Caziel Polish/British, 1906-1988
WC559 - Composition 03.1967, 1967
Oil on hardboard
55 x 31 cm
Signed and dated verso
Caziel Estate Inventory number WC559
Caziel Estate Inventory number WC559
The Caziel Estate, Courtesy of Whitford Fine Art
From 1963 until early 1965, Caziel’s paintings show long streaks of colour, the effect of which is reminiscent of the 1950s so-called ‘affiches lacérées’ of Jacques Villeglé (French, born 1926)....
From 1963 until early 1965, Caziel’s paintings show long streaks of colour, the effect of which is reminiscent of the 1950s so-called ‘affiches lacérées’ of Jacques Villeglé (French, born 1926). Caziel’s painted ‘déchirages’, the technique of tearing of dry paper by free-hand, usually reveal a rich red or black background. These works are dramatic in their expression and thoroughly modern in their origin. The concept of fragmentation of imagery held Caziel’s attention in 1948 when he had befriended Picasso. Caziel's interpretation of deconstruction led him to Abstraction in 1951. His so-called lacerated paintings reveal intentionality, self-awareness and the embodiment of the basic features of the phenomenological consciousness, which uses a method of reflective attentiveness that unveils the individual's 'lived experience'.
Born in Poland, Caziel attended the Warsaw Academy of Fine Arts from 1931-36, where the influence of French Post-Impressionist painting was omnipresent. Revered masters amongst the students and significant influences on Caziel's early development as a painter included Paul Gauguin, Paul Cézanne and Henri Matisse. Caziel spent the major years of his artistic development in France, following his move to Paris in 1937. His painting developed through a synthesis of many diverse elements into an individual form of 'cubist' abstraction during the 1940's, under the influence of his close friend Pablo Picasso. At that time, he declined Kahnweiler's offer to include him in his stable of figurative artists as he had found his way into Abstraction.
In 1951, Caziel joined the 'groupe Espace', whose program sought to unite constructivist art with architecture to create a new environment appropriate to the modern age. Caziel's expression of the fourth dimension resulted in paintings of superimposed biomorphic shapes and lines in different strong colours against a black or a white background in order to create a sensation similar to emotions engendered by music.
Caziel's annual submissions to the Salon de Mai, 1948-1956, shown alongside Vasarely, Hartung and Manessier, demonstrated his dedication to the Abstract cause. Official recognition of his abstract work came in 1951, when the Musée National d'Art Moderne, Paris, purchased a monumental work.
Caziel exhibited at Galerie Allard and Bernheim Jeune in Paris and at the Grabowski Gallery in London.
Caziel's works are present in the collections of the Musée National d'Art Moderne, Centre Pompidou; Paris, Vatican Museum, Rome and the National Museum, Warsaw.
Born in Poland, Caziel attended the Warsaw Academy of Fine Arts from 1931-36, where the influence of French Post-Impressionist painting was omnipresent. Revered masters amongst the students and significant influences on Caziel's early development as a painter included Paul Gauguin, Paul Cézanne and Henri Matisse. Caziel spent the major years of his artistic development in France, following his move to Paris in 1937. His painting developed through a synthesis of many diverse elements into an individual form of 'cubist' abstraction during the 1940's, under the influence of his close friend Pablo Picasso. At that time, he declined Kahnweiler's offer to include him in his stable of figurative artists as he had found his way into Abstraction.
In 1951, Caziel joined the 'groupe Espace', whose program sought to unite constructivist art with architecture to create a new environment appropriate to the modern age. Caziel's expression of the fourth dimension resulted in paintings of superimposed biomorphic shapes and lines in different strong colours against a black or a white background in order to create a sensation similar to emotions engendered by music.
Caziel's annual submissions to the Salon de Mai, 1948-1956, shown alongside Vasarely, Hartung and Manessier, demonstrated his dedication to the Abstract cause. Official recognition of his abstract work came in 1951, when the Musée National d'Art Moderne, Paris, purchased a monumental work.
Caziel exhibited at Galerie Allard and Bernheim Jeune in Paris and at the Grabowski Gallery in London.
Caziel's works are present in the collections of the Musée National d'Art Moderne, Centre Pompidou; Paris, Vatican Museum, Rome and the National Museum, Warsaw.
