Another day, another gallery – or in this case,
LE CENTRE POMPIDOU
Welcome to the Pompidou Centre!
Welcome to the Pompidou Centre – a sophisticated mix of modern art and overpriced cafe’s in the heart of Paris just up from Hotel du Ville.
Following a bumpy ride on the 69 bus from Boulevard Voltaire, refrshed with coffee and cake, we arived ready to tackle the Martial Raysse exhibition on the sixth floor – with a great view over Paris thrown in for 11 euros.
What a fun show it turned out to be – amazing!
Obviously, Raysse is a French painter; a self-taught artist whose early works were which included plastic objects.
This of prefabricated materials led to his association with . Raysse exhibited a world, new, antiseptic and modern. His approach anticipated that of the , who likewise used objects and images deriving from advertising.
During the 1960s Raysse began to make more pictorial compositions, based on images from advertising as well as on high art. He also produced paintings in which a deliberate roughness of execution is emphasised by the superimposition of a single neon line. Raysse began at this time to create his own prototypes as another way of continuing to elevate bad taste and falsity to the level of art.
In the mid 1960s Raysse’s work developed around a number of recurrent themes; in particular he concentrated on the contours of a , a mouth or an eye, repeating them endlessly using all kinds of visual formulae, and drawing on the most diverse types of materials.
He gave up his pictorial explorations in the atmosphere of the events of 1968 in France. When he returned to painting, his work had undergone an important change. Little by little he moved away from the urban world towards a return to nature, a bucolic ideal of a gentle and calm community with reminiscences of Poussin and of mythology. He used and tempera to depict timeless magical or fantastic scenes, anticipating the vogue for mythological subjects that appeared in the work of other painters in the 1980s.
His more recent work, including ‘ici Plage, comme ici-bas’ a huge room-filling beach scene (pictured below) and produced as recently as 2012, is both highly entertaining and also most pleasing to the eye.
I’m no art critic, but it reminded me of the Grayson Perry tapestries ‘The Vanity of Small Differences’ in London a few years ago – I like it a lot.
Here are some snaps.
and here is a more substantial Guardian review of the same retrospective show
You really can’t go wrong in Paris, still off to Verona tomorrow, so that’s enough of that!