![]() ![]() Forbidden for any herb, the protection of the disease is entrusted to Bordeaux mash and to the weighted use of copper and zinc. In vineyards, biodynamic principles are applied strictly. The vineyard hectares are 12 divided into 12 parcels, including 3 Grand Cru: Steinert in Pfaffenheim, Vorbourg and Rouffach Eichberg in the village of Eguisheim. Pioneer of natural wine wines, Pierre Frick has embraced biological philosophy in 1970 to move to biodynamics in 198. The Frick family cultivates vineyards in these areas for generations, and today with the last one, Pierre has come to Pierre, and his wife, Chantal, and his son, Thomas, assist in conducting the work. Wine to be drunk immediately but left a few years in the cellar can give great emotions.Įxcellent wine to pair with first courses of fish, savory pies, to try with an octopus in earthenware.ĭomaine Pierre Frick is located in Pfaffenheim, a small village in southern Alsace, just a few kilometers from Colmar. It is advisable to taste it at a temperature of 10/12☌. Whole cluster fermentation with one week maceration. ![]() ![]() Hantaï will also be the subject of an essay by Baldassari in the Spring 2022 issue of Gagosian Quarterly. A retrospective of Hantaï’s work is currently being organized for Fondation Louis Vuitton, Paris.Deux Couleurs Blanc by Yannick Meckert is a very pleasant wine obtained from a blend of Auxerrois and Sylvaner. Les blancs de la couleur, la couleur du blanc is accompanied by a multipart publication housed in a box, comprising a booklet featuring an essay and chronology by Anne Baldassari, individual cards devoted to each artwork, and a folded poster. Hantaï continued to work largely in isolation until his death in 2008. Following this extended isolation, he began altering a set of pliage paintings that he had shown in 1981 at CAPC musée d’art contemporain de Bordeaux, photographing them at an angle and producing black-and-white silkscreen prints from the distorted images. Months later, however, he withdrew from the public eye, declining to exhibit any new work until 1998. He gained increasing recognition over the next two decades and was invited to represent France at the 1982 Biennale di Venezia. For Hantaï, pliage acts and thinks painting.īorn in Bia, Hungary, Hantaï moved to Paris in 1948 and joined André Breton’s circle of Surrealists, then broke with the group in 1955 after a transformative encounter with the work of Jackson Pollock. Thus the loose grids of the Tabulas present sets of variations that embody the conjunction of intentional and incidental mark making. The Tabulas series (1972––82) also features such designs but regulates them through the systematicity of the works’ allover folding and monochrome coloration. The series Études (1968–71) and Blancs (1973–74) illustrate Hantaï’s efforts to expand the white of the canvas with the addition of abstract figures generated by the folding process. The technique dominated his output from this point on, and Les blancs de la couleur, la couleur du blanc features examples from several series executed according to its strictures. Hantaï began making pliage paintings in 1960, conceiving of the process as a synthesis of Surrealist automatism and the allover gestures of Abstract Expressionism. These powerful hues had a unique significance for Hantaï, representing a link to the clothing worn by his mother on feast days-a foundational image from childhood-and reflecting his study of Paul Cezanne, Henri Matisse, and Goethe’s Theory of Colors (1810). In contrast to LES NOIRS DU BLANC, LES BLANCS DU NOIR, also curated by Baldassari, an exhibition of black-and-white paintings and prints dating from 1951 to 1997 that was presented at Gagosian Le Bourget in 2019–20, the current selection focuses on work distinguished by color combinations of primary and secondary colors, including blue and orange, yellow and purple, and red and green. ![]() Les blancs de la couleur, la couleur du blanc-the title alludes to Hantaï’s use of white in several series of works-features paintings made using the artist’s pliage (folding) technique, in which a canvas is crumpled and knotted, painted over, and then spread out to reveal a pattern of alternations between pigment and ground. Many of the works in the exhibition, which occupies both floors of the gallery at 980 Madison Avenue, have not been previously exhibited. Les blancs de la couleur, la couleur du blanc, curated by Anne Baldassari, is Gagosian’s second solo exhibition of Hantaï’s work since the gallery announced its representation of the artist’s estate in 2019, and occurs in the centenary year of his birth. Gagosian is pleased to present an exhibition of eighteen paintings by Simon Hantaï (1922–2008). It is, precisely, the sign and symbol of another infinity. Light is necessarily the foundation of the world on the material, absolute level. The function of color is essentially linked to light. ![]()
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