Louis Nallard

Louis Nallard , born in 1918, is a nonfigurative painter French of the news Ecole of Paris.

Biography

Louis Nallard, born with Algiers in 1918, his carried mother a few months later by the Spanish influenza, is high by his large maternal parents, teachers, and starts as of the elementary school to practice the drawing and the watercolour. Far from the Mediterranean it joined each summer the Dombes in which the family in her father is originating: “Perhaps a good part of my work it is made landscapes of my childhood, to which I never ceased referring to me”, known as Nallard with Pierre Descargues. It is at sixteen years that it presents in 1934 to the gallery of Thomas Rouault, nephew of the painter, his first exposure of portraits and landscapes (watercolours and gouaches), at nineteen years the second.

Releasing itself from his military obligations, Louis Nallard commits himself in 1936 in aviation: the war occurring, it remains, in a more or less continuous way, lasting seven years under the uniform. Demobilized one moment it binds with Marcel Bouqueton with which he carries out in 1940 a new exposure, whose account Max-pol. Fouchet returns, then frequent in 1941 the Art schools of Algiers. It thus becomes acquainted with Marcel Fiorini, Bernard Lavergne which will be used to him later as introducer to the Gallery Jeanne Bucher and of Maria Manton with which it Marie in 1944. In 1946 it binds with the painter Georges Ladrey impassioned like him by the work of Pierre Bonnard.

In 1947 Louis Nallard and Maria Manton leave Algiers and settle in the Paris region. They discover the work of Bissière, are not long in sharing its friendship and that of Chastel. As of 1948 Nallard takes part in collective exposures, the Salon of New Realities, in the Salon of May, and ties contacts with the gallery Jeanne Bucher whose presentations accommodate its paintings starting from 1948.

Quickly established in Paris even, Louis Nallard and Maria Manton assume starting from 1950, for three years, the management of the hotel of the Old man-Dovecote, near Saint-Germain-of-Meadows which attend of many artists after their spectacle: among the tenants, Serge Poliakoff, which earns its living while playing of the balalaïka in the Russian restaurants, Sydney Bechet, Robert Hossein, the sculptor César, the writer Kateb Yacine. In 1953 Nallard and Maria Manton remain in Algiers where the poet Jean Sénac exposes them, at the sides in particular Baya, Bouqueton and Jean de Maisonseul. With Oran the gallery “Hill” of Robert Martin joins together the same year paintings of Nallard and those of Bouqueton.

The Gallery Jeanne Bucher carries out in 1957 its first exposure of Nallard and will not cease any more presenting its work regularly. The following year Nallard is one of the “Sixteen painters of the young school of Paris” which foreword Hubert June in the collection of the “Museum of Pocket”. With the length of the Years 1950 Nallard and Maria Manton become acquainted with the Algerian painters, in particular Guermaz, Issiakhem, Khadda, bind particularly with Benanteur and Aksouh. For the summer they find the Mediterranean with Peñiscola, village of the Spanish coast which also Bouqueton or Sénac attends.

Thereafter Nallard and Maria Manton, from the associative point of view, direct in the Années 1960 “the Gallery”, that they open to the young painters, and lengthily animate the Salon of New Realities. While its exposures follow one another in France and abroad, Louis Nallard joined in 1975 the Ecole of the Art schools of Paris where he teaches until in 1983. It is represented in many museums, in particular in Paris (National museum of Modern art and Museum of Modern art of the Town of Paris, Grenoble, at the Funds Regional of Contemporary art of Auvergne, with Algiers, Amsterdam, Budapest, Montreal, Oslo and Turin.

In 2006 Nallard belongs to the painters brought together for the exposure " Lyrical flight, Paris 1945-1956" presented to the Museum of Luxembourg of the Senate ( Spain I and Spain II , 1955): {{ISBN|8876246797}}.

Work

In the fabrics of Nallard the facets of the things, tablecloth and pedestal table, lamp-shade, cut and fruits, are désarticulent since 1945 on the autonomous surfaces. The poet Jean Sénac then places Nallard “at the first rank” of the “Young pictorial tendencies”, renting it to try “a synthesis of the chromatic vehemence of the fauvism and solid structures of the cubism”. Being diverted the following year, in fabrics from now on Abstrait is, of any readable evocation of reality, it is the reality of its language which Nallard undertakes, in a second time of its work, to recognize. During eight years it will explore the means and the effects of them, the capacity which it expresses to open of the entirely new visions. The silhouettes of the objects or the beings implosent, any dimension landscape designer disappears from highly coloured complex surfaces whose enigmatic articulation generates a kind of climate Surréaliste. Whereas dominates academic the Ecole of Algiers which developed, tinted orientalism, in margin of the changes which have occurred in painting since the beginning of the century, its fabrics are accommodated with suspicion. “For some time, Louis Nallard is the enfant terrible of painting in Algiers”, the city sparing “neither the blows of censer to him nor the blows of claw”, observes Sénac. Installed in continuous France Louis Nallard to build visions voluntarily withdrawn from any spontaneous significant experiment. In one more ascetic period, with a view to balance of surfaces, the exactitude of the limits which encircle them, the economy of the color reduced to the ranges of the grounds and the gray, Nallard refuses to begin for as much in a purely geometrical abstraction. A few years later it gives up giving titles to its paintings, whose broad angular and curved layouts, are côtoient and cross under half extinct lights.

“The abstraction had cooled me a little”, entrusts Nallard. Undoubtedly tests it the feeling then to be gone until the section of the road in which it engaged. Around 1953 its painting knows a sensitive junction indeed. While being based on the possibilities, neglected at the time of its long tour in the parallel world of the forms, of its preliminary experiment of the color, Nallard achieves the first two moments synthesis of its advance. While the grounds rougeoyantes of its fabrics illuminate given up intensities, the gesture reconquers its promptness there, and it is not chance if Nallard entrusts to have been one moment interested by the libertarian options of Cobra. Forms and colors half-open again on another thing that themselves, but the object which it aims by building it from now on is extended to the presence of visible entire. In an new approach Nallard invents a new feeling of the Nature which it will not cease any more looking further into, a dimension indistinctly landscape designer remaining the major axis of its absence of representation.

At the beginning of the Années 1960 Louis Nallard unties the fibers bruissantes its fabrics, diversifies in a large range the range of their lights, more iridescent with deafest. Faithful to its red clay and ocher, dark ground harmonies, it laminates the colors in thickness, perforates them in transparencies, mixes them in insensitive passages. A discrete graphics accompanies them, underlines their contours or, more highly-strung person, revives edges, hollow anfractuosities. With the length of the grumeaux ones or crusts luisantes of the coloured matter, reliefs which raise the surface layers or of the fine beaches of the crushed colors, vision made there constant palpation. Kneaded same substance emerge there as from 1966 and for nearly ten years of the forms allusivement anthropomorphic. Most frequently figures and objects are associated, mixing the ones with the others in the same space.

“I left this period because I felt that I was locked up in these figures, that I would have said all soon, that I did not have any more an opening, whereas in the landscape, I had to say still much”, known as Nallard. On the end of the Années 1970 it takes again, through new landscapes, a voyage which falls under painting as much as in the world, Spain always, Egypt, or the Cappadoce that the titles of its fabrics evoke. The light is cleared up, reappear at the horizons of its fabrics of indistinct distances. Since the deep grounds which remained its privileged place Nallard ventures until the limits of water, estuaries or ponds. In powerful symphonies the gray and silts light of all the colors. Nallard inserted there the glance in the slowness of the geological eras that the man côtoie without being able to take part in it. With the length of the vast compositions which mark in the Années 1980 a new development of its art, the forms agglomerate in a more compact fabric of barks or stone drains, which the meanders of graphics traverse like bits of a writing to spell. Beyond the diversity of appearances the painting of Nallard seems to try to seize the continued flow which involves them in appearing it. Undoubtedly this is this very significant interrogation of the reality which gives its readily silent character to its land celebrations. In its innocent inhumanity, in margin of any joy like whole drama, forever indifferent, enigmatic it would be improbable Paysage to be it which with the glance the painting of Nallard would discover.

Selective Biliography

Nallard , foreword of Edy de Wilde, Jeanne Gallery To rough-hew, Paris, 1961.
Nallard , Galleri Haaken, Oslo, 1962.
Nallard , text of Henning Gran, Galleri Haaken, Oslo, 1966.
Nallard , foreword of Hans Redeker, Gallery of Boër, Amsterdam, 1972.
Jean-Dominique Rey, Louis Nallard , in " Cimaise" , n°115-116, Paris, 1974.
Nallard , Galleri Haaken, Oslo, 1979.
Nallard , foreword of Jean-François Jaeger '" Small geometry pictorial or treated interior observation of a voyahor immobile"), texts of Roger van Gindertael and Edy de Wilde, Jeanne Gallery To rough-hew, Paris, 1985.
Nallard, Between light and memory , texts of Youri and Jean-François Jaeger, Jeanne Gallery To rough-hew, Paris, 1988.
Louis Nallard , Jeanne Gallery To rough-hew, Paris, 1990.
Louis Nallard , Jeanne Gallery To rough-hew, Paris, 1991.
Nallard , Galleri Haaken, Oslo, 1992.
Lydia Harambourg, the School of Paris, 1945-1965, Dictionary of the painters , Ides and Calendes, Neuchâtel, 1993.
Pierre Descargues, Nallard , Ides Editions and Calendes, Neuchâtel, 1999.
Nallard , file, “Algeria Literature/Action” n° 41-42, Paris, May-June 2000.
Jean Sénac, Faces of Algeria, Glances on art , Paris-Méditerrannée/EDIF 2000, Paris/Algiers, 2002.
Louis Nallard, Maria Manton, painting and the life, Dialogs with Djilali Kadid , " Algeria Literature/Action" , special issue, Paris, 2004.

Internal bond

External bonds

Site of the Jeanne Gallery To rough-hew (detailed biography and bibliography, exposures and catalogs)

the personal testimony of Louis Nallard

Random links: