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Georges NOËL FR, 1924-2010

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Open a larger version of the following image in a popup: Georges Noël, Altamira Bronx, 1988

Georges Noël FR, 1924-2010

Altamira Bronx, 1988
Technique mixte (acétate de polyvinyle, sable, pigments) sur toile doublée de papier japonais au verso
Mixed media (polyvinyl acetate, sand, pigments) on canvas with Japanese paper on the back
150 x 149 cm
59 x 58 5/8 inches
GN013
Copyright Georges Noël / ADAGP
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Au verso sur le papier japonais : signé, daté, titré 'Georges NOËL / 1988 / Altamira Bronx', tampon et inscriptions 'attention do not varnish / [flèche] up / 1m,50 x...
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Au verso sur le papier japonais : signé, daté, titré "Georges NOËL / 1988 / Altamira Bronx", tampon et inscriptions "attention do not varnish / [flèche] up / 1m,50 x 1m,50 / or = 59" square ; sur le châssis : étiquettes Galerie Melki, Paris / André Chenue & Fils, Transports internationaux, Paris n°14
N° d’inventaire succession GN-1988-P913107/39

De retour des États-Unis en 1983, où son œuvre a connu une période radicalement géométrique et abstraite marquée par le Hard Edge, l'art conceptuel et le minimalisme, Georges Noël revient en 1987 à l'écriture libre et automatique.
Les motifs de grilles et de batailles navales s"entremêlent aux signes et aux graffitis qu'il trace énergiquement sur la toile. La thématique du jeu, comme alliance de l'ordre et du hasard, prend une place croissante dans ses recherches. Georges Noël invente une langue picturale d'où jaillissent spontanément les signes de l'inconscient aussi bien que du cosmos.
Le titre de cette œuvre semble faire référence à la synthèse qu'opère son œuvre au tournant des années 1990, des graffitis ancestraux des grottes pariétales (la Grotte d'Altamira en Espagne) aux murs griffés du Bronx contemporain.
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On the reverse, on Japanese paper: signed, dated, and titled “Georges NOËL / 1988 / Altamira Bronx,” with stamp and inscriptions “attention do not varnish / [arrow] up / 1m.50 x 1m.50 / or = 59" square”; on the stretcher: labels from Galerie Melki, Paris / André Chenue & Fils, International Transport, Paris no. 14
Estate inventory number GN-1988-P913107/39

After returning from the United States in 1983—where his work had undergone a radically geometric and abstract phase influenced by Hard Edge, conceptual art, and minimalism—Georges Noël returned in 1987 to free and automatic writing.

Grid motifs and naval battle patterns intertwine with the signs and graffiti he energetically traces across the canvas. The theme of play, as an alliance between order and chance, takes on an increasingly central role in his explorations. Georges Noël invents a pictorial language from which signs of both the unconscious and the cosmos spontaneously emerge.

The title of this work seems to refer to the synthesis his art achieves at the turn of the 1990s—from the ancestral graffiti of prehistoric cave walls (the Cave of Altamira in Spain) to the scratched walls of the contemporary Bronx.
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Provenance

- Succession Georges Noël

Expositions

- Georges Noël, Paintings & Drawings, Arnold Herstand & Cie, New York, 1988

Catalogues

- FABRE Gladys ; BUTOR Michel ; MICHAUD Philippe-Alain, Georges Noël, Paris, La Différence, 1997, p.262


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