JEAN HÉLION. Press release 17/07/18. Exhibition from September 20th to November10th of alain margaron. galerie

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2 Press release 17/07/18 JEAN HÉLION Exhibition from September 20th to November10th of 2018 Femme assise, 1951, fusain et gouache sur papier, 62 x 47 cm Page précédente : Trombone pour un peintre, 1983, acrylique sur toile, 175 x 250 cm galerie alain margaron 5 rue du Perche Paris amargaron@wanadoo.fr

3 Hélion has been the subject of many retrospectives : Beaubourg, the Modern Art Museum of Paris, Lenbachhaus in Munich, the Picasso Museum in Barcelona in 1984, the Grand Palais during his lifetime in 1970, the Guggenheim in New York, numerous other museums in the United States, Peking, and Shanghai. He was close to most of the major painters of his time, poets like Francis Ponge and John Cage, who performed one of his musical works in his workshop. Like Giacometti, he was constantly dissatisfied with his work. He never gave up an idea before getting as close as possible to succeeding, on canvas and paper of various formats. The importance of his abstract work in the 1930 s has long been recognized, particularly in the United States where he painted and played a major role as mentor and influential theorists of abstraction. He was a consultant to Albert Gallatin, who created the first public collection of modern art in New York. His influence was comparable to that of Marcel Duchamp. Art dealers, collectors and many American institutions haven t forgiven him for his return to figuration which, they think, could erode the theoretical basis of abstract expressionism which they counted on to impose American painting after the war! Now, his figurative work from the 1940 s, often hieratic and architectural is also more of less accepted, at least in Europe.

4 But the final 25 years of Hélion s work remains unappreciated. The works are, however, (which is also the opinion of many artists, historians and art critics as well as curators, in fact almost everyone who has attentively regarded his work) the most expressive, the most full of meaning, and the most interesting for future generations. After being close to great artists older than himself or of the same generation like Torres Garcia in the 1920 s, Mondrian in the 1930 s, Leger, then Giacometti and Balthus in the 1950 s, he was recognized and admired by younger artists, notably Arroyo, Aillaud, Raysse or Telemaque. Many artists owe him much. And his work prefigures a certain form of the new Leipzig school of the 1980 s and 90 s (notably K.H. Hodicke) or as Henry-Claude Cousseau remarked, the development of installations (see the suites d objets : (shoes, hats, etc). Rather than being fragmented, Hélion s work should be regarded as a whole. In 1939 the artist described with astonishing clairvoyance, the totality of his work passed and future. Ten years ago I produced my first graphics freed of natural imagery. I will soon be 35. I still have time to accomplish a major work. For ten years I think that I will look at, admire, and love the life around us: people passing, houses, gardens, shops, workers, and everyday gestures. Then when I have mastered the medium and the experience of people and attitudes, and I feel as at ease with them as I now feel with non-figurative art, I will begin another period that I already have in

5 mind. I will give painting its moral and didactic power. I will attack big scenes which will not only be descriptive, administrative, but significant like Poussin s major work. Hélion never hurried through a stage, always seeking to exhaust each subject, experimenting new pictorial routes, never losing sight of his past and future work. Such a method has seldom been equaled. His work in the last few decades returns to the abstract forms of the 1930 s. Abstraction underlies all his work up to the end. And he adds It s when I paint objects that I best express abstraction, considered here as the soul of the world. This development by a succession of enrichments from one period to the other naturally leads us to consider that last period as a fulfillment. And it is exactly that. He had little sight. I am blind in one eye. I have one tenth in the other. I paint to continue to see clearly, he wrote in Some of his works are awkward. But the most are successful, supported by the exceptional mastery of his painting that he acquired, and the basic conceptual foundation of his method. Deaf at the end of his life, Beethoven created his most radical compositions which would influence the following generations. Hélion makes us think about this. Almost blind he painted and drew his most thought-provoking and distressing works compared to the models of the times. They were assimilated only progressively.

6 Rhythm wins. As is suggested by the orchestras and instruments that he paints, the trombone in particular. He was sensitive to music. He sought harmony: between people and people, and objects, and between objects and people, and objects with their environment, usually urban. His work says that we have our place in the world and that the world is here for us and that is beautiful, that life and love are joyful. A discourse contrasting with the dominant expression of modern art. He is one of the rare artists to have succeeded in the second half of the 20th century to paint history, with monumental works which have a sense and morality. A.M.

7 Sans titre, 1933, aquarelle sur papier marouflé sur toile, 21,5 x 28 cm

8 Sans titre, 1937, encre sur papier, 37,5 x 28 cm

9 Homme assis devant la porte, 1947, crayon, gouache et aquarelle sur papier, 24,5 x 33 cm

10 Le lit, 1948, fusain, aquarelle et gouache sur papier, 50,5 x 65 cm

11 L énuméré des fleurs, 1948, fusain sur papier, 64 x 50 cm

12 Modèle assis, 1953, huile sur toile, 54 x 65 cm

13 Toits, 1961, huile sur toile, 155 x 200 cm

14 Assiettes aux poissons, 1981, encre, aquarelle, gouache et pastels sur papier coloré marouflé sur toile, 74,5 x 109,5 cm

15 Accident le 6 novembre, 1980, acrylique sur toile, 97 x 130 cm

16 Grand théâtre de chaises à Skyros, 1980, acrylique sur toile, 200 x 290 cm

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