François Morellet, ‘Cercles et demi-cercles [Circles and Semicircles]’, 1952, Painting, Oil on wood, Art Resource
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François Morellet

Cercles et demi-cercles [Circles and Semicircles], 1952

Oil on wood
15 3/4 × 27 9/16 in
40 × 70 cm
Location
New York
Want to sell a work by this artist? Consign with Artsy.
AR
Art Resource
New York

Charles W. Goodyear and Edmund Hayes Funds, 1981

Medium
Image rights
Albright-Knox Art Gallery / Art Resource, NY / Morellet, François (1926- ) © ARS, NY
François Morellet
French, 1926–2016
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In the 1960s, Francois Morellet joined Groupe de Recherche d'Art Visuel (Visual Art Research Group, or GRAV), an experimental group that made installations using non-traditional art materials. Morellet rejected the idea of the individual genius-artist and adopted a stance that artists are facilitators. “By the early Sixties, my friends in the Groupe de Recherche d'Art Visuel and I had become convinced that the age of painting, of canvases and sculptures had come to an end, over forever,” Morellet explains. “We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art. We particularly liked anything that could produce movement or light.” Working primarily in neon, which appealed to Morellet because it combines line, light, and, when blinking, movement, Morellet gave his enigmatic pieces incongruous titles, using puns and palindromes, to keep them from appearing too solemn.

François Morellet, ‘Cercles et demi-cercles [Circles and Semicircles]’, 1952, Painting, Oil on wood, Art Resource
Save
Save
View
View in room
Share
Share
AR
Art Resource
New York

Charles W. Goodyear and Edmund Hayes Funds, 1981

Medium
Image rights
Albright-Knox Art Gallery / Art Resource, NY / Morellet, François (1926- ) © ARS, NY
François Morellet
French, 1926–2016
Follow

In the 1960s, Francois Morellet joined Groupe de Recherche d'Art Visuel (Visual Art Research Group, or GRAV), an experimental group that made installations using non-traditional art materials. Morellet rejected the idea of the individual genius-artist and adopted a stance that artists are facilitators. “By the early Sixties, my friends in the Groupe de Recherche d'Art Visuel and I had become convinced that the age of painting, of canvases and sculptures had come to an end, over forever,” Morellet explains. “We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art. We particularly liked anything that could produce movement or light.” Working primarily in neon, which appealed to Morellet because it combines line, light, and, when blinking, movement, Morellet gave his enigmatic pieces incongruous titles, using puns and palindromes, to keep them from appearing too solemn.

François Morellet

Cercles et demi-cercles [Circles and Semicircles], 1952

Oil on wood
15 3/4 × 27 9/16 in
40 × 70 cm
Location
New York
Want to sell a work by this artist? Consign with Artsy.
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