Le temps de la peinture by Sylvie Ramond

This was a particularly difficult moment for abstract artists working in the French capital. Cercle et carré (Circle and square) was born of a chance meeting in the spring of 1929 in Paris between the Uruguayan painter Joaquín Torres-García and Belgian poet Michel Seuphor.

By examining their participation in the group Cercle et carré, we can shed light on the contradictions the women experienced: although Cercle et carré appears to have been democratic and egalitarian, its ideological basis-as reflected in its periodical-left little room for genuine participation by the women or for inclusion of their work. Franciska Clausen (1899-1986) and Marcelle Cahn (1895-1981) were part of a group of female artists who, in late 1920s Paris, were involved with the abstract art movement however, little has been written about the role these women played in the development of abstraction in this period.

Photo de Raymond Martin accompagnant larticle de Sylvie Mousseau, Une promenade travers les champs. Indeed, the two most interesting artists, in my humble opinion, are two women: Mademoiselle Clausen and Mademoiselle Cahn'. March de la peinture au Qubec 1991/1992). The exhibition in your academy is new evidence of this. Avec dautres Lyonnais, il entra à la Société de Saint-Vincent-de-Paul. En 1833, il vint à Paris pour suivre des cours de peinture auprès de Victor Orsel et Jean-Auguste-Dominique Ingres.

On July 1, 1926, gallery owner Léonce Rosenberg wrote to his friend, the painter Fernand Léger, 'Women, in freeing themselves, are enriching humanity with additional and surprising values. En 1831, il fut admis à l École des beaux-arts de Lyon et un an plus tard, y obtint la plus haute distinction, le Laurier dor.

Le temps de la peinture by Sylvie Ramond