Artists > Bernard Réquichot

Bernard Réquichot

Artworks

Bernard Réquichot
Le rêve se cultive dans les ténèbres, 1953, huile sur toile, 73 x 93 cm
Bernard Réquichot
Sans titre, 1953, huile sur toile, 73 x 93 cm
Bernard Réquichot
Sans titre, circa 1950, dessin et pastel, 35 x 19 cm
Bernard Réquichot, san stitre, 1956, huile au couteau sur toile, 78 x 60 cm
Sans titre, 1956, huile au couteau sur toile, 78 x 60 cm
Erotisme cineraire, 1953, huile sur toile, 54 x 81 cm
Erotisme cineraire, 1953, huile sur toile, 54 x 81 cm
Monsieur le jour, Madame la nuit en 16 parties, 9:16, encre à la plume sur papier, 65x 50 cm
Monsieur le jour, Madame la nuit en 16 parties, encre à la plume sur papier, 65x 50 cm
Traces graphiques, 1957 ??, encres sur papier marouflé sur toile, 73,4 x 112 cm
Traces graphiques, 1957, encres sur papier marouflé sur toile, 73,4 x 112 cm
Sans titre, 1960, encrae à la plume sur carton, 48 x 64 cm
Sans titre, 1960, encre à la plume sur carton, 48 x 64 cm
Sans titre, 1956, huile au couteau sur toile, 73 x 100 cm
Sans titre, 1956, huile au couteau sur toile, 73 x 100 cm
Sans titre, 1960, encre au crayon à bille sur papier, 37 x 55 cm
Sans titre, 1960, encre au crayon à bille sur papier, 37 x 55 cm
Sans titre, 1961, fragments d'illustartions de revues découpés et collés sur papier marouflé avec rehauts de peinture, 86 x 141 cm
Sans titre, 1961, fragments d'illustartions de revues découpés et collés sur papier marouflé avec rehauts de peinture, 86 x 141 cm
Bernard Réquichot
Bernard Réquichot
Bernard Réquichot
Bernard Réquichot, san stitre, 1956, huile au couteau sur toile, 78 x 60 cm
Erotisme cineraire, 1953, huile sur toile, 54 x 81 cm
Monsieur le jour, Madame la nuit en 16 parties, 9:16, encre à la plume sur papier, 65x 50 cm
Traces graphiques, 1957 ??, encres sur papier marouflé sur toile, 73,4 x 112 cm
Sans titre, 1960, encrae à la plume sur carton, 48 x 64 cm
Sans titre, 1956, huile au couteau sur toile, 73 x 100 cm
Sans titre, 1960, encre au crayon à bille sur papier, 37 x 55 cm
Sans titre, 1961, fragments d'illustartions de revues découpés et collés sur papier marouflé avec rehauts de peinture, 86 x 141 cm

Exhibitions(principal)

Personal

« Galerie Daniel Cordier », Galerie Daniel Cordier,

« Château de Tanlay », ,

« Musée national d’art moderne », Centre Pompidou, Paris

« Abbaye Sainte Croix », Abbaye Sainte Croix, Sables d’Olonne

Collective

Biographie

1929 Born on October 1st in Asnières sur Vègre.

1941 Starts painting, producing a series inspired by religion, dominated by the theme of Christ.

1945 - 1947 Joins the Atelier d’Art Sacré of the rue de Fürstenberg, then the Atelier Corlin, also in Paris.

1947 - 1951 Attends various art schools : the Académie Charpentier in 1947 and 1948, where he meets the young painter Jean Criton, the Métiers d’Art in 1949, and the Beaux-Arts in 1950. He also goes frequently to the Grande Chaumière to draw, and it is there he meets Daniel Cordier in 1951. Paints a series of fat ladies and produces soft-lead pencil and charcoal drawings (nudes, fabric folds, shoes, skulls, poultry). During this period he also starts to write.

1951 -1954 After meeting Jacques Villon, his painting veers towards abstraction. From 1953 to 1956, he takes part in restoring the mural paintings of the Romanesque church of Asnières-sur-Vègre with Miss Pré, the museum curator.

1952 Paints his first Cubist-inspired studies of steers.

1955 In March, he has his first solo exhibition at the Lucien Durand gallery in Paris. His preferred technique is oil painting on canvas, cardboard or paper: scraping thick drips of paint, the collage of painted bits of canvas, knife painting, paint projection. Rather than brushes, he sometimes uses a coal shovel or a butcher’s knife dipped in paint. Réquichot also produces his first boxes, reliquaries for the future filled with earth, bones and aggregates of painted canvasses.

1956 First spiral drawing, in ink pen on paper. He integrates the collage of bits of paper in some oil paintings.

1957 - 1958 A highly prolific period, using a variety of techniques. Réquichot continues his series of spiral drawing in ink, with gouache highlights ; he also continues his reliquary series, including one in a large format (reliquary with steer skull). The series “La Guerre des nerfs” brings together all three techniques: spirals, painting and papiers choisis. During this period, according to Daniel Cordier, “he made a few large paintings, whose white background was scratched with almost imperceptible black traces. He used an original technique: the vibrations of a knife sweeping the surface of the canvas.”

1957 In March, solo exhibition at the Daniel Cordier gallery in Paris. The spiral becomes systematic ; it sometimes ends with illegible printed writing. He develops his collage technique, which he calls “papiers choisis”: bits of illustrations cut out or torn from cooking recipe or animal life magazines.

1958 Meets the painter Dado at the Daniel Cordier gallery.

1959 Discovers polystyrene rings which, when assembled by dissolving them, enable him to express his spiral drawings in space. He finds these polystyrene curtain rings at Le Printemps or the BHV with the artist Yolande Fièvre. On Sundays, he often visits Dado in Courcelles-Les-Gisors and together, they fetch bones at the slaughterhouse. “The slaughterhouse, that was the high point of our friendship.” (Dado) He produces new reliquaries filled with various objects (shoes, roots, snail shells, painted and folded canvasses). Réquichot stays for a few months in a clinic in Meudon-Bellevue following a nervous breakdown.

1960 First painted canvas, glued on paper and shaped, to be suspended in space. Réquichot’s spiral drawings gradually take on a new form : spirals coil upon themselves and “animate the surface through a reading that is indifferently and alternately in relief or counter-relief. This uncertainty gives his figures an energy that invigorates their compact center, from which haunting gazes spring.” (Daniel Cordier). Réquichot steps up his writing, with several poems.

1961 Papiers choisis shrines: Réquichot glues bits of pictures from magazines to make reliefs in a box. He completes his ring sculptures, only three of which have been listed. In November, he starts on a series of seven letters, in fake writing, each of which bears a title. They are meant to present his upcoming exhibition at the Daniel Cordier gallery. On the night of December 4th 1961, forty-eight hours before the private view of his exhibition at the Daniel Cordier gallery, Bernard Réquichot jumps from the window of his studio and home.

For Réquichot, who died in 1961 at the age of 32, writing goes along with painting, making collages, assembling, while remaining genuinely autonomous. His writings are not mere comments or considerations on his art.

Neither are they manifestoes meant to assert his place in the art world, to situate his practice in relation with that of his contemporaries. His writing took on a variety of forms and unfolded at the same time as his artistic activity: an unfinished novel, Faustus, poems, an undated journal and scattered texts.

Did the urge or necessity not to settle for one medium in favor of the other, to maintain balance and genuine autonomy in writing and painting, express the artist’s inability to choose, leading him to veer towards one or the other according to his needs at the time? Or did it express his lesser interest in the ultimate form of his work than in the energy invested and the aims to be achieved?
His work as an artist has earned him a prominent place in the abstract art of the 50s. It can be used as a starting point to question the articulation between painting and writing: beyond his own achievements, Réquichot’s research leads us to question the work of other artists/writers who were his contemporaries, who might have crossed paths with him and influenced him :

Michaux, Artaud, Unica Zürn, Christian Dotremont, Joan Brossa... But also a generation of younger artists who also played on a double, literary and artistic practice: Dominique Angel, Alain Fleisher, Titus Carmel, Henri Cueco, Paul Armand-Gette, Jean le Gac, Garouste, Valérie Mrejen, Edouard Levé...

Gestural, spontaneous and sometimes abrupt, Réquichot’s depiction of the world is all the more vibrant for it. His spiders, traces of graphite on paper, seem as though they were coming alive with an animal spirit, the spirit of the world.

Bernard Réquichot is shown at the Galerie Alain Margaron since 1999.