Roger Bissière

Roger Bissière , painter French of the news School of Paris born in 1886 and died in 1964, is elder generation of the artists who reveal in the Années 1950 nonfigurative painting .

Biography

Roger Bissière is born on September 22nd, 1886 with Villeréal (Lot-et-Garonne), where his/her father is notary. As from 1898 it is internal with the college of Cahors. His/her settling father with Bordeaux in 1902, it continues there his studies with the Lycée Michel-Montaigne. Having started to paint in 1903, he prefers not to continue studies of right, and embarks in 1904 for Algiers where he works nearly one year near the painter Orientaliste Rochegrosse. Returned in 1905 he attends the School of the Art schools of Bordeaux then, of 1909 to 1911, that of Paris, travelling to Rome and London. As from 1912 and until 1919 he writes articles on painting in several newspapers, in particular the Parisian weekly magazine “the Opinion”.

Exempted since 1907 then in 1914, Roger Bissière engages but is quickly reformed. As from 1914 it takes part in collective demonstrations (Salon of the independent artists, Salon of autumn and binds in the following years with André Lhote, Georges Braque, Juan Gris. It publishes in 1920 a book on Braque, of the forewords (Zadkine) and of the articles on Seurat, Ingres and Corot in the review “the new Spirit” created by Le Corbusier and Ozenfant. Bissière presents in 1921 his first personal exposure to the gallery Paul Rosenberg. In 1923 Ranson France requires of him to be a professor of painting and sketch to the Académie Ranson where it will open in 1934 a workshop of Fresque which will attend in particular Alexandre Garbell, Jean Moal and Alfred Manessier. Having founded an association with his/her friends Louis Latapie, Directs and Ozenfant, it makes build with the Square of Montsouris, with the assistance of Auguste Perret, a house whose it conceives the plans. In 1926 is born his/her son Marc-Antoine whom it calls Loutre and which will paint under the name of Louttre B..

During the International exhibition of arts and techniques of Paris Bissière takes part in 1937 in the decoration of various houses of which that of the Railroads, assisted by Bertholle, Moal and Manesier, after having exposed with them for the first demonstration in Lyon, the previous year, of the group “Témoignage”. It leaves Paris in 1939 to settle in the old presbytery which it inherited his mother in 1902, in Boissiérettes in the Lot. It ceases there during the war painting, practitioner during the following decade of adventurous activities, " fallen through culture of the lavande" 000 feet; " the romantic breeding of the sheep entrusted to the guard of a former student, Charlotte Henschel, survivor of the Nazism and Ranson academy; the forestry company with a companion named Manessier; the breeding of the cow (17 heads and not a drop of milk); the transformation of a Alfa Romeo of race into gas generator; furnaces with charcoal; the déboisage with the jeep… " (Walter Lewino, in “Arts”, Paris, 9 December 15th, 1984; Bissière , Museum of Modern art of the Town of Paris, 1986, p. 46).

On the initiative in 1943 of Manessier, Bissière exposes in 1944 to the Galerie of France of new pastels carried out during the winter, at the sides of works of Bertholle, Moal, Manessier, Gustave Singier, Louttre B. and Etienne Martin (foreword of Gaston Diehl). It composes the following year of hangings with pieces of fabrics, rags or curtains, old clothing or worn socks, that sews and embroiders its wife “Foams”, and returns from there to painting. My youth started at sixty years , will entrust it later (in Bissière , Musée of Modern art of the Town of Paris, 1986, p. 39). Its tapestries and fabrics are exposed to the gallery Rene Drouin in 1947. Operated with Nantes into 1950 of a double glaucome, Bissière carries out a series of small tables to painting with the egg, of which some around the Ile de Ré where it passes its convalescence. Its Images without title is presented in 1951 per Jean-François Jaeger to the Galerie Jeanne Bucher which thereafter will expose its work regularly.

In 1952 Roger Bissière receives the National Grand Prix of Arts. He returns to the oil-base paint in 1954 and illustrates from there the “Canticle with our brother Sun” of Saint François d' Assise, engraved by Marcel Fiorini. - 1954, its young fellow-member [[Serge Hélias] becomes its disciple.]- In 1955 Bissière is invited to IIe Biennale of Sao Paulo and exposes to the “Dokumenta” of Cassel. It realizes into 1958 of the Vitraux for the churches of Develier and Cornol in Suisse, while an itinerant retrospective exposure is devoted to him in the German and Dutch museums, and creates into 1960 the models of two canopies for the cathedral of Metz. In 1964, after the exposure of the small panels of the Newspaper in images 1962-1964 which it paints after the death of “Foam” and the presentation of its fabrics to the French house of the Biennale de Venise, where it receives a special mention of honor, which will not be allotted any more thereafter, “because of the historical and artistic importance of its work”, Bissière dies on December 2nd with Boissiérettes.

Important retrospectives of the work of Bissière were organized in the twenty last years, in particular in France, in Paris and in province, Germany and in the Netherlands. Its works are present in a very great number of largest French and European museums. Bissière belongs to the painters brought together for the exposure " Lyrical flight, Paris 1945-1956" presented to the Museum of Luxembourg (Senate), April-August 2006 ( Great composition, 1947; Without title , 1955; Mexican Landscape of the National museum of History and Art of Luxembourg; Green and white (Composition 232) , 1955): {{ISBN|8876246797}}.

Quotations

Ten years of loneliness and silence it is long.

During ten years I had as peaceful confidants only myself and some cows which I carried out to feed along the meadows and of wood, under the sun and the clouds. (...)

I forgot many useless things. I learned some from essential.

Peut-être I learned how to look in myself.

the animals, the trees, the wind and the sun, which loved so much the little brother of Base, all that took for me a new direction, its true direction.

a deep sense, dense and heavy.

I felt saturated with a world of images and colors of which it was absolutely necessary to become lighter. (...)

And if some, having looked at are delayed and feel sourdre some sympathy to the man who I am, I will have gained.

If I lost and so no one does not tighten me the hand, I will give mine in mrs close, more deeply.

Bissière, do not make You the Marie of it,… ( Bissière , Paris, Drouin Gallery, 1947 (facsimile); Bissière , Paris, Museum of Decorative Arts, 1966 (Np); Roger Bissière , Paris, Museum of Modern art of the Town of Paris, 1986, p. 58 and 64; Bissière, do not make You the Marie, Ecrits of them on painting 1945-1964 , Cognac, time that it makes, 1994, pp. 30-31 and 35)

" I had well badly to express me since you concluded that I made a point of being an abstract painter. However I did not cease repeating that I was nonfigurative, I absolutely refused to be abstract. For me a table is valid only if it has an human value, if it suggests something, and if it reflects the world in which I live. The landscape which surrounds me, sky under which I evolve/move, the light of the evening or the morning. All that I do not seek to imitate it, but unconsciously I transpose it and restored in all that I do. (...) For me an abstract table is a missed table, any life in is absent, it is as those which empaillent the monde."

Bissière, letter with Georges Boudaille, in “the French Letters”, 6 January 12th, 1966; Bissière , Paris, Museum of Modern art, 1986 (p. 15)

Selective bibliography

Max-pol. Fouchet, Bissière, the Museum of Pocket, Paris, Georges Fall editor, 1955

Bissière, Newspaper in images , introduction of François Mathey, Paris, Editions Hermann, 1964

Bissière”, forewords of Gaetan Picon and François Mathey, texts in particular of Alexandre Vialatte, Max-pol. Fouchet, Jean Cassou, Jacques Lassaigne, Jean-François Jaeger, Paris, Museum of decorative Arts, 1966
Daniel Abadie, Bissière , Neuchâtel, Ides Editions and Calends, 1986
Roger Bissière, 1886-1964 , Introduction of Guy Weelen, foreword of Patrick Nouëne, Paris, Museum of modern art of the Town of Paris, 1986; Museums of the Art schools of Dijon and Calais, 1987
Bissière, Seasons (21 drawings), introduction of Robert Hammer, Paris, Carries South, 1987
Bissière , Cajarc, Maison of Arts Georges Pompidou, 1990
Lydia Harambourg, Roger Bissière , in the School of Paris 1945-1965, Dictionnaire of the painters , Neuchâtel, Ides and Calendes, 1993.
Bissière, do not make You the Marie, Ecrits of them on painting 1945-1964 , texts joined together and presented by Baptist-Marrey, Cognac, time that it makes, 1994
Bissière 1947 , museum of the Holy-Cross Abbey, Sand-with Olonne, 1997
Bissière, the dream of a savage which would have very learned , Antibes, Picasso museum, Château Grimaldi, 1999
Bissière , texts of Serge Lemoine, Walter Lewino and Jean-François Jaeger, Neuchâtel, Editions Ides and Calendes, 2000
Bissière, catalogs reasoned listed and authenticated works, by Isabelle Bissière, Virginia Duval and Serge Lemoine; volume 1, work of 1910 to 1939; volume 2, work of 1943 to 1964; volume 3, texts and documents; Neuchâtel, Ides Editions and Calendes, 2001
Bissière, “Think of painting” , Colmar, Musée of Unterlinden, 2004

Internal bond

nonfigurative Painting

External bonds

Site devoted to Bissière
Bissière in the National museums (Joconde bases)
Collection of the National museum of modern art Center Georges-Pompidou (to seek: Bissière)
28 Photographs of the site of the Meeting of the national museums
the Young girl at the fish , 1920, Museum of Bordeaux
Without title , 1955, Touches gallery, London
Site gallery Jeanne-To rough-hew it (detailed biography and bibliography, exposures and catalogs)
Roger Bissière in Artcyclopedia

Random links: