The publication examines a pivotal moment in the artist's career and in doing so sheds light on Soulages» ongoing
Outrenoir paintings, the fruits of a highly independent trajectory.
And if that weren't enough, a museum in his honor, Musée Soulages, is opening this month in his hometown of Rodez, France, with an inaugural exhibit of 24 of the artist's signature black
Outrenoir paintings, from 1979 through 2011.
Not exact matches
In 1979, then turning sixty, Pierre Soulages began the
paintings he called
Outrenoir.
Soulages describes his discovery of
Outrenoir as a breakthrough, but he was working in black all along, including
paintings in oil from the 1950s and 1960s on the second of the exhibition's three floors.
A few older works are also on display as points of reference, including a tar
painting on glass from 1948, and a few of his «
outrenoir» («blackbeyond») works — entirely black
paintings with reflective surfaces from the 1980s, for which the artist is best known.
The same year he exhibited at the Pompidou Centre his first «mono pigmentaires»
paintings, based on the reflection of light on the surface states of black, later called «
outrenoir» (the word «
outrenoir» can be translated loosely from French as «beyond black»).
Soulages» fascination with black, the tone with which he had come almost exclusively to mark his canvases, became a practical obsession in 1979 with the creation of his first
outrenoir (beyond black)
paintings.
On view in both Dominique Lévy and Galerie Perrotin's spaces at 909 Madison Avenue, the exhibition introduces fourteen recent
paintings from the artist's ongoing
Outrenoir series alongside seminal works created in the 1950s and 1960s.