Raymond MOISSET

Lot 149
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Estimation :
150 - 200 EUR
Raymond MOISSET
PLEASANT DRAWING "WOMAN'S FACE 3/4 RIGHT VIEW" by Raymond MOISSET (1906-1994) Pencil on papersigned lower left and dated 1938 At sight: 47 x 29 cm Raymond Moisset is a painter of the École de Paris, expressionist, then, from the early 1950s, abstract. In the 1920s Raymond Moisset was a student of the École nationale supérieure des arts appliqués et des métiers d'art. He is nevertheless said to be self-taught in the field of painting ("His great school will be the street", he says) and worked essentially alone until 1936 (first solo exhibition and first salon in Paris in 1934), even though he attended the free academies in Montmartre. Around 1935, with among others Pierre Tal-Coat, André Marchand, Georges Rohner and Robert Humblot, he formed the Forces Nouvelles group, which denounced any intellectual pretension of painting, giving it no other vocation than to provide emotion through the humble reality of things. It is in this spirit that Raymond Moisset will remain a friend of Francis Gruber, whom he met in 1936, until the latter's premature death in 1948, and that until 1950 he will be the painter of a daily reality, albeit ordered in his composition. We can then see that "Raymond Moisset, in his compositions, tries out expressive deformations imbued with the love of El Greco, a love that the painter wants to affirm". Jean-Jacques Lévêque evokes Raymond Moisset among the painters who, from 1942 onwards and all expressions taken together, supported and accompanied Gaston Diehl in his refusal to submit art to the occupying ideology. This movement (in which our artist rubbed shoulders with his former friends Francis Gruber, Georges Rohner and André Marchand as well as the surrealist Lucien Coutaud and the abstract artists Alfred Manessier and Gustave Singier) led to the creation of the Salon de Mai, where Raymond Moisset was a regular exhibitor for twenty-five years from the first event in 1945. Raymond Moisset's first abstract painting is identified by Lydia Harambourg as his 1950 consignment to the sixth Salon de Mai. This transition to abstraction, also by Michel Seuphor in 1950, is not, however, clear-cut, clear-cut, absolute: from a palette reduced to a few bright colours, Raymond Moisset will then give an ever-discernible reality (his Nus plantureux of the 1970s, cited by Jean-Pierre Delarge) rhythms which, like those of Édouard Pignon (period of the Nus roses) or Jean Messagier, will gradually become the end in itself of the painting, without however totally obscuring an underlying figuration, an intention of representation.
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