Jean-Pierre Dolla (1946) - Abstraction paysagère

lot/jean pierre dolla 1946 abstraction paysagere NUmgpAM 633296799 / For sale

lot/jean pierre dolla 1946 abstraction paysagere NUmgpAM 633296799

For saleAuction results

lot/jean pierre dolla 1946 abstraction paysagere NUmgpAM 633296799

For saleAuction results

Bring your auction to collectors worldwide!

Get listed now

Jean-Pierre Dolla (1946) - Abstraction paysagère

Jean-Pierre Dolla (born in 1946) Landscape Abstraction, 1977 Technique: oil on canvas Dimensions: 130 × 97 cm Signature: signed at the bottom right “JP Dolla”; countersigned and dated “JP Dolla 77” on the back Condition: good overall; minor losses, mainly located on the edges Framing: work sold unframed Canvas: original crisscross stretcher frame, stretched canvas. Shipping: shipping costs are high because the canvas is very large. Work shipped from my depot located in Portugal. — A grand abstract composition from 1977, this XXL-format canvas holds together through a rare balance between field of color and gesture. A Mediterranean blue, laid down in broad, visible strokes, covers the entire surface and reveals the weave of the canvas. On this luminous field descends a black mass in an arched form, broadly brushed, almost a threshold or a vault, which organizes the painting without closing it. On the left, a clear vertical, scraped and reworked, opens a slit of light. Two linear signs are inscribed there: a fine, calligraphic gold loop, and an orange-red S, more corporeal, whose line seems to float before the background. A dark line, raised with ochre, crosses the bottom of the painting like an horizon. On the right, isolated in the blue, a brick-red form, flat and irregular, functions as a signal: the only plane truly saturated in the composition, it draws the eye and prevents the black mass from absorbing everything. The material is that of a painter who still thinks with the body: wide brush, revisions, splashes, scrapes, restrained drips. Nothing is decorative. Black is not a flat, blue is not a neutral background, red is not merely an accent. Each element has weight. Dated 1977, the work belongs to the period when Dolla, after the Critics’ Prize of 1971, progressively abandons figuration inherited from 19th-century masters for an abstraction nourished by the 1950s — De Staël for construction by planes, Pollock for gesture. Here, the landscape is no longer described: it is reduced to a light, a mass, a horizon and two signs. This is precisely the transition the artist claims, between the color of reality and the abstraction of forms. The format, 130 × 97 cm, and the crisscross stretcher confirm a canvas conceived for the wall, not for the easel. The double signature, recto and verso dated 77, firmly anchors attribution and year. Artist biography Jean-Pierre Dolla was born in 1946 in Flayosc, Var, into a family of winemakers. He learned to paint en plein air in the garrigue, then trained at the Écoles des Arts Décoratifs in Grenoble and the Beaux-Arts in Paris, in Chapelain-Midy’s atelier. In 1971, at twenty-five, he received the Critics’ Prize: he is, after Bernard Buffet, the youngest painter to earn this distinction. Under contract with a Paris gallery, he refuses to fix his painting. A lawsuit won against his first dealer brings him back to square one. Father of a family, he then works as a mooring pilot in Fos-sur-Mer, handling oil tankers, and reserves painting for his spare time. This contact with a working world steels his material. He gradually abandons figuration for an abstraction where color, gesture and landscape meet. Later, his work splits between abstract landscapes and nude female figures of uncompromising expressionism. Commentary A large 1977 canvas, signed and dated, where the blue of the Var, gestural black, and a single red plane are enough to hold a wall. Work sold unframed; minor edge losses to report, without affecting the composition.

Estimate:£424.12

To the auction