.jpg?w=1)
Lot Essay
Bien qu'Yves Laloy n'ait jamais été membre du mouvement surréaliste, dont il récusait par ailleurs les principes, c'est André Breton qui attira le premier l'attention du public sur cet artiste chez qui il décela un talent unique pour l'art visionnaire. Dans la préface qu'il rédige pour le catalogue de la première exposition d'Yves Laloy à la galerie La Cour d'Ingres en 1958, Breton compare les compositions picturales géométriques de Laloy aux peintures de sable éphémères utilisées par les Indiens Navajo dans leur cérémonie de la Voie de la Nuit. Bien que tous deux traitent de la vision au-delà du domaine de la conscience, l'art Navajo prend pour point de départ la cosmologie et l'univers, tandis que Breton voyait dans les paysages imaginaires dans lesquels Laloy invite le spectateur à s’immerger un périple strictement personnel, sorte de voyage de l'âme.
Trois ans plus tard, Arturo Schwarz invite André Breton à organiser une rétrospective surréaliste dans sa galerie de Milan. Outre des œuvres exécutées par les grands noms du mouvement surréaliste, ce dernier décide d'exposer plusieurs toiles d'Yves Laloy comme exemples de l'art visionnaire qu’il considérait comme un pilier du canon surréaliste.
While Yves Laloy was never a member of the Surrealist movement, nor in fact did he adhere to its principles, it was André Breton who first drew public attention to the artist who he felt represented a unique talent in the matter of visionary art. In his catalogue preface to Laloy's first one man exhibition at the Galerie de La Cour d'Ingres in Paris in 1958, Breton drew the comparison between the geometric aspect of Laloy's art and that found in the ephemeral sand images used by the Navajo Native Americans in their Nightway ceremonies. Although both dealt with the subject of vision beyond the conscious realm, whereas the Navajo works took as their starting point a concern with cosmology and the universe, Breton considered the imaginary landscapes through which the viewer of Laloy's work travels as an entirely personal one, something akin to a journey of the soul.
Three years later, André Breton would be invited by Arturo Schwarz to curate a surrealist retrospective at his gallery in Milan. Alongside works by the leading names of the Surrealist movement, Breton included several works by Yves Laloy as examples of the visionary art he considered central to the Surrealist canon.
Trois ans plus tard, Arturo Schwarz invite André Breton à organiser une rétrospective surréaliste dans sa galerie de Milan. Outre des œuvres exécutées par les grands noms du mouvement surréaliste, ce dernier décide d'exposer plusieurs toiles d'Yves Laloy comme exemples de l'art visionnaire qu’il considérait comme un pilier du canon surréaliste.
While Yves Laloy was never a member of the Surrealist movement, nor in fact did he adhere to its principles, it was André Breton who first drew public attention to the artist who he felt represented a unique talent in the matter of visionary art. In his catalogue preface to Laloy's first one man exhibition at the Galerie de La Cour d'Ingres in Paris in 1958, Breton drew the comparison between the geometric aspect of Laloy's art and that found in the ephemeral sand images used by the Navajo Native Americans in their Nightway ceremonies. Although both dealt with the subject of vision beyond the conscious realm, whereas the Navajo works took as their starting point a concern with cosmology and the universe, Breton considered the imaginary landscapes through which the viewer of Laloy's work travels as an entirely personal one, something akin to a journey of the soul.
Three years later, André Breton would be invited by Arturo Schwarz to curate a surrealist retrospective at his gallery in Milan. Alongside works by the leading names of the Surrealist movement, Breton included several works by Yves Laloy as examples of the visionary art he considered central to the Surrealist canon.