Jean-Michel AtlanL'Egyptienne
1954
Oil on canvas
Signed and dated on the lower right
25.59 x 21.26 in ( 65 x 54 cm )
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Certificat

Certificat de Jacques Elbaz du 10/05/2019

Provenance

Estate Lawrence Alloway, New-York

Private Collection

Galerie Loeve&Co, Paris

Artwork's description

In the 1950s, royal symbolism and themes grew stronger and new abstract figures appeared in Atlan's painting. In this Egyptian work, the artist revives hieroglyphic writing. The shapes or signs are colored by bright colors, pastels and ocher, surrounded by a thick black line, which gives an effect of transparency, lightening the strong composition. At the level of the pictorial material, Atlan creates in this canvas, a grainy and matt effect, resulting from ancient frescoes. This work is full of primitive mysteries, which reminds us of extinct civilizations.
"Atlan's work is done on the depths of the collective unconscious, on the symbolism of magic signs. "

Artist's biography

Jean-Michel Atlan is the painter of enigmas and, in a world that only wants quick answers and not suggestions to be patiently deciphered, his painting does not have the impact that this unique, strange and visionary work should have.

An approach to his universe could be this short extract from one of his poems. Atlan remains a marginal French painter, unclassifiable car. It is impossible to fit him into one of the many pictorial movements of his time in the fifties, so we have to help bring out a certain oblivion which falls on him, because his work still confuses, he wrote: "it is my destiny to abandon the public roads, because when the locusts arrive it is better to pitch his tent elsewhere. And fashion in painting is much more devastating than locusts” (Letter to Japanese friends, November 1959).

His painting borrows more from the magical world of ocean myths, immemorial legends, or Jewish mysticism than from the marked universe of the history of painting. He, the autodidact who came by ricochet to the painting, is attentive to the open, wincing like an animal on the lookout for secret earthquakes and primordial mysteries. He restores them in a knotted painting, framed by intense blacks like stained glass, archaic and thrilling.

A kind of obstinacy of rhythms, almost afflicted, runs through his paintings. His painting, so original in its visions, dense, difficult, can make one think of the magic of Paul Klee, of his symbolic alphabets, but Atlan does not have the tender humor of Klee, nor his geometry of sweet hopscotch of magic labyrinths.
Atlan did not have the spirit of childhood, but that of the dawn of humanity.

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