Louis Cane – February 02 – April 07  2o12

Louis Cane was born in Beaulieu-sur-Mer in 1943. He began his studies at l’Ecole Nationale des Arts Décoratifs in Nice in 1961 and continued with the same subject at l’Ecole Supérieure in Paris. This same year, he was awarded a national diploma in interior architecture. Up to 1968, he studied at l’Ecole Supérieure des Beaux Arts in Paris. He consequently gained a residency in painting from the Prix de Rome. He participated in the ‘May 1968’ protests, where he was also the head of the popular poster department of decorative arts. As well as painting, Cane also took part in the foundation of an art review magazine called ‘Peinture, Cahiers, Théoriques’. In 1970, he moved into a new atelier on the rue de Charenton and began working on broken canvases. In 1981, he moved again to another atelier on the Rue Saint-Maur, where the following year, he would return to working with sculpture. He also gave two conferences explaining his field of activity, the first at l’Institut d’Art in Paris and then in 82, the Beaux-Arts. Cane has also worked on demand, in 1986 taking on a monumental task of a public fountain: la Fontaine du Déluge. He also did the decoration for C.E.S. de Peyrolle. His works have been displayed internationally as well as nationally.

Read and see more at: Galerie Bernard Ceysson

The Pure Art Gallery

www.purefrancenow.com

Sponsored and supported by several key businesses from the Roannais region, including Purefrancenow, the evening reception to launch this remarkable display of contemporary art was a resounding success. Not only were the many guests amazed at the presentation, but there was also some keen interest from a number of serious art buyers.

Frédéric Diart: Painter Extraordinaire

‘If The Black’ Exhibition

The Pure Art Gallery

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It is sure to be an intriguing experience! Purefrancenow will definitely be their to cover the proceedings.

Frédéric Diart – Painter Extraordinaire!

Our Man from Dubai and Frédéric Diart

The Pure Art Gallery

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Dale Thompson, good friend, and event management impresario in Dubai visited Frederick Diart’s remarkable studio during October.

Amazed by the scale, originality, creativity, and commitment which Diart demonstrates in his extraordinary art, Dale Thompson has now returned to Dubai on a mission in association with The Pure Art Gallery, to assess the potential for exhibition and art gallery opportunities in this vibrant metropolis in the Arabian desert.

The marvellous, and often bizarre, art creations of Frederick Diart. it is hoped will stimulate a positive reaction in Dubai’s international art world.

Frédéric Diart was born in 1966, and now has his home and studio near the Roannais in the Rhône-Alpes region.

He is a painter of extraordinary imagination, originality, and creativity.In his early years, between 1989 and 1991 he developed groups of paintings on paper, cardboard, sheets of lead or aluminium, and using industrial paints and watercolours. He also featured letters as motifs within the organized space of his canvasses.

Throughout the 1990’s he developed his style and approach, and experimented using small and medium formats and adopted vertical imaging rather than that of landscape.

He progressed after abandoning paints and industrial resins, using polyvinyl acetate, including increased application of solvents and paint strippers.

Systematic use of stencils and different alphabet sizes, and larger 2 metre- square productionsFrom the end of the 1990’s and into 2000 and the new millennium, he continues to create, using mixed pigments and abrasives. The effect is imagery of illegibility and liquidity.

He also experiments with fine unprepared fabrics and the reactions to different tensions. Incorporating organic glues (bone, sinew, skin), and for certain canvasses, cattle blood. Decay and mildew within the canvasses results in a natural organic retraction effect.

From 2003 to 2006 he also combines crumpled, undone, shapeless canvasses, which wind around a partial deposit of material. Still using solvents, colour is applied to the back of the canvas with the solvent penetrating the applied layers of the material on the canvas, bringing colour back to the surface.Frédérick Diart continues to be extremely prolific in the production of amazing artworks on a grand scale.

If you want to know more, or want to arrange a viewing of his works at first hand, let us know through our special Art section:

The Pure Art Gallery

Or e-mail Brian Franklin direct at:  info@purefrancenow.com

www.purefrancenow.com

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CLAUDE VIALLAT – PEINTURES ET OBJETS

September 29, 2011 – January 07, 2012

Claude Viallat (born 1936) is a French contemporary painter.
Born in Nîmes, he grew up in Aubais, a French village with a strong bull tradition. In 1955, he joined the École des Beaux-Arts (Fine Arts School) in Montpellier, where he met André-Pierre Arnal, Vincent Bioulès, Daniel Dezeuze, Toni Grand, François Rouan, and Henriette Pous, whom he married in 1962.
After doing his military service in Algeria from 1958 to 1961, he joined the École Nationale Supérieure des Beaux-Arts (the National Fine Arts School) of Paris, where he met fellow students Joël Kermarrec, Pierre Buraglio, and Michel Parmentier. He discovered American art in Paris, notably the works of Kenneth Noland, Morris Louis, Sam Francis, and Mark Rothko. As soon as 1963, he was attracted to abstraction. He was appointed as a teacher in the École des Arts Décoratifs (Decorative Arts School) of Nice in 1964 and decided to create a new formal language questioning the conventions of classical painting. He then started working systematically with one shape affixed on canvas without stretchers. His first personal exhibition took place at Nice’s Galerie A in 1966. He also participated in several collective exhibitions that year.
In 1967, he was appointed as a teacher in the École des Beaux-Arts (School of Fine Arts) in Limoges, where he met Raoul Hausmann. In 1968, in Paris, Viallat had his first personal exhibition at the gallery led by Jean Fournier – who remained his gallerist for nearly thirty years. He then participated in an exhibition that arguably originated the “Support/Surfaces” movement at the ARC, in the Modern Art Museum of Paris. His works were in most of the exhibitions of the movement from 1969 to 1971. Although he initiated this group and influenced it aesthetically through his pictorial works, he resigned on May 3, 1971 as he disagreed with the political and theoretical orientations imposed by Louis Cane and Marc Devade.
In 1972, during his first trip to the United States, he discovered Jackson Pollock’s paintings and the art of Native Americans. The same year, he participated in the “Amsterdam-Düsseldorf-Paris” exhibition at the Solomon R. Guggenheim Museum of New York, and the “Douze Ans d’Art Contemporain en France” exhibition (Twelve Years of Contemporary Art in France) at the Grand Palais in Paris.
In 1973, he was appointed as an instructor at the École des Beaux-Arts (the Fine Arts School) of Luminy (located at avenue de Luminy, in Marseille), and moved to Marseille. In 1974, the first ever Viallat exhibition in a museum was organised in Saint-Étienne’s Musée d’Art et d’Industrie (Museum of Art and Industry). In 1979, Claude Viallat became director of the École des Beaux-Arts (Fine Arts School) of Nîmes. He started collecting objects related to bulls. His collection was the starting point of the Musée des Cultures Taurines (Museum of Bull Tradition) of Nîmes, opened in 1986.
The Centre National d’Art et de Culture George Pompidou (the National Modern Art Museum of Paris) hosted a Viallat retrospective in 1982. He represented France at the Venice Biennial in 1988. The same year, he made the stained-glass windows of the Gothic Choir in Nevers Cathedral. In 1991, he became a teacher at the École Nationale Supérieure des Beaux-Arts (National Fine Arts School) of Paris and participated in the Supports/Surfaces historical and retrospective exhibition at the Musée d’Art Moderne (Modern Art Museum) of Saint-Étienne. In 2006, he was awarded with the Fine Arts Academy’s Fondation Simone et Cino del Duca (Simone and Cino Del Duca Foundation) prize for painting .
In France he is represented by Bernard Ceysson, galerie Jean Fournier in Paris since 1968, and wiki:fr:Daniel Templon (from 1998), in Montpellier galerie Hélène Trintignan. Claude Viallat is also représented internationally in Tokyo by Gallery Itsutsuji and in New-York by Leo Castelli.

(Wikipedia: http://en.wikipedia.org/wiki/Claude_viallat)

The Pure Art Gallery

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Take a good look now!

The Pure Art Gallery

Mike Ford’s new paintings at Purefrancenow!

www.purefrancenow.com

www.purefrancenow.com

The Pure Art Gallery

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This month we feature a selection of canvasses as a ‘taster’ before we include them in Mike’s personal dedicated presentation at The Pure Art Gallery

See more of Mike Ford’s Art and Photographic Images on his personal website:

Mike Ford Fab Pictures

The Pure Art Gallery

www.purefrancenow.com

BAGARRE GENERALE – 5 ANS   ET   J.M.MEURICE – IPOMÉES, ARÉTHUSAS ET CYCLAMENS

MARCH 24 – MAY 15, 2011                                    JANUARY 20 – MARCH 19,  2011

Galerie Bernard Ceysson

The Pure Art Gallery

www.purefrancenow.com

He is a painter of extraordinary imagination, originality, and creativity.

In his early years, between 1989 and 1991 he developed groups of paintings on paper, cardboard, sheets of lead or aluminium, and using industrial paints and watercolours. He also featured letters as motifs within the organized space of his canvasses.

Throughout the 1990’s he developed his style and approach, and experimented using small and medium formats and adopted vertical imaging rather than that of landscape.

He progressed after abandoning paints and industrial resins, using polyvinyl acetate, including increased application of solvents and paint strippers.

Systematic use of stencils and different alphabet sizes, and larger 2 metre- square productions.

From the end of the 1990’s and into 2000 and the new millennium, he continues to create, using mixed pigments and abrasives. The effect is imagery of illegibility and liquidity.

He also experiments with fine unprepared fabrics and the reactions to different tensions. Incorporating organic glues (bone, sinew, skin), and for certain canvasses, cattle blood. Decay and mildew within the canvasses results in a natural organic retraction effect.

From 2003 to 2006 he also combines crumpled, undone, shapeless canvasses, which wind around a partial deposit of material. Still using solvents, colour is applied to the back of the canvas with the solvent penetrating the applied layers of the material on the canvas, bringing colour back to the surface.

Frédérick Diart continues to be extremely prolific in the production of amazing artworks on a grand scale.

If you want to know more, or want to arrange a viewing of his works at first hand, let us know through our special Art section – The Pure Art Gallery

Or e-mail Brian Franklin direct at:  info@purefrancenow.com

The Pure Art Gallery

www.purefrancenow.com

__________________________________________________________________________