Page 56 - Studio International - June 1965

Paris

1 Notes by Georges Orley 2

All people hurried to the Musee de !'Homme to see the emphasis on self and provocative virtuosity. The sus­
eighty masterpieces put on view from the fantastic pended carcases of sheep and the Femme a la Manti/le.
1 resources of this vast ethnographic collection of works all in the period 1922 to 1942, presage the later poetry.
Alain Jacquet from Africa, America and Oceania. Displayed under the At Galerie Jeanne Bucher the monotypes of Mark
Portrait of a Man 1965
64 X 45 1'1. ideal and evocative in lighting conditions, the magic Tobey present their unique and delicate identities
Galene Lawrence
inherent in most of them shone with a presence that ranging in theme from the torso drawn with vigour or a
2 depends not on knowledge of their original settings but portrait head to surfaces that represent complexities
Mark Tobey
Monotype 1961 on their paraphrases of life. Less impressive but no less reduced as unity as of a framed space in an aquarium
Galerie Jeanne Bucher interesting was the revelation of their use as source wall. The transferred tempera from the plastic slab
3 material by modern sculptors who include Gargallo, acquires in the process a softening of tone that makes
Jean Bazaine Gonzalez, Cesar, and others who now stand stripped of for a transparency and evanescent image well suited
Les comed,ens 19 4 7
92 x 6G cm. pretence of originators. to the orientally influenced thought of Tobey.
Galerie Louis Carre
Jeanne Castel, who knew Fautrier well, showed a At Galerie Alexandre lolas, Ghika showed a selection
4 selection of canvas.es that recall the hermetic iconic of paintings (in London at the Leicester Galleries he
Ghika
Domes and Cupolas 1965 quality of his imagery. His floating Christ, luminous in showed later). Locality as such has meant less and less
76 x 102 cm. its edge outlines, is one of the most convincing repre­ to the modern painter si nee the Impressionists but
Galerie Alexandre lolas
sentations of legend in our modern age. To speak Ghika, while maintaining each picture's autonomy,
5 through paintings, now a little dusty and far from per­ succeeds in conveying the floral and architectural
Fautrier
The Chrtst 1937 fectly framed, with such perfect and sincere form brings essence of Greece, stopping short of a decorative
195 x 77 cm.
Galerie Jeanne Castel us to the realisation of a gift that speaks without over- sweetness by the integrity of his conception that is
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