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Eustache Le Sueur; the Drawing of Two Female Zero Although 1966, Founder Members Are Stui Active

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Eustache Le Sueur; the Drawing of Two Female Zero Although 1966, Founder Members Are Stui Active EXHIBITION REVIEWS tion. Zero disbanded in aU Eustache le Sueur; the drawing of Two female Zero Although 1966, founder members are stui active. figures (no.D3o; GaUerie deU'Accademia, D?sseldorf and Saint-Etienne three me no to The exhibition ZERO. Internationale Venice) seems to to bear relation a woman STONARD der seen CorneiUe. The Portrait of and child by JOHN-PAUL K?nstler-Avantgarde $oer/6oer Jahre, by an this reviewer at the Museum Kunst Palast, (no.D3i; Pushkin Museum, Moscow) is FORMED IN D?SSELDORF ?l the Zero D?sseldorf and to interestingtrau, but the attributioncan hardly I958, (closed 9th July), travelling core theMus?e d'Art Saint-Etienne be sustained. Coquery has emphasised that group comprised at its three German Moderne, CorneiUe's name is mentioned once in con artists, Heinz Mack, Otto Piene and G?nther (15th September to 15thJanuary), shows that the monochrome and thisbrief can be nection with portraiture but thatnothing of Uecker. Inspired by history gready expanded by never Yves with a broad cross-section of his survives in this genre: we should kinetic experiments of, respectively, comparison used new and art of the late 1950s theless not ignore the possibiUty of accrediting Klein and Jean Tinguely, they European Japanese In fact at first to be to him the fine Portrait ofMichel leMask materials and processes to create art that sym and 1960s.1 what appears boUsed renewal for a from a local of the Zero movement turns (Mus?e Carnavalet, Paris), whose attribution country emerging survey to me the shadow of war. Zero was also out to be an convocation of those to CorneiUe was suggested verbally by decade-long impromptu to a to the strain international often under Nicolas Sainte Fare Garnot. With regard rebuff tepid 'neo-expressionist' groups gathered a source has in in the label 'NouveUe Tendance': Nouveau the Munich drawings, that of informelpainting Germany, particular are D?sseldorf-based R?aUsme and GRAV de Recherche become extremely tricky, several rejected works produced by the (Groupe in coUective activities d'Art in theMilan-based coUec by Coquery as not being by CorneiUe Gruppe 53, favour of Visuel) Paris; are and works made in the Constructivist tradi tivesAzimuth and N from (nos.DR2?5). It is regrettable that these Gruppe T; Gruppe because the not reproduced in the catalogue and juxtaposition would have been interesting the this reviewer remains totaUy convinced by a woman Figure of seated (no.DR3). to I In regard CorneiUe's drawings, should like tomention three that I discovered on a recent visit to the Museo de BeUas Artes, Valencia: a Study of aflying angel (Fig. 54), the an at the of preparatory sketch for angel top theMassacre of theInnocents in theMus?e des a sea to Beaux-Arts, Tours;7 a Study of god similar the Neptune (no.D25; BibUoth?que nationale, Paris) and comparable in spiritto thefigures in theGalerie de Psych? in theH?tel Amelot de Bisseu?;8 and a study of a flying angel seen from thefront (Fig. 5 5) in relation to the Visi tation in the Mus?e des Beaux-Arts, Blois - a (no.Pn),9 truncated painting the engrav ing after it by Pierre Daret (no.G3) restores the curved upper part in which this angel a can holding pennant be found. FinaUy, I should like to emphasise the admirable work carried out over the past few years at the Mus?e des Beaux-Arts, Orl?ans, where French artists of the seventeenth cen turyhave been researched to great effect.This fine exhibition provides a vital link in the was chain; how fortunate that it organised in the birthplace ofMichel CorneiUe. 1 un Catalogue: Michel CorneiUe (vers 1603?1664), peintre du roi au tempsde Mazarin. By Emmanuel Coquery. 144 + pp. incl. 64 col. pis. 40 b. & w. ills. (Mus?e des Beaux Arts, Orl?ans, and Somogy ?ditions d'art, Paris, 2006), 30. ISBN 2-85056-961-5. 2 couronne J. Guiffrey: Inventaireg?n?ral du mobilier de la sousLouis XIV, Paris 1885-86,1, p.343. 3 See S. Loire: 'Le Salon de 1673', Bulletin de la Sod?t? de l'Histoire de l'Artfran?ais (1992), pp.31-68. 4 N. Forti Grazzini: Gli arazzi d?lia Fondazione Giorgio Cini, Venice 2003, p.155, no.25. 5 M. Fenaille: Etat g?n?ral des Tapisseries de la manufac turedes Gobelins, Paris 1923^.361. 6 N. Sainte Fare Garnot: Philippe de Champaigne (1602-1674), Jean-Baptiste de Champaigne (1631-1681), Nicolas de Plattemontagne (1631?1706), Paris 2000, p. 12, no.7. 7 A. Espinos Diaz: exh. cat. Dibujos europeos desMuseo de BeUas Artes de Valenda, Colecdon Real Accademia de Bellas Artes de San Carlos, Valencia (Museo de Bellas Artes) 2004, no.28 (as by Philippe de Champaigne). 8 Mixed and Ibid., no.3o (as by Eustache Le Sueur). 56. Stelae ensemble (Stelenensemble),by Heinz Mack. 1960-97. media, including Plexiglas aluminium, 9 of exh. Mus?e d'Art Ibid., no.31 (as by Eustache Le Sueur). various dimensions. (Collection the artist; Moderne, Saint-Etienne). THE BURLINGTON MAGAZINE CXLVIII AUGUST 200? $6$ This content downloaded from 78.33.29.104 on Tue, 26 May 2015 16:43:46 UTC All use subject to JSTOR Terms and Conditions EXHIBITION REVIEWS Padua; theDutch Nul group; Equipo 57 from pioneering range of works produced in Osaka most was C?rdoba; and, interestingly, the Gutai in the early 1950s given impetus by group, founded inOsaka in 1954 and led by the exhibitions Out ofActions (Museum of tour the abstract painter Jiro Yoshihara. Contemporary Art, Los Angeles, 1998, A comparison between Gutai and Zero ing to various locations) and Gutai (Galerie acute reveals points of simUarity in the way nationale du Jeu de Paume, Paris, 1999) and artistsfrom both countries faced the post-War has been fruitfuUy developed by Visser's moment. were Germany and Japan in very contextual display of Gutai paintings and as sirmlar situations after 1945, both recovering sculptures. Nevertheless, Atsuo Yamamoto from terrible destruction and moral coUapse, points out in his catalogue essay, itmay have both occupied by AUied miUtary govern been that the Gutai artists turned to informel ments. was That the Gutai group preceded painting after a visit from Michel Tapie in a move by another group, Zero-Kai, founded in 1952 1957, ironicaUy away from the anti concerns by Akira Kanayama, would be uncanny, if it expressive of the Zero and Nul were not for the fact that the Japanese artists groups.4 con concern a anticipated and inspired their European Yves Klein's that Gutai exhibi fr?res in so many other ways. Artists of both tion in theWest would undermine the tabula were rasa Zero-Kai and Gutai pioneers in their claims ofWestern groups, cited by Visser, ? use new was not of techniques Toshio Yashida, for misplaced. Seeing here works by the was to a example, using fire burn images into Japanese artists, combined with magnificent use wood in 1954, anticipating Yves Klein's of display of Klein's ultramarine objects, includ as the technique. Sculptures such Kanayama's ing Pluie bleue (1961), and with the inclusion Boru (Bait) of 1956, an inflatablevinyl shape of works by Fontana, Manzoni, Haacke and on not which multicoloured dots grow Uke MoreUet, it is immediately clear whether as Uchen, appear if they could have been made eitherworks by theRhenish trio of Piene, today (which is incidentaUy almost true, as Mack and Uecker, or the coUective claim to most on are to of the Japanese works display have wiped the slate clean, w?l stand up 58. Ice, polar bear, refrigerator(Ijs, ijsbeer, ijskast), Henk Peeters. Mixed 112 reconstructions of the original pieces, which scrutiny. by 1961. media, 115 by were In by 67 cm. (Museum Boijmans van Beuningen, usuaUy destroyed afterbeing exhibited). the Ught of international precedents, the Rotterdam; exh. Museum Kunst Palast, D?sseldorf). Mattijs Visser, the curator of the current exhi ab ovo claim of the Zero group can be taken a bition, highUghts in his catalogue essay that with large pinch of salt: in any case, absolute art this is the firsttime works by theGerman and originality renders any work of incompre ic and industrial materials, many of which were are con Japanese groups have appeared together since hensible and uninteresting. Works by the and st?l produced by industrial was cerns are 1965, when Gutai invited by the Dutch three Zero founders gain essential qualities in the Rhineland, and not without Nul to in a sources group show large international when compared with and cognate historical significance.The production of alu in are was exhibition Amsterdam.2 Previous emphasis, works. EquaUy interesting the clear differ minium, of which Germany world leader ences was largely determined by AUan Kaprow, had between their respective approaches, in the 1930s, decisive for the manufacture in terms was an framed Gutai of performance, rather differences thatmake it difficult to discern of warplanes. Plexiglas invented by as a movement common than concerned with informel any aesthetic programme, but which Essen-based company, and the steel thatMack as a painting and minimal, anti-aesthetic object may also explain their lasting appeal trio. used would probably have been produced by A reassessment in most to making.3 the West of the Piene is clearly the member influ Krupps, who notoriously used slave labour armaments enced by Klein, and the least willing to produce for Hider, and got off means. one abandon traditional pictorial Many of very Ughdy after 1945. Can reaUy start his works are stiU largely in the tradition of from zero with materials such as these? informalpainting, and by no means relinquish Uecker, whose trademark is the workman's even as as expressive claims, they progress from na?, anticipated the work of artists such the Klee-like shimmering surfaces of the late Joseph Beuys and Georg Herold in revaluing 1950s to his Kleinian (perhaps one should say a basic symbol of the rebu?ding of Germany.
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