Réponse apportée le 06/13/2007 par PARIS Bpi – Actualité, Art moderne, Art contemporain, Presse
The archives for artists are in the Bibliotheque Kandinsky, which is the Library for the Museum of modern art
. You may find all informations on the web site of the Pomidou centre :
In english, look for the online resources, then Kandinsky Library,
you will find all information about on line services, contacts and consultation conditions.
To get further informations about archives collections, you have to consult this webpage, in french :
You can also find informations about Brauner in :
Romanian painter, sculptor and draughtsman, active in France. As a child, he shared his father’s passionate interest in spiritualism, heralding a lasting preoccupation with the occult. In 1912 he accompanied his family to Vienna, and from 1916 to 1918 attended the evangelical school at Brăila, near Galaţi, studying zoology with great enthusiasm; he also started to paint. In 1921 he spent a brief period at the School of Fine Arts in Bucharest, where his first exhibition was held in 1924 at the Galerie Mozart. The same year, Brauner and the poet Ilarie Voronca founded the review 75HP, in which he published his manifesto of ‘Pictopoésie’ and an article on ‘Le Surrationalisme’. From 1928 until 1931 he worked with the Dada and Surrealist review UNU, which reproduced his drawings and paintings. Settling in Paris in 1930, he met Constantin Brancusi, who introduced him to photography, and Yves Tanguy, through whom he met the major Surrealists. He lived in the same building as Tanguy and Alberto Giacometti. His premonitory Self-portrait with Enucleated Eye (1931; Paris, priv. col., see 1972 exh. cat., no. 7) became a cause célèbre for the Surrealists, whom he joined officially in 1932. André Breton wrote the introduction for his first one-man show at the Galerie Pierre in 1934, the year of Monsieur K’s Power of Concentration (Paris, priv. col., see 1972 exh. cat., no. 20) and the Strange Case of Monsieur K (priv. col., see 1972 exh. cat., no. 19), departures from Brauner’s earlier work and reminiscent of Alfred Jarry’s Père Ubu. Returning to Bucharest briefly in 1935, he joined the clandestine Romanian Communist Party but left in 1936 at the beginning of the Soviet show trials.
In Paris in 1938 Brauner lost his left eye in a brawl in Oscar Domínguez’s studio. He later wrote that it was ‘the most painful and important fact of my life’. A period of somnambulatory, erotic paintings, full of lycanthropic, chimeric and alchemical imagery, such as Chimera (1941; Monte Carlo, Gal. Point), came to a halt during World War II. Brauner fled to Perpignan and then to the Pyrenees, maintaining contact with the exiled Surrealist group in Marseille. Brauner settled in the Hautes-Alpes in 1942. With no painting materials to hand, he began his ‘candle drawings’, inspired by stone textures and painted with coffee or walnut stain on relief drawings executed in wax, as in Pantacular Portrait of Novalis (1945; Paris, Pompidou). In 1943 he painted in oils on canvas primed with melted wax (Blood Flower; 1943; Houston, TX, Menil Col.). Paper collage was introduced in the Ideal Man (1943; Paris, Pompidou), the portrait of Novalis (1943; Paris, priv. col., see 1972 exh. cat., no. 246) and the ithyphallic sculpture Number (1943; Paris, priv. col., see 1972 exh. cat., no. 250). Alchemy, magic and the tarot inspired hermetic theories that were demonstrated in the ‘multiple realities’ of the many-limbed Congloméros series (1941–5; plaster version, Paris, priv. col., see 1972 exh. cat., no. 251).
Returning to Paris in 1945, Brauner painted Lion, Light, Liberty, seven canvases conceived as a single work exhibited at the Galerie Cahiers d’Art in 1947 (e.g. Monte Carlo, priv. col., see 1985 exh. cat., p. 35). A one-man show at the Galerie Pierre Loeb in 1946 preceded his participation in the Exposition Internationale du Surréalisme at the Galerie Maeght in 1947, where his catalogue texts, one ostensibly by the ‘Emperor of the kingdom of personal myth, signed Rotciv Renuarb’, marked a highpoint in his megalomania. After convalescing from a serious illness in Switzerland he returned to Paris for his first major exhibition at the Galerie René Drouin in 1948. He was officially excluded from the Surrealist group the same year for refusing to denounce his close friend, Roberto Matta, whose influence was becoming increasingly apparent in Brauner’s own painting, for example the aggression and the lines of force in ‘Endotête’, Psychological Penetrations (1951; Paris, Pompidou; see fig.). The autobiographical series of Victors or Onomatamania began in 1949. Many of these are static, two-dimensional works marked by bilateral symmetry and containing references to hieroglyphs and Aztec codices. In 1953 Brauner went to work in the potter Georges Ramié’s studio in Vallauris, near Cannes, where he became involved with ceramics (e.g. Cat; 1957; Paris, L. Fini priv. col., see 1985 exh. cat., p. 90). From 1961 he worked in Varengeville, near Dieppe, and was chosen to represent France with a complete room of his works at the Venice Biennale in 1966, the year of his death. Many important works and the Victor Brauner archive were donated to the Musée National d’Art Moderne (now Centre Georges Pompidou) in Paris after his death.
S. Alexandrian: Victor Brauner, l’illuminateur (Paris, 1954)
A. Jouffroy: Victor Brauner, Musée de Poche (Paris, 1959)
Victor Brauner: Paintings from 1932–1958 (exh. cat., text V. Brauner; Chicago, Richard L. Feigen and Co., 1959)
S. Alexandrian: Les Dessins magiques de Victor Brauner (Paris, 1965)
Victor Brauner (exh. cat. by D. Bozo and J. Leymarie, Paris, Mus. N. A. Mod., 1972)
Les Dessins de Victor Brauner au Musée National d’Art Moderne (exh. cat. by P. Georgel and D. Bozo, Paris, Pompidou, 1975)
Victor Brauner: Miti, presagi, simboli (exh. cat. by W. Schöneberger and S. Alexandrian, Lugano, Villa Malpersata, 1985) [It./Fr. parallel text]
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