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©
VEGAP, Madrid
Nicolas de Staël

Grey Composition

1948
Oil on canvas.
148.5 x 68.5 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
764
(
1963.3
)
Room 50
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Nicolas de Staël, who belonged to a Russian aristocratic family, was forced to lead an agitated and traumatic existence in exile until finally settling in Paris in 1938 with the intention of becoming a painter. From the outset Staël was an experimental artist who was more empirical than ideological and for a time espoused abstraction in order to be able to express in painting his perceptions of space and light. However, his concerns were essentially subjective and mystic and, unlike many of his contemporaries, he questioned the abstract formulas in vogue and was concerned about the manner of transferring tonal and formal relations to canvas. His Russian soul spurred him to engage in a permanent dialogue with other art forms: literature, poetry and, above all, music. Many of his paintings are inspired by musical compositions of Bach, Mozart and Bartok, and are always underpinned by cadences which denote a mastery of rhythm and melody.

Grey Composition, executed in 1948, belongs to a period in which Staël’s heavily impastoed painting became filled with linear rhythms and planes of colour which float over a neutral background. The asymmetrical linear network of large intermingled segments — which the historian André Chastel called “ bâtonnets (small sticks)”— creates a dynamic space of contrasting forms and colours. The sense of composition, derived from the synthetic Cubism of Georges Braque, a painter he admired throughout his lifetime, and the arrangement of forms and colours are not fortuitous but have been thoroughly studied. The subtle, luminous palette is restricted to ochres, browns, greys and blacks, applied with brushes and palette knives in very thick layers that modulate matter and construct space by means of colour.

Paloma Alarcó
20th Centurys. XX - Abstracción en la posguerra europeaPaintingOilcanvas
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Grey Composition. Composición gris, 1948
Grey Composition
Nicolas de Staël

©

VEGAP, Madrid

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Grey Composition. Composición gris, 1948
Grey Composition
Nicolas de Staël

©

VEGAP, Madrid

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