Behind The Artist Series 1 09of10 Soulages 1080p HDTV x264 AAC mp4eztv

Behind The Artist Series 1 09of10 Soulages 1080p HDTV x264 AAC mp4eztv

one of the most recent Giants in the history of painting PLC large is without any doubt the greatest living French painter soon to reach the age of 95 he is one of the very few artists to open a gallery bearing his name for the public if painting is the incarnation of one color black his immense body of work is today made up of more than 1550 paintings made with this pigment in all its variants intense powerful paintings that reveal an incredible friend the adventure of a life that of a man who had tires we thought to bring forth light from the darkness through the strength of the reflections on his painting services the transform of you through the strong contrast and power of the black which illuminates all other colors even the darkest nvac largest painting black introduces us to unexpected possibilities black is no longer just black that's a painting by so large is a punch in the stomach it's true to see it you have to lower your gaze as if you're lowering your weapon now if you accept being unarmed you will experience the shock but if you hide in your shell saying doesn't look like anything that looks like something else you will look instead of seeing and you won't experience the emotion you're standing in front of a black painting you ask yourself is it art what is it since that is the very question raised by the anti image in principle we think of art as an image that's all the works done characters I was immediately struck by something as president is this type of evidence of radical as anything I thought to myself it's easy to do that was that impossible to do it's all about beautiful and then these paintings are still unsettling I was all struck by the number of people within who would cry in front of his paintings I remember in 1996 at the exhibition in the city's art gallery there was a young girl who had come every Friday and cry for three hours and since I went there often I would see her she went away and she came back and cried it conveyed a very strong emotion I let go before this painting where the stakes lie in the head-to-head with a spectator in a confrontation with the light with the material which is striped smooth even engraved the SLR has his whole life been guided by a radical broken line he has invented painting without words freed from all portrayal any representation even any interpretation since it will not benefit on the only living beings that paint are humans and what's more for hundreds of centuries hundreds they went down to the darkest parts of the earth down into caves into the absolute darkness of the caves to paint well they painted using black this is very surprising because there is white stone all over the place to make marks with and not just chalk the original color of painting is black I also wondered if black is not also the color of our origins when a child is born we say he first saw the light of day on such a date which means that yes before that we was in a darkness in an attempt to understand the paintings of VSU Lodge we must start with the formative years of his childhood in ever Ron the artist is still very fond of this arid land that knocked him for life it was in this environment that he built himself a library of very personal references PSE Lodge came from the town over Adair a small provincial town there was at that time very isolated far from Paris from a very young age he forged his own independence of spirit a real taste for freedom he was born on the 24th of December 1919 at 4 rookin Borel in this house which remains unchanged the fe large spent a somewhat solid retarted there his sister was 15 years older if parents modest artisans worked a lot his mother ran a fishing tackle shop his father a coach builder repaired Horse Guards which was still very much in use at that time from when he started school the young pierre set himself apart from the other children with ones founding act something evil maybe but surely she's shocky the book wizard me I've always loved free because I started out feeling like a prisoner when I was 5 years old I ran away I ran away because I was punished at the private school I attended it was the sin joseph's school my friends were playing in schoolyard and I was on my own on my knees copying into an exercise book doing lines or something I couldn't stand it anymore and I left I ran away I crossed the town of my own but normally I was held by the hand taken to school and later picked up and I never returned to that school my father was still alive then my father died when I was 5 years old it's one of the last times I brought him joy because he was so happy it seemed that I was 4 brave enough to do the fifth his father impressed by his young sons act of rebellion died a few months later this personality trait this taste for independence would never leave PS village sober him off his father died when he was 5 years old and at that time the two women in the life of Pearce to lash his mother an older sister who was 15 or 20 years older than him dressed in black so he lived with these ladies black crap and black dresses black was a permanent theme in his life solitary and independent the young Pierre got on his bike and cycled to the banks of the river ever on to go fishing so what was especially uncommon at a fade PSE large loved going on long walks in the surrounding course he was fascinated by these austere landscapes the starkness the vast horizons the large empty plateaus they loved their vastness which for him held a real taste of freedom it was a feeling that contrasted with the oppression that he felt in their day in the street where he was born the window of his bedroom looked onto the wall of a hospital his only views were warmed Tapani or present samples the street for him represented a sort of imprisonment it must be noted all the same that it was very distinctive on the street opposite the house in which he lived there was a hospital I caught a prison at convent all aspects of the world that face imprisonment it's not as Dena Salman often now – uncle – such as Shan do better on the one hand there is this succession of various their buildings where I would say the public and locals could not enter or at least if they did enter if it was the hospital then they were probably ill and at that time that meant that they were almost at death's door to escape this feeling of improvement the young Solange went over to visit the artisans who worked in the adjoining street very curious by nature he spent many hours watching them work every day he listen to the sound of the hammers he watched the tailor draw and as he said he was fascinated by the tailor who would draw out the shapes on the pieces of fabric so the clothes that had been ordered he is a very curious person and so when he approached an artisan a worker essentially straight away and I'm exaggerating slightly here he wanted to know how things worked he's able to talk about the tools for other jobs in an extremely precise way he told me one day how a barrel is made you could almost actually make a barrel after a lesson from Pierre suloj he was particularly fascinated by the work of the cabinet maker the se large dissected his techniques his precious know-how later on he would maintain this taste for making his own tools it was at that time that he discovered walnut stain a mixture used to paint wooden planks it was a simple and rustic material that would play an important role in the painters future career but at that time the young Pierre may well have been fascinated by this manual work but he did not dream of a career as an artisan that wasn't free enough for his taste he found artisan craft work to be too confined to the art of its execution constrained by mastering the technique DSLR already preferred the freedom of drawing but he even stood out in this area he did not draw exactly like a normal child at the old play-doh that he color it is sad as I said when you return from school he was alone at home his sister was 15 years older but she had already left to study elsewhere she wanted to be a philosopher he lived alone with his mother so in his bedroom on rukon barrel he sat in front of his exercise broken will dip to brush and whizzing it and spread the black ink over the white that's a hole that it can Kapena his sister came home with a girlfriend and asked him what are you painting young pianist and he answered the snow he me because I've made everyone laugh but it's a laugh that he still remembers because it highlighted a very paradox of all his paintings meaning black yes but for the light you know he painted the snow in the sense that the black lay the white of the snow stand out the strength of black already yet PSU large would not go on to discover his vocation as an artist until some years later his first aesthetic flutters did not come from painting but through architecture first of all there were throw des Cathedral this impressive massive stone that stood out like a signal when he set out on his walks alone a presence he liked the start wizard its facade with no entrance the duty of this plain wall like a blank page your new directed award is too plain wall of Rodin's Cathedral to not even touch it the plain wall those were my first emotions my first artistic horizons there was conch the architecture of conch the light of Kong his vocation as an artist became clear here when he discovered the Romanesque abbey of conch built between the 11th and 12th century it is located 30 kilometers from ro des his aesthetic shop happened during a school trip when Pierre ghoulash was just 12 years old of the France a buddhist wat his french teacher or history teacher took them by coach to conch and he was totally astounded by the architecture though if I stick to this masterpiece of Roman architecture fascinated him particularly the austerity that prevailed in Cistercian tradition walls free from any decoration any statues leaving way just for the variations in the light that penetrate the areas for contemplation changing through every hour of the day displaying little to highlight the riches of everything there is to see this principle would guide his work from this day Pierre suloj wanted to dedicate his life to art he had found his vocation at that point he decided to be a painter I've often asked him why a painter you could have been an architect or a sculptor a painter because as he told me I've always meant it yeahbsolutely more fashionable architecture on he is absolutely fascinated by the architecture of Kong and it's rather interesting to see how architecture can feed into the vocation of a painter and that's why his painting is very structured like in a certain way I love she did you isn't something then yeah throughout his adolescence Pierre see large painted every day the young Pierre's paintings did not yet resemble the suloj that we know today as you can see in these few paintings that were preserved from that time they were figurative like these landscapes of trees that he painted at the age of 14 the general the second type of drawings from which he had a predilection because he had drawn all his life of course were trees but he drew the skeleton of the trees the emaciated trees of the winter a tree in winter as PSU large would later explain is a sort of abstract sculpture these bare trees that stand out from the landscape and the contours of the branches already seemed to show a structured form of painting exalting the color black the young PSU large deeply loved to paint so he wanted to find a way of earning his living that would leave him time to paint two mothers in MIT who wanted distance back so everyone can draw but not everyone can draw well and it's true that everyone could see he had a gift for drawing which is where the idea came from with encouragement from his sister and that his mother to say since she draw well and a few teachers also encouraged it why don't you become an art teacher to be a teacher was the best job at that time in September 1938 he moved to Paris to study to become an art teacher here at the painting that he did at that time he had just turned 18 years old as a very promising student his teacher had ambitions for him he wanted him to go to the School of Fine Arts the Prix de Rome was in his sights a future as an official painter held its arms outstretched master needle in his teacher Jojo suggested you should apply to the School of Fine Arts even though he was working towards something else he identified his skills and he suggested that he applied to the School of Fine Arts yet and he was accepted he was admissible and then admitted but when he went there to sit the admission he walked from the School of Fine Arts he saw the students work and it repulsed him he hated that type of thing and he decided to return to rodas without studying at the School of Fine Arts in Paris health issue that was a piker miss quad the onion listening up until the last few decades Fine Arts were taught in an extremely traditional extremely academic way faint is worthy of the name found miss teaching very restrictive and outside of their frame of reference so there are many artists throughout history who enrolled in finance but never stepped foot inside or who left the School of Fine Arts immediately it was the School of Fine Arts was undoubtably at that time light-years away from what a painter like him could have been looking for the AC large was too free-spirited to be enclosed within this temple of academic ism so he would never become an art teacher ledyba therapist of the two chief Hopkinton got freedom is something that really strikes you when you look at the path appears too large because his references were very quickly not those of the dominant culture he had spent part of his existence fighting against everything he had learned I don't think that he actually had to fight in reality because that must have been a natural inclination for him but when he advised his young painters today or young artists he suggests that they should forget everything they have learned to return to their own emotions but for him that seems to be almost natural during the war in the region of Montpellier the yangtze large became resistant he avoided the obligatory work imposed by the Germans during this turbulent period he did not paint but he perfected his own apprenticeship established his own an imaginary Museum his own reference points he particularly spent time at the Musee felt home on penny a were a few paintings resonated deeply with him companies' descent from the cross a painting from the 16th century he was most interested by the painters pictorial choices rather than by the subject itself particularly how the shapes had been organized strengthened by contrast the characters grouped together as a structure of sombre and contrasts against the light background for the painting of Saint Agatha by Francisco de su / home from the 17th century this time he was fascinated by the clothes particularly by their color which was illuminated by the dark background the black accentuated the brilliance with all the other colors Lulu is fr by the music yeah the music Fabri with a museum that offered so large as a young painter an array of works d'oeuvres of then you have opened it certain ones certainly bought him and others on the contrary profoundly stimulated him boundaries if particularly corbeil who is an important painter at the Museum and who worked the paint in a way that spoke to so large clearly so it is clear today that he is closer to corbeil than to a painter who created very refined work Courbet was a painter who gives the impression of having taken the earth and placed it on a canvas Oscar's Zuber I you can also understand why with the violent contrast of color it was at that time that he would have a fateful encounter at the school of silence in Montpellier where he had decided to take a few classes she was a young student called Colette the two of them were in their 20s but they would never again leave each other's side falafels clearly coil offices offices they met at school in fact they met at the School of Fine Arts in Montpellier on the benches at the School of Fine Arts as is often the case it was her that chose him not because he was the boy on the course of his the best looking although in my opinion she didn't say he wasn't but he has to have been the best looking but she chose the most talented she looked at his drawings and he seemed the most interesting when she sat next to him and I think that same evening or the following day they went together to the musee sadly where they discovered they had the same taste they spent a lot of time together at the Museum it really was a case of e total elective affinities it really was a good match Colette sooner Colette's and so larger an astonishing couple he even more so given the so large is very tall Colette is very petite they met in 1941 and around Easter time in 1942 they got engaged and they were married in October he said no he only got married in black at midnight married at the age of 22 the young couple shared the same tastes they like the same pages such as gustave courbet but most importantly they were in intellectual symbiosis they particularly held the same view on the history of art which were very individual at that time but it also slows us and prosper you can't think of salah Sh without thinking of Colette and Colette at that time was interested in and already writing about the subject the concern to which was what is the history of art for Pierre suloj the history of art as it was taught to him was seriously truncated it was a belief forged from his youth when he discovered that art originated in prehistoric times he was particularly astounded when he saw this men hair for the first time at the Musee Bernay in LA des it came from a very distant past sculpted from blocks of sandstone five thousand years earlier by prehistoric men without knowing their significance the religious signs or myths upon which they were based they still have the power to create a strong emotional reaction in the young Pierre ghoulash University we're looking at sculptures that are about 5,000 years old which represent men and women it's the start of our release sculpture and sometimes we find that this seemingly awkward size the encounter can be very powerful Hong Kong they are sculptures that are rather stirring because we can almost read every trace of the tools used or we could if we take our time see the different successive removals that make these forms emerge from the surface of the sculptures of the monuments to form the key Americas to see nothing is hidden everything can be seen and everything is revealed to do that well you can clear that aerosol art understood that if these statues could reach us independently of when and where they were created then a work of art exists above all through the people viewing it usual just washed edited convent and any kind years ow the young Piazza Lodge in his 20s who rubbed shoulders with them must have been struck both by this monumental quality and the power that emerges from these sculptures Youngberg death was solved and we can also find in his first works particularly in his own grave work this frontality that features in the manie's which we find in his first works not a poet hot water moved by these traces left by the first artist the air collage would even take part in excavations on the course with the archaeologists to do me Balfour visit him here in the center of the photo in the cars region where he exhumed a prehistoric burial ground in search of artifacts he gifted them to the new place tonight in her death as such the first time his name appeared in a museum but with objects found in megalithic tombs this anecdote is far from insignificant since the pse large prehistory holds a vital place in the history of odd Saguna Kazakhstan he asked himself what is this all about they tell us about Grecian art from 1500 years ago but wait before that there were caves at least 20,000 or 30,000 years ago and that addicts I think in the context of the region of Rhoda's with the course with his archaeological discovery with some things that would influence him a great deal and almost prove him right the history of art does not date back 20 centuries the history of art dates back 380 centuries it dates back to the first inscriptions that were found on cave walls it dates from Perry at allod and he thought that my fascination for art is this fascination he was aware of it from a very very young age and so was collect for him it brought back his discoveries from school a few years earlier at the age of 16 he had been astounded by the drawings of bison in Altamira they were the first prehistoric cave paintings to be discovered at the end of the 19th century he commenced his dub infomercial it's the story of a formation and the discovery of the cave of Altamira in a document that his art teacher had given him was very important with the famous bounding bison that absolutely astounded philosopher Agassi I'm off as Erna what would subconsciously strike him very early on in this prehistoric painting was precisely that they were anything but refined elegant they had a completely direct pictorial present like a slap in the face without needing the decorum required by certain periods in the history of art that would be used in a view which sometimes plenty of talent but lacking their own story they're not nervous the personís Miami this will Marlow fall from that time on essentially what he says now the prehistoric painters are his real brothers in painting they are the closest to him they are his real family as he says now that is where in any case he discovered the first painters la si mi fan tofu Kyoko you partnerships in the foot he father laugh when I noticed that all in the history of art that they told us about or showed us it was from recent centuries a few centuries featured in museums when I saw a reproduction of the Bison of Altamira a prehistoric work with the date below having 18,000 years and I painstakingly converted that into centuries but that's 180 centuries Socrates Plato they were 25 centuries ago and this is 186 feet or something now we know that it's 340 centuries with the Chauvet Cave City gun I found that it's important to think about the human activity that is painting get attention the young PSE large therefore had a vision of art that was individual for his time but he still had to free himself from one constraint to be the great painter he would become to abandon figurative representation everything clicks into place in 1942 by chance when he discovered abstract art would receives little coverage at that time the discovery happened at the hairdresser's when he was flicking through the collaborative review signal between the Nazi propaganda and fashionable photo reports he discovered an article dedicated to art the tech spoke of a loathing for modern art which was presented as decadent it was illustrated by paintings by artists exiled to the United States such as Marc Chagall or fennel mache presented as a degenerative and disgusting style of painting ironically in the young reader disavowed to the opposite effect PSE large was astonished by the abstraction of a Mondrian painting this discovery offered him new creative perspectives then because of the model yar his discovery of Mondrian at the hairdresser's in a collaborative review criticizing the generative art he saw that abstract art exists so it all became intertwined something fuzzy and this is a paradox because it was an article that denounced even loathed modern art that gave him a taste for it and so too bad for them or all the better after the war the young man could finally dedicate himself to his art he was ready to invent a radically new style of painting in 1946 the salacious moved to the outskirts of Paris to cover for his art studio took up part of two rooms his father-in-law may well have offered him a great situation to join the family import-export business but the desire to paint was stronger than everything his first paintings were incongruous personage had definitively said goodbye to his figurative painting his works were abstract if the form of the tree from the paintings of his youth seemed to reappear behind these great structures the artists contested it his painting did not refer to an image a sign a tree or a Chinese ideograms PSE large likes to say that he does not represent he presents he does not paint a picture but he paints if well-structured compositions with long dark lines were made with a material that is unique within the history of art walnut stain that he discovered as a child with the artisans he would decide to paint for this basic cheap material which is not an artist's material and to work with this unconventional material he would use tools that are not overly conventional you would use tools for painting buildings you would use flat masonry brushes you would immediately do something completely different we call it black and white when in reality wood stain is almost black but still that's one of the secrets of the beauty of this work it's the variety of colors within the same tones the variety of tonal values within the wood stain is extraordinary we can go from almost black to red brown to brown to light ochre Epicurus owners in patio the the guard is on toss the largest it gone cause soulages painting he paints with large stroke big movement these large strokes the large brushes with the very violent strokes between color and lack of color white it all contributes to making a painting that is quickly distinguished from all other and will very quickly be noted as such and a certain compliance occurs with this way of painting PSE large was noticed at his first joint exhibition at the Salon de staël independent in Paris in 1947 at the Parc des exposition at the age of 27 he was one of the youngest exhibitors his large dart paintings would catch the eye of one of the great names in the art world Francis Picabia this master was at that time more than seventy years old his highly colorful art was not closely related to that of the younger painter but he wanted to meet him as soon as possible to encourage him so that HA Pont d'Avignon door sill I've seen met with Picabia the cavea liked his work and said to foolish young foolish I'm going to tell you what to sorrow himself said to me about my work with the way that you paint you will quickly make enemies in other words you're better than the others and people will get jealous of you he identified this very quickly because as he put it I think I can present a company named Picabia was very important to him it not because of how big are your painted but for the fact that Picabia was a well-known painter who recognized him of anything he had the opportunity to be recognized early on by people that mattered ferbiere suloj this encouragement felt almost like being lighted recognized by artists public success would come from abroad firstly from Germany where in 1948 Pierre solarz was invited together with some great names from the art world to the first large exhibition of abstract art surprise one of his walnut stain pieces was chosen for the poster it played a pivotal role in the international recognition of the young PNC Lodge from then on painters passing through Paris would meet in the new Salah Atelier on Rue shall share in Paris but it was especially the Americas that interested him one day an elegant man with a strong American accent arrived unexpectedly in his Atelier this stranger was none other than James Johnson Sweeney the curator of the Museum of Modern Art the MoMA who several years earlier had discovered the artist then presented as the greatest American painter Jackson Pollock and his drip paintings finish a tuxedo Mundra Sweeney immediately bought a walnut stain painting and Talaash afterwards a friend told him but wait he's a considerable authority in New York and he was soon invited to joint exhibitions in the United States Eenie it and then in 1953 he was approached by a very big dealer Sam Cooke's who's one of the biggest dealers in New York who displayed particularly Picasso and many American painters in battle and would then dedicate an exhibition to him every year from 1954 to 1966 from this moment on that he could use an important character in New York and his exhibitions were seen by every painter sorry that's what matters softly for collectors also in 1957 when Pierre suloj crossed the Atlantic for the first time and discovered New York skyscrapers he was on that side of the ocean a real star the big American collectors liked his large abstract works they seated in collections of the biggest museums such as the MoMA or the Guggenheim much more famous in the United States than in his own country the painter's work while remaining faithful to his principles evolved without cease in the 1960s after the large structured paintings he now painted large layers of black across the surface illuminated with flashes of white even color he had to wait until 1967 20 years into his career for France to finally deigned to dedicate his first large exhibition to him it was held at the National Museum of Modern Art which at that time was located in the Palais de Tokyo at the age of 47 PSU large was presented as the ambassador of contemporary French art and was finally recognized in France as a painter that mattered the galleries of the National Museum of Modern Art in Paris on the Avenue to President Wilson a dedicated until the 21st of April to the presentation of the works of the painters so large one of the youngest contemporary painters to receive this honor so large has already achieved exceptional notoriety on an international scale for an artist of less than 50 years old the painter always dressed in black became a public figure he started to generate intrigue reports were made about him is it easy to start painting no no Chuck I always wait a very very long time you hover over it yes I've got the canvas on the wall even I look at it from that's what I sit next to it pull away as soon as I try and start it if you I smoke a tooth color death touch the brushes it can sometimes if you can't cry do nothing but there was no question of seeing him paint the SLR cannot bear creating a work in front of observers any presence would influence his painting too much it would guide his work which would then become in his eyes phos he's never let anyone not even Colette see him paint even once he would not accept that anyone should see him paint he can only paint alone the exhibitionism of the act of painting for him has nothing to do with the painting you know the painting is the finished item this is one of the rare times that he has let anyone film in preparing a painting for Pierre ghoulash painting means pouring scratching brushing or etching in the studio numerous tools paint brushes brushes and scrapers and all sorts of strange instruments but the artist sometimes made himself after in his youth spending a lot of time with the artisans learning their techniques and when he was not satisfied with a painting he didn't hesitate to burn it via Agra they experienced this and he still has a burning memory from it talk about the shoulder we were preparing an exhibition at the Santa Pompidou I went to set I found a dozen paintings all absolutely sublime and I said very good you can bring them we'll show them to Alfred pokémon and if you want we'll display them in the exhibition when he came back in November I asked him have you got the paintings he replied no I burned him a liver so you see he didn't like the way and I thought they were magnificent PSE large like to say it what I do that teaches me what I'm looking for and what he was looking for he often found by accident like one night in January 1979 which would revolutionize his painting for the rest of his life boss also son is enough it happened in 1979 he was in his studio he was struggling we'll tell it as it was he was working at night he was struggling he realized that he was applying more and more black that was covering the painting we can say that the black was starting to reign supreme and so he said to himself okay this isn't working I'll stop he turned out the light and went to bed and the next morning he arrived turned on the light and suddenly he realized the effect of the light on the black paint so he realized that this light is changing and it grants the painter sort of presently that he hadn't imagined before so from there on he slightly reconfigured not the motifs in his painting but his way of working so is to always play this game of ping-pong between the black and the light the public would discover these stunning paintings for the first time a few months later at an exhibition at the recently opened Santo Pompidou where PS collage had covered the whole surface in black but black is not only black thanks to the play on the reflections in the night he baptized these paintings the suit Renoir meaning beyond the black like a new territory I call it otra noir because it's a word that I created and I invented this word to differentiate from what we call noir Lumiere black like one year but no a Lumiere it is clearly the light reflected by a black by the state of the surface of the black different from elsewhere when black is striped the black does not reflect in the same way as when it is smooth but dois Lumiere is an optical decision while ultra Noir is something else it is the mental realm that we inhabit when we like a work of art when a work of art touches it is something much more complex something that happens inside ourselves that is called the mental realm for Montana in 1979 this exhibition staged this boot Renoir with an unexpected way of hanging the works positioned in space attach two cables between the floor and the ceiling a spacial pathway obliging the visitor to circulate between them and to multiply the viewing angles subsume opened but this was absolutely not a whim because from 1979 until now there have been 35 years of revolutions through his oak Renoir painting often when Lara in his suit Renoir there are 10,000 Lutheran wires this means that they are linked through a relationship with the materials between matte black gloss blade black with stripes black with lines very structured black beads with a knife bars with successions of materials so his creativity is linked to the material during the following three decades the AFT largest pictorial research has been exclusively based on these same foundations a single pigment black with alternate interventions either smooth and flat or striped or edged with multiple variants an era started in 1979 that was not broken apart from one digression of eight years that he dedicated to what may appear to be a return to his origins in 1986 Pierre suloj receives a request he could not refuse because it was to create stained glass windows for the abbey of cogs the place that inspired his vocation as an artist when he was just a child Kok would become the scene of his biggest masterpiece the highlight of his career the se large dedicated 8 years of his life to it a period during which he would paint much less because the artist could not find the glass if he wanted a glass that could simultaneously lengthen the wall cut the exterior view and offer natural light so he would invent it the stained glass windows were installed in 1994 contrary to rumor they were not of course black proof if it was required but it was a quest for light that drove BSU large these windows would allow its work to be reinterpreted the 104 windows are formed of large parallel bands at the same width but formerly recalled a large strokes of his flute Renoir paintings thanks to their translucent material but they seem to produce their own light viewed from the outside the windows reflect the light of the skylight opaque mirrors becoming as impenetrable as the stone facade on the inside the colors evolve according to the time of day thus marking the passage of time which takes on its own meaning in this place of contemplation once again by reducing the means used the artist succeeded in revealing the infinite richness of the light PS Elijah completed his life's masterpiece he was then age 75 the circle was complete as so rarely happens for an artist in his hometown echoing Rogers Cathedral just a few hundred meters from the street where Pierre ghoulash spent his childhood the museum that bears his name was built for this building the architecture is a metaphor for his art this painting of the light and of the material the museum is constructed using large monoliths whose raw cotton steel walls evoke the tones of the famous walnut stain used by the artist you a few weeks before it opened to the public on the 31st of May 2014 the workers were busy setting up for some 500 pieces in this museum painting branded by Pierre & Collect Suraj as a donation to the town of her des like nowhere else it was a matter of hanging a life's work the artist insisted that among his paintings visitors should discover the preparatory works for the stained glass window at the Abbey of cog life-sized cardboard templates for meters in height from the bright artificial light in some rooms to the almost darkness of other spaces the pathway is designed according to the changing light sometimes even according to the time of day a notion that is so dear to the artist particularly in the rooms in which his large Groot Renoir paintings are displayed the pathways allow the progression the artist thought process to be captured before each Renoir the large paintings with striking contrast or even the famous warm-up stains from the start of his career the work forgives you are not forgotten some of the paintings from his childhood are even on display for the first time in the same way that PSE large was naturally involved in the conception of this building that was designed by a Spanish agency he monitored very closely how the works were hung the staging of each painting where it's lighting was of paramount importance we're going to do it now with the guys there it's 33 33 I said 35 or 32 it did ok there that's 32 32 we won't change the one on the right but we'll move the one on the left in this meticulous work PSE large is more often than not accompanied by his wife Colette though he's been by his side now for 73 years yeah we're going to do one thing we have some white there we're going to bring the white down okay is that's much better it's much better like that look get the white in your eyes there I can see the bottom you can see it well that's for sure I think we need to maybe hide the white at the top the white at the top might be too high because it brings that will work anyway okay so we'll take it there now Pierre we're going to take it there into the other room okay because they don't want to juggle with it that's not daylight no it's not so Pierre we're going to set up the five as we saw them with the lady this morning to see if they need to be moved left or right very well this politic will be suspended from cables in levitation like at the exhibition in the santur Pompidou in 1979 as you move you no longer see the same painting for BSU Lodge it is fundamental that the audience should be free to enjoy their own experience of the paintings the artist has dedicated his life to this quest for freedom when we say that these paintings are black you see black in your mind that's all I want but you are alone with your thoughts in front of whatever you're looking at and what you are looking at does not take you back to a past experience you're anything other than what it is you

14 thoughts on “Behind The Artist Series 1 09of10 Soulages 1080p HDTV x264 AAC mp4eztv


  2. Happy 100 birthday, Mr. Soulages. Some 10 years ago, here in Mexico City we could enjoy an impressive one man show of your work. It was…. Amazing

  3. Somebody should have told him he can't paint! He's like the X factor contestants that go on the show but can't sing because all the people (tone deaf) that they've met told them they could sing!

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