Serge Poliakoff, Composition en Rose,1954 |
The first thing to say about the Serge
Poliakoff Exhibition that has just opened at the Musée d’Art Moderne is that it’s
huge. And it’s an exhibition that requires patience and persistence. I found
the delight of these works revealed itself slowly, across the entirety of the
exhibition, to the point where it wasn’t until the final rooms that I was able
to understand what Poliakoff was doing, or rather, what he was searching for,
across a career in which many of the paintings looked the same.
Serge Poliakoff, Espace Orange, 1948 |
In so many ways, Poliakoff’s work is the
quintessential abstract painting. The radicality of the non-representation is, at
times, incredible. I could count on one hand the number of times I imagined
figuration, when I saw objects or things in the coloured shapes and forms. In
this, I was reminded of the late Mondrian as he came closer and closer to a
pure abstraction. I was completely preoccupied by the unusual and unexpected
colours, their texture, the geometricality of the forms, the arrangement of colours,
the tonalities, energy. And as the exhibition developed, there was no visible
dimensionality to the forms as they vibrate and move around the picture plane.
Serge Poliakoff, Forme, 1968 |
Like Mondrian’s search for balance and rhythm
and vibration in silence, Poliakoff is doing something outside of tradition was
at the time he was painting. Unlike Mondrian, Poliakoff’s medium is in the
relationship between form and colour, rather than that between line and color. But
it was only in the end when, in paintings such as Forme, 1968 in which a colour that breaks the rhythm of the surface
in the centre of the composition, that I realized this. By the end of the
exhibition, this relationship of colour to colour has become the subject of the
paintings. The other characteristic of the paintings that I admired for its
approach to pure abstraction was the lack of emotional response that was asked
of me. This is not to say the works are cold, they are not. On the contrary, the
colours are warm and there is such luminosity, but I don’t feel anything, just the
stillness and silence of the space they create around them.
Serge Poliakoff, Composition Murale, 1965-67 |
What do they look like? The surfaces are
dense, textured, and the musicality he talks about in relationship to his
painting can be felt as we stand before the forms always in unusual colours. Poliakoff
talks about the influence of Egyptian sarcophaguses, and the spare, rough
texture of his own-ground paint can be felt and smelt. Poliakoff apparently
ground his own pigments, and with minimal oil, created a fresco like texture to
the paint. As well as being influenced by Egyptian sarcophaguses and as well as
seeing the history of nineteenth and twentieth century painting in these
canvases the influence of Russian icons cannot be mistaken. As well as the more
obvious references of a wall of paintings such as Composition Murale, 1965-67, the iconoclastic reverence for colour
as absence of representation, is a constant reference throughout the
exhibition. Moreover, the influences of the history of art are everywhere — not
just the obvious Monet, Malevich, Mondrian, but the less obvious of Turner,
Whistler, Rothko, even at moments when he overpaints with a lighter colour,
leaving the darker colour underneath to demonstrate luminosity, tone, a
silencing of colour, the works reminded me of those of Jasper Johns.
As I wandered through room after room, I
kept wondering what he was doing, where he was going with the forms. I saw different
coloured forms, different relationships between the undercolours and the forms,
I saw the same vibrations between colours, the same imperfection of the forms.
But for all intents and purposes there was little change across the oeuvre. One
thing I did notice was that the effect and result of the different materials
was visible. When he painted on wood he emphasized the separation of colour,
the canvas paintings enabled the distinction of brushstrokes. And then
everything fell into place in a small through room, leading to the final rooms where
three paintings that were remarkable for their difference from all of the
others were displayed. Needless to say, they were painted in grey. In Diptyque, 1961 and Gris Bleu, 1962 these so-called allover paintings summed up all
there was to say in this prolific body of work.
Serge Poliakoff, Gris Bleu, 1962 |
These two works are an anomaly because they
resemble dust storms, whirlpools, they are much more organic. It’s the effect
that Poliakoff finds in some of the forms, but in Diptyque and Gris Bleu it
has been elevated to the entirety of the canvas. Everything feels very churned
up. Gris Bleu looks radical because
of the blurring or misting of the edges of the forms where in every other
painting they are defined and certain. Then we ask, is it grey? Is it blue? It
is neither and both – always these in between colours where colour is as
abstract as the form. In these two works, everything coheres, because for the
first time, we see synthesis, coherence and are encouraged to look back on fragmentation,
monumentality objectively.
All this said, I still came away wondering,
is Poliakoff’s work radical? And still, I am not sure. I think to answer this
question I would need to go back to the beginning and start again, with the
clear knowledge of where the exhibition ends.
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