After 1945, the explosion of diversity reaches paroxysm. Cuts, splashes and fingerprints. Of course, it continues to manifest the admirers of the painting in the old sense of the word, with all that is in the technical and crafts field. But even a Matisse, born a lot before 1900, escape the usual definition. The past seventy years, ill, is often immobilized in bed and paint with the knife. From the simple and brightly colored sheets in colors of GuaSa, cuts shapes that then catch them in needles or sticks them on a white support that makes the Fund Office. It also has an explanation: "[This technique] literally awakens a passion of unstavit, because, leading to my total renewal, I found, I think one of the main aspiration and plastic settings of our age.
I'm convinced that I have never had a balance that at the time I realized these cuts. I know that later people will realize that what they are doing today is in harmony with the future. "After the Second World War, even in the United States, the consequences of the innovations sketched by Matisse is for an artist the starting point for inventing the technique called oripping • On the canvas placed on foot and around which it rotates, Jackson Pollock is leaving splashes or drops of color using containers, sticks, improvised tools, thus obtaining a network of randomly intersected lines and covered by stains. For this, it uses "artistic" colors, that is, traditional, but also metallized pigments. The hand no longer intervenes in a tangible manner, the opera is born from the choreography of the body that dances around a surface. In France, in the early years 1960, Yves Klein uses his turn a completely unprecedented technique in the anthropometry series (see page leaving the canvas or paper fingerprints in advance painted in blue. Contemporary with Pollock, Dubuffet takes other freedoms to tradition.
Prepare a thick paste, it shows it, an incision, a scratch and gives it relief. He prefigures many further experiences, including those of Spanish Antoni Tapies, one of the most spectacular! Artists. The emergence of new products, glues, complex primers, chemical compounds, invite inconceivable plastic experiences until then. Polymers, acrylic binders, foams: The painter's workshop resembles a laboratory. In Tapies, traditional tools are much less numerous than those that allow to throw jets, to vapotist, to melt, cut with the saw and assemble, etc. But in France, in Pierre Soulages's workshop, for example, brushes are replaced with single tools, made by the artist: spatula.
RADETE, comb. Some have no names, like those that consist of a wooden handle and a thick rubber tongue of variable size, which the painter is used to relieve or level the surfaces, ranging the direction and amplitude of the gesture. The inventory of the processes could be infinite, so it has become pictorial practice, in the second half of the 20th century, by diverse and problematic. No method claims to master, but every artist develops his own manner in the United States, Willem de Kooning strives the forms by removing the fresh color with a motothed journal. Robert Motherwell and Franz Kline, in the same country, Wols and Jean Degottex, in France, explore the visual and rhythmic resources of the boats and those of the gesture designed on canvas. After he had indulged her, a Frenchman of Hungarian origin. Simon Heltai, a dive in the baths of Color, in a rather painting operation than painting; After drying, the strings are removed, and the tones appear divided and distributed according to the remaining folded folds.
This manner, where they give their hands and hazard, also influences in France in the early 1970s on Jean-Pierre Pincemin and Louis Cane, two members of the Surfacts Group Surfaces. Close to this move, Christian Jaccard and Frantois Rouan follow other horses. The first uses artifiers and fire to alter colors and draw closed lines due to flame. The second wipes paper or canvas tables and looking alternate and overlapping the reasons what can be obtained from their repeat and interruption.
* Note: Nadeije Laneyrie day -Painting from the secrets of workshops, Rao Publishing House, 2005