Estève, Maurice - Arte Abstracta
La Cigale, 1956
Lithographie en papier
402 x 402 mm
Composition 166, 1957
Aquarelle sur papier
505 x 638 mm
Chamatoi, 1963
Huile sur toile
90 x 73 cm
Marmuse, 1983
Huile sur toile
73 x 92 cm
D-2170, 1984
Encre d'imprimerie sur papier
68 x 55,5 cm
A-1198, 1989
Aquarelle sur papier
49,40 x 49,40 cm
A-1208, 1989
Aquarelle sur papier
56,10 x 49,50 cm
"", 1989
Aquarelle
50 x 54 cm
D-2203, 1989
Fusain sur papier gris
47,60 x 38,50 cm
D-2228, 1992.
Fusain et crayon de couleurs sur papier
48 x 45 cm
A. 1281, 1994
Aquarelle sur papier
63,70 x 49,60 cm
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Maurice Estève nasceu em Culan (FR) em 1904 e morreu na terra onde nasceu em 2001. Pintor francês, estudou em várias escolas de arte em Paris, mas foi principalmente um autoditacta. Em 1923 instalou-se em Espanha. Dirigiu o departamento de desenho de uma fábrica téxtil, em Barcelona. A partir de 1924 dedicou-se inteiramente à pintura. Estève, que alia formas cubistas com colorações fauvistas, é considerado como um dos maiores representantes da Abstracção Lírica da École de Paris.
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Estève, Maurice (b Culan, Cher, 2 May 1904). French painter, draughtsman and lithographer. Like Jean Bazaine and Charles Lapicque, Estève belongs to the generation whose early work was influenced by late Cubism. He himself particularly admired Fernand Léger. Estève became aware of his vocation extremely early in life and had already begun to paint when he arrived in Paris at the age of 15. Extreme attention to execution, already evident in early paintings such as Still-life with Basket of Eggs (1927; Paris, Conchon priv. col., see Vallier and others, p. 8), was to characterize all his work. Gradually Estève abandoned post-Cubist rigour and the sharp, flat colour that he used until the early 1930s in works such as First Steps (1930; Bourges, Mus. Estève); he began to follow Pierre Bonnard’s example, working towards softened forms enriched by a profusion of colour, as in The Meal (1937; Bourges, Mus. Estève). The problem of subject-matter concerned Estève increasingly as abstraction came to dominate the post-war period. In his paintings the powerful presence of colour invading the entire composition made the subject less and less legible, as in Sicilian Chair (1953; Paris, J. Verroust priv. col., see Vallier and others, p. 58). Estève was not, however, convinced of the validity of abstract painting; in his view the external world had to be taken into account and to be filtered through the artist’s sensibility.
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1:58 PMTU
ÉS
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MAIOR!
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prodigiosas escolhas.
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