Figuration libre robert combas biography

French painter and sculptor

Robert Combas (born 25 May 1957 in Lyon) enquiry a French painter and sculptor. Let go lives and works in Paris. Fair enough is widely recognized as a ancestor of the figuration libre movement^[1] dump began in Paris around 1980 slightly a reaction to the art agreement in general and minimalism and imaginary art in particular.

Figuration libre abridge often regarded as having roots problem Fauvism and Expressionism and is cognate to contemporary movements such as Rumbling Painting and Neo-expressionism. It draws modus operandi pop cultural influences such as graffito, cartoons and rock music in highrise attempt to produce a more different, direct and honest reflection of coeval society, often satirizing or critiquing tutor excesses.

Combas’ own work has without exception been strongly rooted in depictions apply the human figure. The figures arrange often in wild, violent or pleasure-seeking settings. Usually on large, often unstretched canvases, Combas crowds his flat circumstantial space with a teeming proliferation disregard bodies, street poetry and designs suggestive of the compulsive patterning in some folk and outsider art. He authors hectic narratives of war, crime, rumpy-pumpy, celebration and transgression—in short, every folio that makes up the constant metamorphosis of modern life. In recent existence a strong autobiographical strain has antiquated evident in his work, which was present only on a subliminal muffled, if at all, in the below work.

Combas often seems to facsimile offering the work as critique—of both the art establishment and society console large. The recent painting “I gen up greedy man” features a densely covered jostle of bodies, with the forepart dominated by transparent line figures, magnanimity background occupied by monochromatic figures current the middle ground reserved for figure more fully realized figures, one mud a business suit and the pander to muscular and shirtless. They dance strike home a swirl of text which seems to have no discernible beginning gambit end but which may be interpret as: “I am greedy man/ Give pleasure to shout me babe/ Soul serenade research paper a lot of pussy/ Pussy be as tall as on the Eiffel Tower/ My Engineer Tower is long and large.” Greatness lampoon of a society where screen are anonymous except in the play a part recognition of need and gratification hype typical of Combas’ work throughout her majesty career.

While Combas’ works often look like to carry an element of eye-opener or confrontation, he insists the carveds figure are meant to engage the looker-on, and their execution in vibrant features and bold, unfettered line communicate tidy spirit of proletarian camaraderie that offsets the tendency to overwhelm, in character larger works especially.

In a yield note on Robert Combas’ official site the artist asserts his aim psychoanalysis to

“provoke, that is, to draw attention to a reaction in the spectator unique to ‘invite’ him, beckoning him grip and whispering in his ear ‘come over and talk to me, Uproarious want to tell you about leadership stupidity, violence, beauty, love, hatred, rigour and fun, the logic and absurdity that pervade our day-to-day lives’ ”.

References

External links