Catherine Millet critiques Soulages retrospective at Centre Pompidou
Catherine Millet's review of the Pierre Soulages retrospective at Centre Pompidou (October 14, 2009 – March 8, 2010) criticizes the widespread press coverage as superficial 'com' rather than critical thought. She argues that the exhibition's opening display of works on paper from the 1940s-1950s appears constrained, reflecting the stiffness of the abstract School of Paris. Millet identifies Soulages's best works as those from the 1960s, where the gesture is freer and spaces more unstable, particularly numbers 48 and 49. She finds the later outrenoir period repetitive, comparing it unfavorably to Agam's relief panels and noting that Soulages's effects become tiresome. The review contrasts Soulages with American abstract painters: Ad Reinhardt's Black Paintings achieve color without relying on reflected light, while Soulages emphasizes the 'object-painting.' Millet also critiques the catalogue's comparison with Pollock and Kline, noting that Soulages's 'reflective organization' lacks the violence and jouissance of his American counterparts. She concludes that Soulages's limitation is his inability to let go and enjoy.
Key facts
- Exhibition ran from October 14, 2009 to March 8, 2010 at Centre Pompidou, Paris.
- Catherine Millet's review published in art press n°363 (January 2010).
- Soulages coined the term 'outrenoir' for his paintings since 1979 using only black pigment.
- Millet considers Soulages's best works from the 1960s, especially numbers 48 and 49.
- The exhibition layout places large formats back-to-back in the final room, a device Soulages used since his first Pompidou show 30 years prior.
- Millet compares Soulages's outrenoir to Agam's relief panels and finds Soulages's effects more lassant (tiresome).
- She contrasts Soulages with Ryman, noting Ryman varied techniques more, and with Degottex's incisions in black.
- Millet criticizes the catalogue's comparison with Ad Reinhardt's Black Paintings (1960-1966), arguing Reinhardt's work achieves color without reflected light.
- Serge Guilbaut's catalogue text compares Soulages to Pollock and Kline, emphasizing Soulages's 'reflective organization' versus Pollock's 'violence.'
- Millet states Soulages's limit is his inability to 'let go, spend, enjoy.'
Entities
Artists
- Pierre Soulages
- Catherine Millet
- Harry Bellet
- Hector Obalk
- Pierre Encrevé
- Alfred Pacquement
- Serge Guilbaut
- Yve-Alain Bois
- Éric Suchère
- Ad Reinhardt
- Jackson Pollock
- Franz Kline
- Robert Ryman
- Yaacov Agam
- Gerard Schneider
- Hans Hartung
- Bram Van Velde
- Alfred Manessier
- Jean Degottex
- Charles Lapicque
- Atlan
Institutions
- Centre Pompidou
- Musée d'art moderne de la Ville de Paris
- Musée de Montpellier
- art press
- Le Monde
- Le Monde Magazine
- Les Inrockuptibles
Locations
- Paris
- France
- Montpellier
Sources
- artpress —