Nuagisme

Nuagisme (literally “cloudism”) is a movement of abstract painting initiated by a French critic particularly innovative art, Julien Alvard and which was attended by young French and foreign painters between 1955 and 1973. The major contribution of cloud computing was to rediscover, in 20th century painting, the “transparency and depth” that the frontality of geometric abstraction had rejected from the pictorial field.

In this approach were found Nasser Assar, Frédéric Benrath, Manuel Duque, René Duvillier, Pierre Graziani, René Laubiès, Marcelle Loubchansky and Fernando Lerin.

The term
The term “Nuagisme” was invented by one of the critics on the occasion of an exhibition organized by representatives of the movement in the Breto Gallery in 1959. The exhibition was called “Yann”, and was so named after the hero of the book, Pierre Loti. The vortices of Rene Duvillier, the knots and twists of Frederic Benrath, and the obscure forms of Fernando Lerin transferred the inner sensations of these artists to natural elements, sometimes resembling clouds.

Most of the collective exhibitions of Noagist artists in France and abroad were organized between 1955 and 1973, mainly by the gallery owner Julien Alvard. The artists participating in these exhibitions were not always the same, but regularly found a common approach, being influenced by both abstract American painting and Eastern tradition.

The term clouding was coined by a critic, in a mocking, condescending and simplifying way, to use Julien Alvard’s terms, on the occasion of the exhibition organized by the latter at the Breteau gallery in 1959, exhibition entitled Yann, named after the hero of a book by Pierre Loti. The swirls of René Duvillier, the knots and volutes of Frédéric Benrath, the obscure forms of Fernando Lerin reflected the internal sensations of these artists and their openness to natural elements, which can sometimes evoke clouds.

Most of the group exhibitions of cloud painters, in France and abroad, were organized between 1955 and 1973, most of them by Julien Alvard himself. The painters participating in these exhibitions were not always the same but found themselves regularly in a common approach, being influenced both by American abstract painting and by the oriental tradition.

Characteristics
Cloud painters reveal the imaginative faculties of natural effects, leading to an abstract landscape designed as a link between exterior nature and the interior landscape. They do not reproduce skies in a figurative approach but reveal clouds, volutes for their vital impulse, their creative breath. The cult of the material is also called into question by the cloud painters who express a fluidity opening onto practically elusive spaces. The use of a particular technique, that of working with a cloth on a still fresh background, contributes to the desired transparency effect.

The cloud artists are clearly situated in a pictorial translation which they recognize and even claim. Their canvases appear, in fact, to correspond with the clouds of dawn in the mythological landscapes of Claude Lorrain or the stormy skies of Ruyasdel, as well as with the evanescent perspectives of Tiepolo. William Turner invites in his mists to a search for the infinity of things, to a perception beyond reality, prefiguring informal painting, like the Monet des Nymphéas.

Cloud computing is part of the movement of lyrical abstraction, informal art and tachism. He claims a veritable insurrection against form, to use Julien Alvard’s expression. The form must be deconstructed and rebuilt constantly. It is also marked by the use of the vacuum, which suggests infinity. The cosmic dimension is also present. Colors and their variations in intensity are also at the heart of the pictorial approach of cloud scientists.

Differences
Cloud artists reveal the creative abilities of natural effects, leading to abstract landscaping as a connection between the external nature and the internal landscape. They do not reproduce the heavens in a figurative approach, but open the clouds for their vital impulse, their creative breathing. The use of a certain technique and on a still fresh background contributes to the desired transparency effect.

The artists of the movement are clearly represented in a single graphic style that is recognizable. Their canvases, in fact, appear in accordance with the dawn clouds of the mythological landscapes of Claude Lorrain or the stormy sky of Ruyasdel, as well as with the fleeting prospects of Tiepolo. William Turner displays in his fogs the search for an infinite number of things, perceptions beyond the real, anticipating informal painting, such as on the canvas Monet Kuvshinki.

Nouagism is in the movement of lyrical abstraction, informal art and Tashism. He declares a real rebellion against form, according to Julien Alvard. The form must be deconstructed and rebuilt forever. It is also marked by the use of emptiness, which suggests infinity. The cosmic dimension is also present. Colors and their intensity variations also underlie the graphical approach of the clouds.

Artists
Jean Messagier
Frédéric Benrath
René Duvillier
Pierre Graziani
René Laubiès
Marcelle Loubchansky
Nasser Assar
Fernando Lerin

Collective exhibitions
1955: Turning to Stupidity (Galerie Grange, Lyon), with Benrath, Graziani, Laubies
1957: Moral art (Galerie Arnaud, Paris), with Benrath, Duvilliers, Graziani, Laubies
1958 Void and Darkness (Kleber Gallery, Paris), with Benrath, Duvillier, Lubczynski
1959 Yann (Bretault Gallery, Paris), Benrath, Duc, Duvillier, Lerin
1960: Antagonisms (Museum of Decorative Arts, Paris), with Assar, Benrath, Duvilliers, Graziani, Laubies, Lerin, Lubchanski
1961: Clouds (Breto Gallery, Paris), with Benrath and Graziani
1964: Cloud flares, transparency and depth (International Gallery of Modern Art, Paris) with Assard, Benrath, Duvilliers, Graziani, Laubies, Lerin
1966: Why are we fighting or the civilization of the peaks (Royal Saltworks Arc and Senance), with Assar, Benrath, Duvilliers, Graziani, Laubies, Lerin, Lubchanski
1970: Three directions in contemporary art in Frank (Museums of Munich, Antwerp, Brussels, Dublin, Lisbon, Porto, Milan, Florence), with Benrath, Duvilli, Graziani, Laubies, Lerin
1973: Cloud itself (Museum of Fine Arts, Lyon), with Benrath, Duvilliers, Graziani, Laubies, Lubczynski
1977: Tribute to Julien Alvard (Chateau d’Ancy-le-Fran) with Assard, Benrath, Labies, Lerin
1981: Light and Darkness (museums of Evreux, Clamcy, Perpignan, Bourges) with Benrath, Duvilliers, Graziani, Laubies
2008: Clouds (Cathedral Church of St. Andrew the Chartres Museum of Fine Arts), with Assar, Benrath, Duke, Duville, Graziani, Laubius, Lerin, Lubchanski