorful touches, punctuated by fragmented lines.<\/p>\n

If his work is delicate and measured, his words, protesting and virulent. In 1926, he was in Paris. His friends say that it was Andr\u00e9 Breton who, on his return from a surrealist congress, brought him back in his luggage.<\/p>\n

It was as a poet that he joined the group of surrealists and the circles of Saint-Germain-des-Pr\u00e9s and Montparnasse. He meets Wols and actively participates in the discovery of automatic expressions. He tries to achieve an autonomous language, no longer controlled by rational thought but by the psyche. He has the will, following the example of the Dada movement, to make a clean sweep of all ideological or aesthetic constraints of the pre-war period.<\/p>\n

He exhibited at the Salon des “Surind\u00e9pendants” from 1935 to 1938. In 1947, he organized with Matthieu exhibitions which brought together Arp, Atlan, Hartung, Wols, Picabia… He exhibited at the Salons des R\u00e9alit\u00e9s Nouvelles, then regularly at the Salon de Mai. Four private exhibitions took place in Paris from 1952 to 1956 then in Milan and Vienna.<\/p>\n

Major retrospectives of his work took place at the Museum of Le Havre in 1970, at the Museum of Modern Art in Paris in 1973 and finally in 1997 at the Museum of Nantes, his hometown. It is present in all major events in France and abroad.<\/p>\n

Museums<\/b> :<\/strong><\/p>\n

\u2022 In Paris: Center Pompidou (national museum of modern art)<\/p>\n

\u2022 Internationally: New York (Museum of Modern Art), Oslo (Nasjonasgal), Rome (National Gallery of Modern Art), Jerusalem, Locarno (Gubelkian Fund), Basel (Kunst museum), Skopje, Wiesbaden.<\/p>\n

\u2022 In France: Museum of Fine Arts in Lyon, Dunkirk, Grenoble, Lille, Marseille, Morlaix, Rennes, Les Sables d’Olonne, Saint Etienne, Strasbourg, Tourcoing. An entire room is dedicated to him at the Museum of Fine Arts in Le Havre.<\/p>\n

Origin<\/b> :<\/strong><\/p>\n

\u2022 Argos Gallery, Nantes, n\u00b01372, 1964, coll. go.<\/p>\n

Bibliography: <\/b><\/p>\n

\u2022 Reproduced in the<\/span> catalog raisonn\u00e9 –<\/b> Jacqueline <\/b>Boutet-Loyer (No. 389 not reproduced)<\/p>\n

Exhibitions: <\/b><\/p>\n

\u2022<\/span><\/b> \u201cL’atelier de Bryen 67\u201d, Galerie Argos, Nantes, October 14 to November 8, 1967<\/p>\n

\u2022 \u201cTriade 68\u201d, Convention Center, Saint-Jean-de-Monts, summer 1968<\/p>\n<\/div><\/div><\/div><\/div><\/div>

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