Lucien Beyer (1908-1983) - Composition

Artist: Lucien Beyer (1908-1983)
Technique: Oil on canvas
Signature: Hand signed
Lucien BEYER (1908-1983)

Composition

Oil on canvas
Size: 46 x 55 cm
Signed at the bottom

Origin :
- Galerie Yves Jaubert, Paris
- Private collection, Paris

Painting in perfect condition. Without frame

Sold with invoice and certificate of authenticity
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Transposed into plastic terms, the aspects of aquatic plant life, this action of the forces which create the reliefs, the main lines of the landscape, the incessant work which models, digs, are not necessarily linked according to what the appearances of reality tell us. propose. This means that the transposition of a certain natural reality will be very largely conditioned by rhythms which emanate from the writer (the painter) and which link him more intimately to the very actions of this permanent life. Links not only visual, therefore, but one could say, almost carnal: where the spasms of the sun, its innumerable legions, the lakes of the night and the living water of fire are the mirrors of another life more obscure and evil. named which interests the painter through what his gaze records. BEYER's painting is part of this new perception of the ambient world that we tend, too often, to call abstract, because the work is not immediately identifiable. Lucien BEYER was part of this team of the “Témoignage” group whose leader was Marcel MICHAUX and from which only stars emerged, some of the most specific figures of an art that is both contemporary in its ambitions and French to its extent.
René BRETEAU, who was the first to bring together these artists, noted some moving memories of his first meeting with Bertholle, Beyer, Le Moal, Manessier, Etienne Martin, Stahly. I opened a shop on rue des Canettes, at 9. I presented the works of artisans, the works of school friends and my work. It was sad. The son of the potter mayor BEYER came every day to give me his time, we spoke little, he was never talkative, neither was I. He knew some young people and wanted me to meet them; he knew I would love them. . . One evening, we left rue des Canettes for rue du Pot-de-fer. At the bottom of a very moving old courtyard, in a very dilapidated old house, we passed an open door onto a pile of stones, wood and canvases which clung to us everywhere in the dark. . . That night can -be I started to hope and believe again. In the morning I said we were going to show what they had done. I came back to rue des Canettes to take care of it. I emptied my shop and gave them the rails for unforgettable successes. . . Rue des Canettes saw crowds in 1938, rue Bonaparte in 1939. Then, there was war and dispersion. » Later, in addition to his participation in the May salon, at the Surindépendants, BEYER was to exhibit at the Galerie Jeanne BUCHER, at the same time as Reichel, de Staël, Chapoval, Chauvin, Lanskoy, Singier, etc. But, if his activity as an artist is intense, his participation in events or exhibitions, since then, has been almost nil. Also, a retrospective of thirty years of painting is not only justified today, but truly essential to finally measure the extent of a work well situated in the context of its time. Modern painting certainly, for its tempos, its freedoms, its in-depth perception of French life, we would say, for its balance, its learned harmonies, its suavity. We can sometimes think of Hubert Robert, or even better of Claude Gellé in his sober and ample architectural cuts which shape zones of light, distribute plans of aquatic and plant activities, or even of Poussin, at Poussin des enchanted foliage, in front of these superb and generous displays of greenery, sometimes deeply anchored in the folds of the night, sometimes prettily offered to the celebrations of the sun in continuous and broad movements. It is a nervous painting, abundant and rapid, with graphic laces wandering in space; it translates smells, moments, an intense and active perception of sight at its vital stage.
François FABIAN.