![Painting, Sans titre, Claude Viallat](https://media.artsper.com/artwork/2205654_1_s.jpg)
by Claude Viallat
Print : Screen Print
158.9 x 135 x 1.5 cm 62.6 x 53.1 x 0.6 inch
Second NOT DISPLAYED BLUR TEXT
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About the artwork
Type
Numbered and limited to 60 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Print: Screen Print
Dimensions cm • inch
158.9 x 135 x 1.5 cm 62.6 x 53.1 x 0.6 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: France
Shipping protected with insurance.
About the seller
Le Réservoir. • France
Artsper seller since 2020
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![Claude Viallat, Sans titre 9 Claude Viallat, Sans titre 9](https://media.artsper.com/artwork/2229140_1_l.jpg)
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Works in prints from Claude Viallat
Presentation
Claude Viallat, born in Nîmes in 1936, is a contemporary French painter. He trained as an artist at the École des Beaux-Arts in Montpellier from 1955 to 1959, then at the École des Beaux-Arts in Paris in 1962-1963, where he studied in Raymond Legueult's studio.
In 1966, Viallat adopted a process based on the use of prints, marking a radical break with lyrical and geometric abstraction through the technique known as All-over. He repeated a neutral form, neither natural nor geometric, on a free canvas without a stretcher, thus determining the composition of his works. In 1969, he became a founding member of the Supports/Surfaces group, a movement that challenged the traditional conventions of painting.
In addition to the success of his exhibitions in France, notably at the Centre Pompidou in 1982, and abroad, such as at the Venice Biennale in 1988, Claude Viallat has also devoted himself to teaching. He has taught at several art schools, including Nice, Limoges, Marseille and Nîmes (where he was director for many years), and at the École Nationale Supérieure des Beaux-Arts in Paris.
Claude Viallat's sculptures are rooted in contemporary Chinese culture, while at the same time offering a subtle and pertinent understanding of the West. His approach to painting is reminiscent of Chinese calligraphy, where the resulting harmony of form is also a harmony of gesture. To paint, Viallat crouches over his supports, transforming this gesture into genuine creative gymnastics. Viallat's work is to be understood as a single principle with multiple ramifications and necessary internal metamorphoses. In 'Fragments', published in 1976, he wrote: 'The notion of repetition, of series or repetitions, becomes a de facto necessity. [...] A canvas - a piece - alone is nothing; it is the process - a system - that is important.
Now retired, Claude Viallat continues his exploratory research, leaving an indelible mark on the world of contemporary art through his unique and innovative approach to painting.
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