λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 65.5 x 54.5cm (25¾ x 21¼ in.) Provenance: Direct from the Cluysenaar family estate, thence by descent John Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture. The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123). Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works. Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde Inspired by the tormented faces depicted by Edvard Munch Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm. This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 65.5 x 54.5cm (25¾ x 21¼ in.) Provenance: Direct from the Cluysenaar family estate, thence by descent John Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture. The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123). Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works. Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde Inspired by the tormented faces depicted by Edvard Munch Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm. This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
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