Roger Dérieux, Cubist Woman Sitting at a Table, 1953, Oil on Canvas

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Description

Style: French School, 1953

Condition: Very good

Technique: Oil on canvas

Other: Signed lower right

Dimensions: 26 x 35 cm

… Read more Style: French School, 1953

Condition: Very good

Technique: Oil on canvas

Other: Signed lower right

Dimensions: 26 x 35 cm

Dimensions with frame: 33 x 40 cm

ROGER DÉRIEUX

1922 - 2015
Painter
Photo not available. Divet Gallery, Rennes
Born in Paris in 1922 and died in 2015, Roger Dérieux developed an art imbued with lyricism and elegance. In 1924, he met the artist Francis Picabia, and three years later, he began painting.

In 1943, he was drafted and transferred to Salzburg for Compulsory Labor Service, where he became a scenic painter at the Landestheater.

At the end of the war, he entered the Académie de la Grande Chaumière in the studio of André Lhote, an artist associated with Cubism whose teaching and writings became seminal.

with great economy of means, he painted still lifes, landscapes, and portraits.

He participated with Debré, Poliakoff, Estève, and Soulages in the most prestigious art events of the postwar period.

Then, in the 1980s, as so-called free figuration was making a comeback, Roger Dérieux turned to abstraction, using collage as an extension of painting.

He used oil paints on thin sheets of paper, or fragments of pages and musical scores, which he crumpled and then cut up to arrange them into abstract figures: “Collage revealed itself to me as a space of freedom with infinite possibilities and allowed me to access the pure realm of plastic values.” “He practices collage like a painter: painting and pasting become inseparable actions. Unlike the assemblages of Surrealist artists such as Kurt Schwitters, Dérieux does not seek to reveal the origin of the paper. When he uses printed materials, he often conceals them under a layer of paint. The clean cuts in his papers recall the distant memory of Cubism.
Roger Dérieux’s collaged papers evoke what Henry Raynal called a “basso continuo,” a term borrowed from musical language, to which the artist is attuned, which designates a technique of improvising a part based on a written foundation, where little by little the work reveals itself through a more or less controlled chance or a deliberate order.

For Roger Dérieux, the abstract image grants a purer, more poetic space to reverie and allows one to rediscover the emotion felt in a moment that resurfaces in memory.” This piece has an attribution mark,
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