Jacques Duthoo
Tours, 1910 - Parigi, 1960
After several evolutionary stages Duthoo is now master of his style. After working on the juxtaposition of colored spots, it now returns to a closed and stable composition. Around 1955 it privileges contrasts of dark forms on light bottoms.
His painting becomes more and more free, evoking abstract landscapes bathed by a soft light of shadows and shades in the colors of ochre and brown, with a few touches of red. Abandon straight lines that give way to slightly curved lines.
His painting becomes more and more free, evoking abstract landscapes bathed by a soft light of shadows and shades in the colors of ochre and brown, with a few touches of red. Abandon straight lines that give way to slightly curved lines.
Duthoo’s work melts away over seventeen years of activity in his hometown. Born into a large bourgeois family and soon interested in art, he began painting in 1943 during the period of occupation.
He freely chooses to spend a provincial life, discreet, away from the controversies that do not fail to characterize the artistic manifestations of the capital. Being wealthy he can live off his painting without the hassle of having to sell.
After his debut with some still lifes and flowers full of matter and expressionist tendency, he discovered non-figurative painting.
In 1946 he exhibited at the Galerie Denise René in Paris with Poliakoff and the following year his abstract paintings presented at the Salon des Surindépendants were noticed by Wilhelm Uhde, who bought several. The works of this period are characterized by a graphism in the shades of black where shapes and lines intersect on backgrounds dominated by brown.
In 1948 he was given a new exhibition by Denise René, with Jacobsen and Poliakoff.
Over the next ten years, eight solo exhibitions followed each other at several Parisian and other galleries: Galerie Colette Allendy (1951), Galerie de Beaune (1953), Galerie Saint Laurent in Brussels (1954), Galerie de Verneuil (1955), Galerie de l'Entr'act in Lausanne (1956), Galerie Dina Vierny (1957); Galerie Beno in Zurich (1958), Galerie Ariel (1959) with twenty works that have great success and are bought by important collectors.
After several evolutionary stages Duthoo is now master of his style. After working on the juxtaposition of colored spots, it now returns to a closed and stable composition. Around 1955 it privileges contrasts of dark forms on light bottoms.
His painting becomes more and more free, evoking abstract landscapes bathed by a soft light of shadows and shades in the colors of ochre and brown, with a few touches of red. Abandon straight lines that give way to slightly curved lines.
In 1947 and 1948 he exhibited with the groups "Sculptures et Peintures contemporaines" and "Tendances de l'art abstrait" at the Galerie Denise René, again together with Poliakoff.
He participated in the Salon d'Automne in 1946; at the Salon de Mai in 1946, then from 1948 to 1952 and again from 1954 to 1956. In 1957 he participated as an engraver and in 1960 with three compositions. At the Salon des Réalités Nouvelles he exhibited annually from 1950 to 1959 and in 1960 a personal exhibition was dedicated to him. He was at the Salon Comparaison in 1955, 1956 and 1960 and at the first Salon d'Octobre in 1952.
In 1961 the Museum of Tours and the Galerie Ariel in Paris organized a retrospective. The exhibition catalogue is presented by Jean Pollak, director of the Museum, the sculptor W. Anthoons, the painters Albert Bitran, Roger-Edgard Gillet, Coneille and Henri Goetz.
In 1989 the Galerie Jacques Barbier-Caroline Beltz in Paris presented a series of his works.
Museums:
Paris, Musée National d’Art Moderne
Tours, France
Losanna, Swiss
Bibliografia:
E. Bénezit, Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, Librairie Gründ, 1976; L. Harambourg, L’Ecole de Paris, 1945-1965, Neuchâtel, Ides & Calendes, 1993.
He freely chooses to spend a provincial life, discreet, away from the controversies that do not fail to characterize the artistic manifestations of the capital. Being wealthy he can live off his painting without the hassle of having to sell.
After his debut with some still lifes and flowers full of matter and expressionist tendency, he discovered non-figurative painting.
In 1946 he exhibited at the Galerie Denise René in Paris with Poliakoff and the following year his abstract paintings presented at the Salon des Surindépendants were noticed by Wilhelm Uhde, who bought several. The works of this period are characterized by a graphism in the shades of black where shapes and lines intersect on backgrounds dominated by brown.
In 1948 he was given a new exhibition by Denise René, with Jacobsen and Poliakoff.
Over the next ten years, eight solo exhibitions followed each other at several Parisian and other galleries: Galerie Colette Allendy (1951), Galerie de Beaune (1953), Galerie Saint Laurent in Brussels (1954), Galerie de Verneuil (1955), Galerie de l'Entr'act in Lausanne (1956), Galerie Dina Vierny (1957); Galerie Beno in Zurich (1958), Galerie Ariel (1959) with twenty works that have great success and are bought by important collectors.
After several evolutionary stages Duthoo is now master of his style. After working on the juxtaposition of colored spots, it now returns to a closed and stable composition. Around 1955 it privileges contrasts of dark forms on light bottoms.
His painting becomes more and more free, evoking abstract landscapes bathed by a soft light of shadows and shades in the colors of ochre and brown, with a few touches of red. Abandon straight lines that give way to slightly curved lines.
In 1947 and 1948 he exhibited with the groups "Sculptures et Peintures contemporaines" and "Tendances de l'art abstrait" at the Galerie Denise René, again together with Poliakoff.
He participated in the Salon d'Automne in 1946; at the Salon de Mai in 1946, then from 1948 to 1952 and again from 1954 to 1956. In 1957 he participated as an engraver and in 1960 with three compositions. At the Salon des Réalités Nouvelles he exhibited annually from 1950 to 1959 and in 1960 a personal exhibition was dedicated to him. He was at the Salon Comparaison in 1955, 1956 and 1960 and at the first Salon d'Octobre in 1952.
In 1961 the Museum of Tours and the Galerie Ariel in Paris organized a retrospective. The exhibition catalogue is presented by Jean Pollak, director of the Museum, the sculptor W. Anthoons, the painters Albert Bitran, Roger-Edgard Gillet, Coneille and Henri Goetz.
In 1989 the Galerie Jacques Barbier-Caroline Beltz in Paris presented a series of his works.
Museums:
Paris, Musée National d’Art Moderne
Tours, France
Losanna, Swiss
Bibliografia:
E. Bénezit, Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, Librairie Gründ, 1976; L. Harambourg, L’Ecole de Paris, 1945-1965, Neuchâtel, Ides & Calendes, 1993.
