STAIRS
1 Maria Roosen (Dutch, 1957)
Inside Out, 2013, glass and metal, in situ at exhibition Middle Gate, Geel, 2013
CRP314
Born in Oisterwijk (Holland). She studied at the Academy of Art and Design in Arnhem and at the Moller Instituut in Tilburg. She creates sculptures, installations, conceptual art and drawings. She represented Holland at the 1995 Venice Biennale. She has received important awards such as the Wilhelminaring for Dutch sculpture (2006) and the Singer Prijs (2009). Her work, the process of which has a marked artisan element (using ceramics, wood, glass, crochet), deals with issues such as growth, fertility, love, friendship, death and the rapid passing of everyday life. Branches, fruits, sunflowers, jars, breasts, seeds and shoes are common motifs in her pieces, which are often showcased outdoors. She regularly works with collaborators, including Nepalese embroiderers and master glassmakers from the Czech Republic. She considers her sculptures to be “tools for feelings”. Her work, included in numerous private collections, has been exhibited in spaces such as the Kunsthal KAdE in Amersfoort, the Croninger Museum and the Boijmans Van Beuningen in Rotterdam.
2 Rafael Canogar (Spanish, 1935)
Foco, 2011, oil on canvas
CRP392
Born in Toledo; he studied with painter Daniel Vázquez Díaz (1949-1954). He was a founding member of the EL PASO group, 1957-1960. He was a member of the Advisory Board of the Directorate General of Fine Arts of the Ministry of Culture; of the Board of Trustees of the National Museum of Contemporary Art and the Royal Academy of Fine Arts of San Fernando, and a member of the Board of Directors of National Heritage; he obtained an honorary doctorate from UNED. He has participated in countless group exhibitions, in addition to his solo exhibitions, including several retrospectives since the seventies (National Museum of Contemporary Art, Musée d’Art Moderne de la Ville de Paris, Bochum Art Museum, Museum of Fine Arts of Bilbao, Museum of Santa Cruz de Toledo, Reina Sofía Museum, National Museum of Warsaw, Museum of Fine Arts (Buenos Aires), IVAM, Antonio Pérez Foundation (Cuenca), Fenghuang (China). He has directed workshops and lectured in several European and American countries, participated on panels for international prizes and biennials, and received several prizes and distinctions, including: Gold Medal of the Community of Castile-La Mancha; Gold Medal for Merit in Fine Arts; XV Real Fundación Toledo Prize for his commitment to art and Toledo; National Engraving Prize, awarded by the National Chalcography (Royal Academy of Fine Arts of San Fernando), etc. His works can be found in many museums and public collections around the world: Contemporary Art Museums of Barcelona and Madrid, Spanish Abstract Art Museum (Cuenca), National Library (Madrid), Reina Sofia Museum, Israel Museum (Jerusalem), MoMA, Pasadena Art Museum, Stiftung Preussischer Kulturbesitz-Staatliche Museum (Berlin), Hamburg Kunsthalle, Chicago Art Institute, Rufino Tamayo Museum (Mexico DF).
3 Werner Mannaers (Belgian, 1954)
Very Cliché (Listening to Mendelssohn), 2014, mixed media on canvas
Born in Schoten (Belgium), he lives and works in Antwerp. His paintings are combined with texts in which he usually includes philosophical and other quotations and references to outstanding artists of the 20th century. Popular culture is very present in his work, which is based on personal references, with very characteristic touches of humour and a unique combination of the banal and the extraordinary. “My art is capricious, spontaneous, not serious, but at the same time tremendously sincere (…) My work is restless, provocative and self-critical,” he has affirmed. In 2008 he exhibited at the Stedelijk Museum voor Actuele Kunst in Ghent. In 2014 and 2016 he showed his work in the Roberto Polo Gallery (Brussels). In 2016 he participated in Painting after postmodernism. Belgium-USA, curated by Barbara Rose, at the Vanderborght in Brussels, the Episcopal Palace in Malaga and the Reggia di Caserta. His projects include the publication of the book Love Letters, paintings made by the artist over the years, love letters to Natacha, his muse, in gouache on paper. Each piece, as usual with Mannaers, refers to other creators.
4 Carolyn Marks Blackwood (American, 1951)
The Story Series, She stood outside for what seemed like hours. It was time to be brave and go inside, 2013, archival pigment print on fine art paper mounted on Dibond, edition 3
CRP366
Born in Anchorage, Alaska, her family soon moved to New York. She graduated in art from Livingston College (Rutgers University, New Jersey). She worked as a singer, composer, scriptwriter and film producer before devoting herself to photography. In 2006 she was invited to participate in a group show at the Morton Library in Rhinebeck and her images of the Hudson River attracted curator Barbara Rose, who in 2007 included her in The magic hour (Paul Rodgers/9W Gallery, New York). Since then she has exhibited in museums and galleries in the USA and abroad. In 2015, Artnet News included her in its piece Five artist to watch: the photography edition. Her most recent exhibitions include On the edge (Von Lintel Gallery, Los Angeles, 2015) and The Story Series (Roberto Polo Gallery, Brussels, 2017). Her main source of inspiration is the stunning nature she sees from her home in Rhinecliff, on a cliff overlooking the Hudson and the Catskill Mountains. Influenced by abstract painting, she experiments with scale, deconstruction and a perspective that allows us to see the grandeur hidden in small details.
5 Carolyn Marks Blackwood (American, 1951)
The Story Series, Every night, he longed for her, 2016, impresión con tintas de pigmentos sobre papel fine art montado sobre Dibond, edición 3/rchival pigment print on fine art paper mounted on Dibond, edition 3
CRP366
ROOM 9
6 Victor, Servranckx (Belgian, 1897-1965)
Opus 1 – 1924 (Torse de jeune femme), artificial stone
CRP084
One of the protagonists of the Belgian avant-garde, he was born in Diegem (Belgium) and studied at the Academy of Fine Arts in Brussels, where he graduated in 1917 with the highest distinction and met Maes, Flouquet, Baugniet and Magritte. Between 1917 and 1919 he developed Symbolism. From 1917 he took part in various group exhibitions; in 1918, together with Magritte, he developed applied arts as a designer for Peters-Lacroix’s wallpaper factory, an experience that led him from Fauvism to geometric abstraction. In 1920 he joined the La Plastique Pure movement. In 1922 he co-founded the magazine 7 Arts and with Magritte wrote the manifesto L’art pur. Défense de l’estéthique, influenced by Le Corbusier, Ozenfant and Reverdy’s cubist theories. Inspired by Baumeister and purists, he abandoned figuration for abstraction; he geometrically evoked the world of machine and technology. In 1918 he exhibited his work for the first time at l’Effort Moderne, a meeting place for Cubists since World War II; there he met Marinetti, Van Doesburg, Léger and Duchamp. In 1926, thanks to Duchamp, he participated in the exhibitions of the Katherine Dreyer Corporation in America and was invited by Moholy-Nagy to teach at the New Bauhaus in Chicago, an offer he refused. He received a gold medal at the International Exhibition of Decorative and Industrial Arts in Paris (1925). In 1926 he created the first “surrealist” and “organic” abstractions, before Ernst. In 1928 he exhibited at Der Sturm. He represented Belgium at the 1948 and 1954 Venice Biennials. The Palais des Beaux-Arts in Brussels organised a major retrospective; his works can be seen in the MoMA, the Berardo collection in Lisbon, the Thyssen-Bornemisza in Madrid, the Museum of Fine Arts of Ghent, National d’Art Moderne of the Centre Georges Pompidou in Paris or the Museum of Fine Arts of Belgium in Antwerp and Brussels. His paintings, sculptures and works on paper have been exhibited in museums such as Leiden’s Lakenhal and London’s Tate Modern.
7 Victor, Servranckx (Belgian, 1897-1965)
Opus 1 – 1924 (Torse de jeune homme), artificial stone
CRP085
8 Jan Vanriet (belga/Belgian, 1948)
Salted Meat – Vive la Sociale!, 2014, oil on canvas
CRP270
Image of mortality and metaphor of the human body and its physical reality, its strength and fragility, its vulnerability and helplessness. Like Paul Manes en Entry of Christ in New York (CRP250) drew inspiration from James Ensor’s Entry of Christ in Brussels, Vanriet, for the second part of its title he uses the motto in the big banner presiding over the demonstration that his fellow countryman’s painting takes up.
9 Koen De Cock (Belgian,1978)
Vieillard, 2002, plaster,
CRP289
Born in Ghent (Belgium), he is settled in his hometown, but he is currently working as an artist and art teacher in Shanghai. He graduated in sculpture from the Royal Academy of Fine Arts in Antwerp, studied one year at the Academy of Fine Arts in Tianjin (China) and another at the Academy of Fine Arts in Tbilisi (Georgia) as a postgraduate student. In 2013, Shepherds, his first solo exhibition at the Roberto Polo Gallery, stood out for its original theme, both classical and unique, and a watercolour-on-paper technique combining rigour and imagination. He then presented its direct successor, Hermits & Wrestlers, oil paintings on canvas. Both titles allude to his favourite subject, the male nude struggling to merge with exuberant and boundless nature. He admires Dürer, Cranach the Elder and Paulus Pontius, artists influenced by Michelangelo; Pontius represented parts of the body in such an extreme and unreal way that they acquired a life of their own and became a model for later artists. De Cock copied them to understand Pontius’ anatomical transformations; this learning process required technical rigour to imitate the engraved line. His nudes are symbiotically and symbolically integrated into nature, their anatomy dismembered and often struggling violently with each other.
10 Koen De Cock (Belgian,1978)
Jeune homme, 2009, plaster
CRP290
11 Ed Moses (American, 1926-2018)
Rumbi, 2008, acrilic on canvas
CRP281
Born in Long Beach (California, USA). He served in the Medical Corps of theNavy during World War II and wanted to be a doctor, but later chose art. He studied at the Art Institute of Chicago with Pedro Miller, who recognised his talent. He continued his training at the University of California, where he graduated. In 1958 he exhibited for the first time at the Ferus Gallery (Los Angeles). He was part of an active group of artists formed by Craig Kauffman, Billy Al Bengston, Robert Irwin, Edward Edward Kienholz, Ken Price, Ed Ruscha, Bell, John Altoon and Wallace Berman, who overcame the limits of post-war art and shaped the incipient Los Angeles art scene. His work absorbs elements of various avant-garde activities, but mainly abstraction based on process and geometric repetition. His best-known pieces include his Rose drawings. In 1978 he converted to Buddhism and made the concept of living the moment the key to his work, emphasising the importance of chance and circumstances. In 1980 he received a Guggenheim scholarship. In 1996 he held a retrospective at the Contemporary Art Museum in Los Angeles, in whose County Art Museum an exhibition of his drawings from the 1960s and 1970s was presented in 2015. In addition to these institutions, his works can be found in the Centre Pompidou, MoMA and the Los Angeles County Museum, among others.
12 Ed Moses (American, 1926-2018)
Dog-Flip, 2009, acrylic on canvas
CRP280
13 Roberto Caracciolo (Italian, 1960)
Anyday (the first of four paintings from the cycle The Dark Night, Maybe), 1992, oil on canvas
CRP279
Born in New York, he lives and works in Rome. He studied at the Urbino Art Institute and at the Studio School in New York; in the early 80s he worked as an assistant stage designer with Dante Ferreti. He has been a professor or lecturer at the Academies of Fine Arts and other institutions in Turin, Perugia, Siena, Venice, New York, Chicago, Rome and Montecastello di Vibio. Between 1999 and 2013 he was adjunct professor at New York University in Florence; between 2007 and 2010, Arts Liaison at the American Academy in Rome, where he organised exhibitions.
14 Annabelle Hyvrier (French, 1971)
Francisco, 2012, cedar, paper and iron
CRP346
Born in Lyon (France). In 1995 she graduated from the Royal Academy of Fine Arts in Brussels, where she has lived and worked since 1989. Her sculptures are mainly made of wood and bronze; they are monumental pieces, often evoking sensuality and violence. She also uses iron, paper and painted glass beads. Her works and installations, as indicated on her website, “speak with delicacy and strength of a world that is not what it seems and where her sculptures come to life gradually to tell a story that leaves no one unmoved”. She began exhibiting in 1996 and since then her production has regularly been shown in galleries and museums in Belgium, Paris, Geneva and Lyon. In 2005, after overcoming cancer, her sculpture depicted vital organs such as the heart, and she created a “crying machine”. Until 2011 she taught classical sculpture at her academy La ligne d’horizon.
15 Annabelle Hyvrier (French, 1971)
Seta, 2012, cedar and paper
CRP347
16 Annabelle Hyvrier (French, 1971)
Simon, 2012, oak and iron
CRP348
17 Carl de Keyzer (Belgian, 1958)
Cuba, la lucha, Trinidad, 2015, archival pigment print on fine art paper mounted on Dibond, edition 5
CRP329
Born in Schoten (Antwerp, Belgium). He studied photography at the Ghent Academy. In 1982 he began his career as a freelance photographer and was one of the founders of the XYZ photo gallery. From 1982 and 1989 he taught at the Royal Academy of Fine Arts in Ghent, at the Higher Institute of Fine Arts in Antwerp and at the School of Decorative Arts in Paris. In 1994 he joined the Magnum agency. In the triptych Trinity (2007) he deals with power and violence in the world; his Congo (2009) reflects the spirit of the country before its independence; with Moments before the flood (2012) he warns of the dangers of global warming: in the series Cuba, the struggle (2015), exhibited in the Roberto Polo gallery (Brussels), he analyses the slow transition from communism to a more capitalist mentality. He has also witnessed the labour camps of Siberia, daily life in India, Russia before and after the fall of the Wall and juvenile delinquency in Flanders. He has received the Arles Festival Book Award (1990), and the W. Eugene Smith (1990) and Kodak (1992) awards. In 2012 he was elected a member of the Royal Academy of Arts and Sciences of Brussels. His work is exhibited in galleries and museums all over the world.
18 Carl de Keyzer (Belgian, 1958)
Cuba, la lucha, La Habana, 2015, archival pigment print on fine art paper mounted on Dibond, edition 5
CRP329
19 Carl de Keyzer (Belgian, 1958)
Roberto Polo, Brussels, 2016, unique archival pigment print on fine art paper mounted on Dibond
CRP330
20 Deborah Turbeville (American, 1932-2013)
Roberto Polo, New York, 1976, unique silver gelatin print
CRP231
Born in Boston, Massachusetts. At the age of 19 she travelled to New York with the hope of becoming a dancer or actress, but met designer Claire McCardell, with whom she began to collaborate. In 1963 she worked as a fashion editor for the first time at Harper’s Bazaar magazine. She came into contact with photography by chance, but she managed to transform it into avant-garde art; she switched from catwalks and advertising to art galleries. Known for her blurred technique, she surprised with the Bath House series(Vogue, 1975), where the models appear in bathing suits in a public toilet, blurred and languid. In 1978 she published in the same magazine the images of Women in the Woods, the result of a commission for Valentino, a fashion designer for whom she was working, advertising the spring-summer 2012 collection, in Mexico. Brands such as Chanel, Oscar de la Renta, Ungaro, Yamamoto or Comme des Garçons requested her for their campaigns. In 2007 she travelled around Europe, taking snapshots of peculiar people and places.
21 Wladimir Moszowski (Belgian, 1949)
Twilight, 2014, oil on canvas – 1 and 2
CRP368
Born in Genk (Belgium). His work has a marked autobiographical character. Born in Belgium to a Ukrainian father, he experienced the paradox of being a Belgian with a Ukrainian surname, an identity crisis that led him into a cultural conflict. These experiences have led him to create a parallel world. Through therapy and work with the subconscious he gained access to his “Void”: the loss of identity transformed into the “Sublime Void”, a place where a staging of identity, history and fantasy could take place. His paintings create that parallel world, in which he can take on whatever role and form he wants, change his identity, gender or age, represent situations from the past, remake them and create new ones. The search for identity is over; his “Sublime Void” is his identity. His art is a private ritual to protect personal and cultural duality. The ancient wisdom of alchemy thus constitutes his guiding principle in art. His search for his identity and his place as a human being take the form of a complex project of total art, of a personal mythology; alchemical terms such as separatio and coniunctio (separation and union of elements to arrive at a fundamental entity) are translated conceptually and expressively by the artist in texts, drawings and spatial installations. In addition to many group exhibitions since 1972 (Belgium, Germany, Russia, Poland, USA, etc.), since 1979 he has held numerous solo exhibitions in Belgian and Dutch galleries and cultural centres, and carried out four art projects in public spaces between 1993 and 2001.
22 Maria Roosen (Dutch, 1957)
Black Breasts (Glitter), 2017, glass and cord
CRP317
Born in Oisterwijk (Holland). She studied at the Academy of Art and Design in Arnhem and at the Moller Instituut in Tilburg. She creates sculptures, installations, conceptual art and drawings. She represented Holland at the 1995 Venice Biennale. She has received important awards such as the Wilhelminaring for Dutch sculpture (2006) and the Singer Prijs (2009). Her work, the process of which has a marked artisan element (using ceramics, wood, glass, crochet), deals with issues such as growth, fertility, love, friendship, death and the rapid passing of everyday life. Branches, fruits, sunflowers, jars, breasts, seeds and shoes are common motifs in her pieces, which are often showcased outdoors. She regularly works with collaborators, including Nepalese embroiderers and master glassmakers from the Czech Republic. She considers her sculptures to be “tools for feelings”. Her work, included in numerous private collections, has been exhibited in spaces such as the Kunsthal KAdE in Amersfoort, the Croninger Museum and the Boijmans Van Beuningen in Rotterdam.
23 Maria Roosen (Dutch, 1957)
Pink Breasts, 2017, glass and cord
24 Maria Roosen (Dutch, 1957)
Glass Colours, 2014, gold leaf on painted wooden doors
CRP315
25 Lois Lane (American, 1948)
Moon Shadow, 2010, /oil on canvas
CRP331
Born in Philadelphia, Pennsylvania. She was educated in the Philadelphia College of Art and earned a Master of Fine Arts from Yale University in 1971. She worked as Jasper Johns’ assistant. Like Susan Rothenberg or Jennifer Bartlett, she was part of a post-minimalist generation that “sought to return figurative images to painting without falling into realism”, according to critic Deborah Solomon. Her work highlights the poetic use of images, recognisable but mysterious, that sometimes seem to emerge from the unconscious. Fans, birds, plants, animals and clothing are juxtaposed against flat, neutral backgrounds. According to Judith Stein, coordinator of the William Morris Gallery (United Kingdom), “her motifs are archetypal, apparently drawn from rituals, memories and dreams”. In 1978 Lane was one of the protagonists of the exhibition New image painting, at the Whitney Museum of American Art, and in 2016 she appeared with other North American artists (Walter Darby Bannard, Karen Gunderson, Martin Kline, Melissa Kretschmer, Paul Manes, Ed Moses and Larry Poons) in the exhibition Painting after postmodernism. Belgium-USA, curated by Barbara Rose, at the Vanderborght in Brussels, the Episcopal Palace in Malaga and the Reggia di Caserta.
26 Joris Ghekiere (Belgian, 1955-2016)
Sin título, 2016, oil on canvas
CRP325
Born in Kortrijk (Flanders, Belgium). He was awarded the European Prize (Ostende) in 1980 and 1984 and the Jeune Peinture Belge Prize (Brussels) in 1985 and 1986. He completed projects in public spaces in several Belgian cities between 1997 and 2016. His numerous solo and group exhibitions include those held in galleries in Dubai, Brussels, Amsterdam, London and Antwerp (2010), Mechelen (2011), Louvain and Mechelen (2012), Antwerp (2014) and Ghent (2015). In 2016 he presented his drawings in Ostende and participated in Painting after postmodernism. Belgium-USA, curated by Barbara Rose, at the Vanderborght in Brussels, the Episcopal Palace in Malaga and the Reggia di Caserta. In 2015, at the Stedelijk Museum voor Actuele Kunst (SMAK) in Ghent, he presented the exhibition Tomorrow, consisting of paintings, mural paintings and installations with wallpaper. He explored a great diversity of techniques and styles and did not commit to a certain way of doing things, which resulted in works in which the figurative and the abstract influenced each other. He often started the process by placing the canvas on a turntable to create concentric circles using spray paint. A more recent group of his paintings is related to instability. By integrating dislocated spaces and figures of dislocation, he organises his own pictorial world, nourished by the interrelation between visualisation and visualised objects.
27 Jan Vanriet (Belgian, 1948)
L’invitation au voyage, 1988, oil and charcoal on canvas,1988
CRP264
Born in Antwerp (Belgium). He studied at the Royal Academy and combined painting with poetry. In 1968 he took part in a writers’ protest against literary censorship in Belgium. In 1971 he became the youngest member of the editorial board of political magazine De Nieuwe Maand. In 1972 he exhibited for the first time at the Zwarte Panter gallery and later began his collaboration with gallery owner Jan Lens (Lens Fine Arts). His books, published by Manteau, his literary collaborations and cover designs for literary magazine Revolver, alternate with his exhibitions: biennials in Sao Paulo, Venice and Seoul; the Isy Brachot gallery in Brussels and Paris (1082) and others. When Antwerp was the European Capital of Culture (1993), he organised an important exhibition and painted the ceiling of the lobby of the restored Bourla Theatre. The Lippisches Landesmuseum (Detmold) presented Transport (1994-2004), paintings partly inspired by World War II: his parents and other members of his family collaborated in the Resistance against the Nazi invaders, but they were arrested and deported to Mauthausen and Ravensbrück. In 2005 he travelled to Israel to install his triptych Nathan the Wise. In 2010, the Museum of Fine Arts in Antwerp invited him to “close” the museum before its remodelling and organised the retrospective Closing time in dialogue with classical artists such as Rubens, Van Eyck, Titian, Cranach and others; in 2012 the Roberto Polo gallery in Brussels inaugurated Closed doors, his first exhibition there. In 2013 he presented Losing Face, a series on Jewish deportees from Belgium to Auschwitz, shown at the Kazerne Museum in Mechelen and then at the Jewish Museum and Tolerance Centre in Moscow. His work can be found in the National Museum of Gdansk, the British Museum, the Museum of Polish Jewish History (Warsaw), the Walsall New Art Gallery and others.
28 Xavier Noiret-Thomé (French, 1971)
Donky et Spanza (ready-made), 2007-08, galvanised metal, plastic, cement, wood, wheels
CRP306
Born in Charleville-Mezières (France). He lives and works in Brussels. He studied at the Regional School of Fine Arts in Rennes and since 1995 as an artist-in-residence at the Domaine in Kerguéhennec contemporary art centre and at the Royal Academy of Fine Arts in Amsterdam. His work moves between the figurative and the abstract and is characterised by diversity, the mixing of influences and research into genres and styles. In 2001 he was awarded the Belgian Young Painting Prize and in 2005 he began a residency in Villa Medici, after winning an award at the French Academy in Rome. In 2011 he designed the stained glass windows for the church of Saint Thomas in Vaulx-en-Velin (France). His most recent solo exhibitions include La parade des cannibales (Les filles du Calvaire gallery, Paris, 2009); Bloated faces & Pop-up (AD, Athens, 2013); Cosmogony (Museum van Deinze en Leiestreek, Deinze, 2015) and The quiet struggle (Roberto Polo Gallery, Brussels). He participated in Painting after postmodernism. Belgium-USA, in the Vanderborght of Brussels(2016) and the Episcopal Palace of Malaga and the Reggia di Caserta (2017).
29 Bruno Ceccobelli (Italian, 1952)
Giovin Marmo, 2018, marble
CRP293
Born in Montecastello di Vibio (Italy). Painter and sculptor, he lives and works in Todi. He was one of the six founders of the Nuova Scuola Romana or Scuola di San Lorenzo, a movement that arose from Arte Povera and Transavantgarde art in the late 20th century; in the early 80s he settled with other artists in a large abandoned industrial space in the San Lorenzo district of Rome. In 1984 he gave a training course at the National School of Fine Arts in Senegal, which came to be a very important experience for him. In 2003 he published a collection of essays on his desire for a future aesthetic society. In 2009 he held a retrospective on the San Lorenzo group in Rovereto. Over all these years, he has participated in several exhibitions in Italy and abroad.
30 Bruno Ceccobelli (Italian, 1952)
Signora Pietra, 2018, marble
CRP294
31 Jacques-Henri Lartigue (/French, 1894-1986)
Florette, 1944, silver gelatine print
CRP078
Born in Liège (Belgium). He studied drawing at the Academy of Fine Arts in his native city; he graduated in typography and worked as a specialist in technical drawing after World War I. In 1920, he joined the Groupe Moderne d’Art, promoted by Belgian writer and essayist Georges Linze, as was the magazine Anthologie, to spread the new avant-garde trends. He made illustrations and engravings for books, but in the end he would follow the path of abstraction. In 1922 he befriended Czech painter and graphic artist Frantisek Kupka. In 1923 he settled in Lille and joined avant-garde intellectuals such as painter Felix del Marle and writers Émile Donce-Brisy and Charles Rochat, with whom he collaborated in the literature and art magazine Vouloir. Between 1945 and 1958 he lived in Paris; he took part in exhibitions at the Salon des Réalités Nouvelles with his characteristic geometric compositions of circles, spirals and stars. In 1976, his vision was affected following a cataract operation but he continued to paint until the end of his life, using coloured pencils on cardboard. In 1985 a retrospective was held at the Museum of Modern Art in Villeneuve d’Ascq (Lille). His work is conserved at the Royal Museums of Fine Arts of Belgium.
32 Jacques-Henri Lartigue (French, 1894-1986)
Après avoir été tant de fois le spectateur vais-je pouvoir devenir l’acteur, 1918, unique silver gelatine print and ink
CRP077
