Opus 30-1922 (Factory) - Victor Servranckx

Hyperrealism 1967-2012
<exchanging gazes> 5

Hyperrealism. 1967-2012

22 March to 9 June 2013

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Autor:: Tom Blackwell
Título:: Triumph Trumpet (detail)
Fecha:: 1977

Técnica:: Oil on canvas
Medidas:: 180 x 180 cm.
Ubicacion:: Private Collection, New York.
image © Tom Blackwell photo © Louis K. Meisel Gallery, New York

<exchanging gazes> 5: Interior Scenes. Women and Daily Life.

New Display of the Collections

From 26 February to 10 June 2013

Autor:: Nicolas Maes
Título:: The Naughty Drummer
Fecha:: c. 1655

Técnica:: Museo Thyssen-Bornemisza, Madrid. Nr. INV. 241 (1930.56)

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Opus 30-1922 (Factory)

Thyssen-Bornemisza Collection

Autor:: Victor Servranckx
Título:: Opus 30-1922 (Factory)
Fecha:: 1922

Técnica:: Oil on cardboard
Medidas:: 50 x 32 cm
Úbicacion:: Museo Thyssen-Bornemisza, Madrid
Numero de inventario: INV. Nr. 750 (1978.66)

Opus 30-1922 (Factory), Victor Servranckx

More information about this work

In 1922, when Servranckx was beginning to introduce recognizable elements into his painting , he and René Magritte published a programmatic text entitled “L’Art pur: Défense de l’estétique ,” in which both artists acknowledged the importance of the stimulus of “nature”Although. his greatest priority was to produce “pure art”, Servranckx was not adamant about abstract painting , as he believed that the artist could use planes in depth wherever necessary to achieve greater “expression .”

Technically speaking , the Thyssen-Bornemisza Opus 30 evidences the unpolluted perfection to which “L’Art pur” aspired , and in this respect the verso is highly revealing , as it displays a network of horizontals and verticals drawn by the painter which provide an insight into the rigorous method employed in most of his paintings from this period . As in Opus 7 and Opus 10 , also dated in 1922 , the subject matter of Opus 30 is the roofs of some factory buildings . The theme is most likely taken from the industrial architecture of the Brussels suburb where the artist lived , but it also expresses the functionalist values declared by Le Corbusier in his writings published in L’Esprit Nouveau.

Paloma Alarcó

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