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Jean Degottex — the subtlety of writing, sing & gesture
Signe (1958), Jean Degottex © Adagp
Jean Degottex (1918-1988) was an important French painter who largely contributed to the abstraction movement during the latter half of the twentieth century. He was associated with the Tachisme and Art Informel movements in France during the 1950s and 1960s, which featured renowned artists like Georges Mathieu, Jean Fautrier, and Wols. These movements played a significant role in the development of abstract art in the post-World War II era, rejecting traditional representational art and emphasizing spontaneous, gestural, and emotional expression through abstract forms.
Despite the prevailing trends of the time, Degottex's work stands out for its unique use of calligraphy, which was not a common feature of abstract art. His oeuvre follows a distinct path that exhausts the possibilities of each time period and paves the way for what follows: from gesture to sign, from sign to writing, from writing to the line. One cannot help but notice the influence of Asian art and philosophy in Degottex's work, particularly his fascination with Japanese calligraphy and Zen principles, which highlight the importance of spontaneity, void, and the interplay between form and emptiness.
Despite the prevailing trends of the time, Degottex's work stands out for its unique use of calligraphy, which was not a common feature of abstract art. His oeuvre follows a distinct path that exhausts the possibilities of each time period and paves the way for what follows: from gesture to sign, from sign to writing, from writing to the line. One cannot help but notice the influence of Asian art and philosophy in Degottex's work, particularly his fascination with Japanese calligraphy and Zen principles, which highlight the importance of spontaneity, void, and the interplay between form and emptiness.
L'épée dans les nuages (1955), Jean Degottex © Adagp
Over time, Degottex's work evolved from more gestural and expressive forms to more minimal and meditative ones. This evolution mirrored the larger trend in abstract art during the mid-twentieth century, as artists began to explore subtler and more contemplative forms of abstraction. A closer examination of his different periods reveals his gradual shift away from figuration and towards capturing motion and vitality, leading him towards lyrical abstraction, which emphasizes movement.
During the 1960s, André Breton noted Degottex's interest in Zen Buddhism, as the artist incorporated symbols and features of oriental culture into his work while depriving them of any initial meaning. Signs, inscriptions, and gestures are recurrent in his creations, where emptiness and void bring balance to the composition.
These years are often described as his "writing" period. In the 1970s, Degottex turned his attention to the raw media and abandoned the ideas of brush and gesture. He experimented with the surface of his works, tearing papers, making inscriptions, gluing some parts and covering all with paint, or leaving some parts untouched. This approach, somewhere between meditation and spontaneity, resulted in works that did not arise from pictorial representation but rather assembled compositions of diverse practices.
These years are often described as his "writing" period. In the 1970s, Degottex turned his attention to the raw media and abandoned the ideas of brush and gesture. He experimented with the surface of his works, tearing papers, making inscriptions, gluing some parts and covering all with paint, or leaving some parts untouched. This approach, somewhere between meditation and spontaneity, resulted in works that did not arise from pictorial representation but rather assembled compositions of diverse practices.
Désincarné (1955), Jean Degottex © Adagp
Suite Roja (1963), Jean Degottex © Adagp
Interestingly, his later works moved towards even more meditative and minimalist art, incorporating geometrical features with a renewed color palette of subtle hues of beige and grey. The repetition of movement or empty canvases showcases his new reflection on plastic representation. In his "Bois" series, the artist experimented with tores, strips from the surfaces of the paper, rolled them into balls, and produced prints, showcasing his primal tactile sensitivity.
Despite being a minimalist, Degottex's work remained sensitive and rigorous, and he was awarded the Kandinsky Prize in 1951 and the French National Painting Prize in 1981. His contributions to the abstraction movement are invaluable.
Despite being a minimalist, Degottex's work remained sensitive and rigorous, and he was awarded the Kandinsky Prize in 1951 and the French National Painting Prize in 1981. His contributions to the abstraction movement are invaluable.
Lignes Bois III (1984), Jean Degottex © Adagp
Today, numerous important museums hold Degottex works in their collections: MoMA, Centre Pompidou, Guggenheim, or the National Museum of Modern and Contemporary Art in Seoul, to name a few. Not only are his works frequently exhibited in post-war abstract art and related themes, they are also held in high regard in private collections worldwide. Despite his significance in art history, the market for Degottex's works remains relatively niche, with a limited number of collectors and dealers specializing in his work. However, his importance in the history of post-war abstract art and the growing interest in Asian-influenced abstraction may lead to increased attention and demand for his work in the future.
Vide des choses extérieures et intérieures (1959), Jean Degottex © Adagp
15 April 2023 | Artists
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