PAINTINGS 1963 – 1967 PAINTING LACERATED RHYTHMS An Jo Fermon
17 May – 30 June 2018
All Works are for Sale
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Fig. 1: 1966, Caziel and his wife Catherine Sinclair at his one-man show at Grabowski Gallery, London (Photo by Karpinski). Front Cover: Composition 1963.1 (cat. no. 12)
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CAZIEL 1963-1967: Painting Lacerated Rhythms
Caziel’s paintings dating 1963-1967 demonstrate an exciting development in his research into Abstraction during his last years in France, before moving to England. Previously, in 1951, Caziel had joined the ‘Groupe Espace’, whose program of uniting Constructivist art with architecture, promoted the creation of a new environment appropriate to the society of the modern age. At that time, the legendary art dealer Daniel-Henry Kahnweiler had invited Caziel to join his stable of figurative artists headed by Picasso, assuming that Caziel’s abstract work was an experiment. Caziel declined the offer with the auspicious words ‘Non, je suis abstrait’ – No, I am abstract. Caziel’s 1950s Abstraction was sourced in the ideas of Kandinsky and Miró of transcending the second and third dimension. His 1950s expression of the fourth dimension resulted in paintings of superimposed biomorphic shapes and lines in strong colours, often against a black background, the paint being applied in a traditional fashion. These works reverberate light, space and rhythm, in order to create a sensation similar to emotions engendered by music. Caziel’s adherence to Abstraction was a natural acceptance of the result of his logical and emotional development, instead of a choice merely based on aesthetic grounds. As such, Caziel’s statement of ‘I am abstract’ instead of ‘I am an Abstractionist’ is all telling. Caziel’s annual submissions to the ‘Salon de mai’ during 1948-1956, where his work was shown alongside Vasarely, Hartung and Manessier confirmed his progress in his dedication to the abstract cause. Around 1955, Caziel started to apply small areas of impasto to his canvasses, appearing to mimic biomorphic or lichen-like growths. By 1963, Caziel’s paintings show long streaks of colour, the effect of which is reminiscent of the 1950s so-called ‘affiches lacérées’ of Jacques Villeglé (French, born 1926). Caziel’s painted ‘déchirages’, the technique of tearing dry paper by free-hand, usually reveal a rich black background (cat. nos. 10, 11 and 12). These works are dramatic in their expression and thoroughly modern in their origin. The concept of destructuralisation of imagery had come to Caziel’s attention in 1948 when he had befriended Picasso. Subsequently, during the 1950s, France had been in the grip of the philosophical method of inquiry called phenomenology as defined by Edmund Husserl (1859-1938) during the early 20th Century. The German philosopher’s theories took centre stage again when the French philosopher Jacques Derrida (1930-2004) closely studied Husserl's published works. Phenomenology rejects the rationalist partiality in favour of a method of reflective attentiveness that unveils the individual's ‘lived experience’. Intentionality, self-awareness and embodiment are basic features of the 3
phenomenological consciousness. In an equivalent way, in his experience of painting, Caziel understood and demonstrated that the goal was to understand experience by comprehending and describing its genesis, the process of its emergence from an origin or event. Caziel was aware of the theory of phenomenology but his understanding of experience as a description of its genesis also seems to have been an innate quality. As such Caziel’s development during 1963-1967 reflects the essence of contemporary French philosophical debate, to those who are receptive to it. The key-year 1965 announces the development from the dark paintings rich in texture to create the lacerated effect as seen in cat. nos. 6, 8, and 9, to paintings with a more frugal application of the paint against a white background, exemplified in cat. nos. 1, 2, 5, 7, 13 and 14. Initially both black and white background oil paintings from 1965 still show the lacerated effect. As the year went on, Caziel’s painting transformed into works made up of small organic shapes making up a larger composition, leaving much of the white background visible. In a letter to his wife Catherine, who was sojourning with her parents in Scotland, Caziel wrote on 10 September 1965: ‘Yesterday it seemed that I painted my canvas only to unpick it to its limits. I understand the painter Malevich who painted the white square on the white ground’. Colour-wise Caziel’s palette of 1965 was predominantly composed of white, and the three primary colours of blue, yellow and red. In 1967, Caziel painted a series of seductive interlocking organic shapes as seen in cat. nos. 21, 22, 23, 29 and 31. During the same year, following years of intense research, Caziel finally arrived at painting geometrical shapes against a white background (cat. nos. 19, 20, 32, 33, 34, 35, 38 and 39). These works are the result of Caziel’s intentionality to commit himself to push his research into Abstraction, his self-awareness and willingness to lay himself bare in his paintings, so that they become the embodiment of his thought, emotion and self. They are the end of a long journey, from Giotto, through Cézanne and Picasso, passing by Kandinsky and Malevich, the reading of philosophy and art, which stimulated Caziel on his pursuit for creating paintings that demand the acceptance of pre-reflective self-consciousness in order to experience the different levels and interpretations of the immediate phenomenon. In addition, Caziel’s aesthetic reflects his immersion with the world and his attempt to depict pure essential ideas. These concepts of consciousness of the journey, and the aesthetic of essence were key to Caziel’s development. At the beginning of his 1960s outburst of creativity starting in 1963, Caziel was living in the village of Ponthévrard, with his wife Catherine Sinclair and their five-year old daughter Clementina. The present group of paintings encapsulates the happiest period of Caziel’s life when he and his muse Catherine lived out their dream existence in this rural paradise located on the South-West outskirts of Paris. Ten years prior, Caziel and Catherine had moved there from Paris, to escape the gossip of their love-affair which had started back in April 1952, when Caziel was still legally married to the Polish painter Lutka Pink. 4
The headstrong artistic daughter of Sir Archibald Sinclair, Secretary of State for Air during the Second World War, with her impeccable education and social graces was not destined to fall in love with a penniless artist. Neither did Catherine wish to cause a society scandal by introducing her lover to her parents, whilst Lutka had not agreed to a divorce. Thus Katy, as Caziel affectionately called her, embarked on a double life for four long agonising years. In 1955 Catherine’s announcement of her love for Caziel was received by her parents, to her own surprise, with delight. Following his official divorce from Lutka in November 1956, Catherine and Caziel were married in Paris during June 1957. A year later their happy union brought forth a daughter, Clementina. Twelve years of marital bliss were lived at PonthÊvrard before the family moved to Somerset, England, where Caziel and Catherine remained until their respective deaths in 1988 and 2007. An Jo Fermon, May 2018
Fig. 2: c.1955, Caziel in his studio at PonthĂŠvrard, France (Photo by Catherine Sinclair).
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1. Composition X/1965 1965 Oil on canvas 46 x 38.5 cm Signed and dated verso Caziel Estate Inventory no. WC548 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 231, cat. no. 439, p. 58.
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2. Composition 26/XI/1965 1965 Oil on hardboard 90 x 50 cm Signed and dated verso Caziel Estate Inventory no. WC787 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 131, cat. no. 450, p. 59.
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3. Composition XI.1965 1965 Oil on canvas 55 x 46 cm Signed and dated verso Caziel Estate Inventory no. WC790 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 475, cat. no. 455, p. 59.
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4. Composition IX.1965 1965 Oil on canvas 55 x 46 cm Signed and dated verso Caziel Estate Inventory no. WC791 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 481, cat. no. 459, p. 59.
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5. Composition X/1965 1965 Oil on canvas 65 x 54 cm Signed and dated verso Caziel Estate Inventory no. WC544
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6. Abstract Composition 65.VII 1965 Oil on canvas 130 x 114 cm Signed and dated verso Caziel Estate Inventory no. WC661 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 50, cat. no. 394, p. 57. 11
7. Composition 1967/II 1967 Oil on hardboard 90 x 50 cm Signed and dated verso Caziel Estate Inventory no. WC537 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 130, cat. no. 486, p. 60.
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8. Abstract Composition 1965/VII 1965 Oil on canvas 130 x 89 cm Signed and dated verso Caziel Estate Inventory no. WC660 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 48, cat. rais. no. 393, p. 57.
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9. Composition 31/8/1965 1965 Oil on plywood 46 x 38 cm Signed and dated verso Caziel Estate Inventory no. WC550 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 434, cat. no. 411, p. 57.
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10. Composition 1965.VII 1965 Oil on canvas 85 x 69 cm Signed and dated verso Caziel Estate Inventory no. WC474 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 116, cat. no. 396, p. 57.
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11. Composition 1963.1 1963 Oil on canvas 81.5 x 45 cm Signed and dated verso Caziel Estate Inventory no. WC476 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 113, cat. no. 367, p. 56.
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12. Composition 1963.1 1963 Oil on canvas 70 x 71.5 cm Signed and dated verso Caziel Estate Inventory no. WC477 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 115, cat. no. 368, p. 56.
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13. Composition IX/1965 1965 Oil on hardboard 40.5 x 33 cm Signed and dated verso Caziel Estate Inventory no. WC607
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14. Composition 1965/4.IX 1965 Oil on canvas 61 x 51 cm Signed and dated verso Caziel Estate Inventory no. WC789 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 518, cat. no. 428, p. 58.
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15. Composition XI/1965 1965 Oil on canvas 41 x 33 cm Signed and dated verso Caziel Estate Inventory no. WC765 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 463, cat. no. 452, p. 59.
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16. Composition X/1965 1965 Oil on hardboard 89.5 x 50 cm Signed and dated verso Caziel Estate Inventory no. WC786 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 129, cat. no. 438, p. 58.
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17. Composition 24.XI.1965 1965 Oil on hardboard 90.5 x 50 cm Signed and dated verso Caziel Estate Inventory no. WC788 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 211, cat. no. 447, p. 59. 22
18. Composition 1965 Oil on plywood 90 x 50 cm Signed with studio stamp verso Caziel Estate Inventory no. WC536 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988. Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 132, cat. no. 460, p. 59.
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19. Composition 1967.9/VII 1967 Oil on board 110 x 77.8 cm Signed and dated verso Caziel Estate Inventory no. WC785 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 25, cat. no. 513, p. 61.
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20. Abstract Composition 1967.5.IIX (sic) 1967 Oil on canvas 147 x 135 cm Signed, dated and inscribed verso Caziel Estate Inventory no. WC655 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 17, cat. no. 517, p. 61.
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21. Composition 1967.II 1967 Oil on panel 33 x 22.5 cm Signed and dated verso Caziel Estate Inventory no. WC770 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 426, cat. no. 490, p. 60.
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22. Composition 03.1967 1967 Oil on panel 19.5 x 33 cm Signed and dated verso Caziel Estate Inventory no. WC767 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 228, cat. no. 498, p. 60.
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23. Composition 1967.3 (Pataraqa) 1967 Oil on panel 52 x 36 cm Signed, dated and inscribed verso Caziel Estate Inventory no. WC776 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 173, cat. no. 496, p. 60.
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24. Composition 1967.V 1967 Oil on panel 74.5 x 54.5 cm Signed and dated verso Caziel Estate Inventory no. WC780 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 479, cat. no. 508 p. 60. 29
25. Composition 1967/N. 1-4 1967 Oil on panel 35.3 x 38 cm Signed and dated verso Caziel Estate Inventory no. WC772
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26. Composition 1967/1 1967 Oil on panel 38 x 35.3 cm Signed and dated verso Caziel Estate Inventory no. WC773
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27. Abstract Composition 1967/18/XI 1967 Oil on canvas 130.5 x 101 cm signed and dated verso Caziel Estate Inventory no. WC659 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 3, cat. no. 516, p. 61.
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28 Abstract Composition 1967/XI/13 1967 Oil on canvas 131 x 100 cm signed and dated verso Caziel Estate Inventory no. WC658 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 534, cat. no. 515, p. 61.
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29. Composition c.1965 Oil on hardboard 40.5 x 33 cm Signed with studio stamp verso Caziel Estate Inventory no. WC771 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 401, cat. no. 463, p. 59. 34
30. Composition c.1967 Oil on panel 19.5 x 33 cm Signed with studio stamp verso Caziel Estate Inventory no. WC768 EXHIBITED: 2017, Art Out of the Bloodlands: A Century of Polish Artists in Britain, Ben Uri Gallery, London. LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 428, cat. no. 521, p. 61.
31. Composition c.1967 Oil on panel 23 x 38 cm Signed with studio stamp verso Caziel Estate Inventory no. WC769 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue Raisonné. National Museum, Warsaw, 1998, IB 427, cat. no. 520, p. 61. 35
32. Composition 1967.VI 1967 Oil on board 78 x 100 cm Signed and dated verso Caziel Estate Inventory no. WC782 36
33. Composition 1967/22/6 1967 Oil on board 110 x 78 cm Signed and dated verso Caziel Estate Inventory no. WC784 37
34. Composition 1967.V 1967 Oil on board 77 x 50 cm Signed and dated verso Caziel Estate Inventory no. WC779 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 167, cat. no. 506, p. 60. 38
35. Composition c.1967 Oil on canvas 73 x 92 cm Signed with studio stamp verso Caziel Estate Inventory no. WC535 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988. Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 29, cat. no. 518, p.61.
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36. Composition 1967.1.N.4 1967 Oil on canvas 61 x 46 cm Signed and dated verso Caziel Estate Inventory no. WC775 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 154, cat. no. 476, p. 59. 40
37. Composition 1967.I.N.5 1967 Oil on canvas 61 x 46 cm Signed and dated verso Caziel Estate Inventory no. WC774 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 152, cat. no. 477, p. 60. 41
38. Composition 1967.16/6 1967 Oil on board 100 x 90 cm Signed and dated verso Caziel Estate Inventory no. WC783 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 19, cat. no. 509, p. 60.
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39. Composition 1967/6 1967 Oil on board 86.5 x 57.5 cm Signed and dated verso Caziel Estate Inventory no. WC781 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 166, cat. no. 511, p. 61.
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40. Composition 1967.5 1967 Oil on panel 54.3 x 47.3 cm Signed and dated verso Caziel Estate Inventory no. WC778 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 168, cat. no. 507, p. 60. 44
41. Composition 1967.3 (Pesto) 1967 Oil on board 64.5 x 36 cm Signed, dated and inscribed verso Caziel Estate Inventory no. WC777 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 405, cat. no. 499, p. 60. 45
42. Abstract Composition 1967/13/August 1967 Oil on hardboard 161 x 139 cm Signed and dated verso Caziel Estate Inventory no. WC649 LITERATURE: MONKIEWICZ, Dorota. Caziel 1906-1988, Catalogue RaisonnĂŠ. National Museum, Warsaw, 1998, IB 13, cat. no. 514, p. 61.
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CHRONOLOGY and EXHIBITIONS 1906 1914-20 1931-36 1932-37 1937 1939 1940 1941 1944-46 1946
1947 1948-56 1951 1952 1953 1955 1957 1958 1963
1965 1966 1967 1968 1966-68 1969 1978 1983 1988 1990 1991 1992
Born in Sosnowiec, Poland, on 16th June. Spent his childhood and youth moving around Russia, as his family escaped from the advancing German forces and subsequently had to hide from the Communists. Studied painting at the Warsaw Academy of Fine Art. Met Jewish painter Lutka Pink. Exhibited at Loza Wolnomalarska (Lodge of Free Painters). Won a State Scholarship to Italy and Paris. The work of Giotto and Cézanne left a lasting influence. Settled with Lutka Pink in Paris. Married Lutka Pink. Volunteered for the Polish Army in France. After France signed the Armistice with Germany, the Polish army was disbanded and all Polish soldiers were advised to make their way to the South of France or Spain. Caziel and Lutka were sheltered by Blaise Cendrars in Aix-en-Provence before being moved by the French Resistance to Auvergne. Caziel and Lutka moved back to Aix-en-Provence. Caziel and Lutka returned to Paris. Despite being promised important teaching posts as well as state sponsorship for his work by the Polish authorities, Caziel chose to stay in Paris, to protect Lutka from the shock of having to return to the country where she lost all her relatives in Auschwitz. Designed the Polish Pavilion for UNESCO International Exhibition of Modern Art. First one-man show at Galerie Allard, Paris. Met Picasso with whom he developed a long friendship. Exhibited annually at the “Salon de Mai” in Paris, alongside Vasarely, Hartung and Manessier. Joined the group ‘Espace’ and positioned himself as an adherent of Abstraction. The Musée National d’Art Moderne, Paris, purchased one of his monumental canvasses. Fell in love with the Scottish painter Catherine Sinclair. Together they moved to Ponthévrard, just outside Paris. The Vatican commissioned four large paintings for their Museum of Modern Religious Art. Designed frescoes for French architect Jean Ginsberg. Started to apply small areas of impasto, which mimic biomorphic or lichen-like growths. Married Catherine Sinclair. Catherine and Caziel’s daughter Clementina was born. Caziel’s paintings show long streaks of colour, applied in rich impasto, the effect of which is reminiscent of the lacerated technique used by adherents of the ‘Nouvelles Realités’ movement. Exterior design for a fresco for the Atomic Energy Commission at Tollemache House, Thurso. Paintings show small organic shapes, making up a larger composition, leaving much of the white background visible. First one-man show in London hosted by the Grabowski Gallery. Following years of intense research, Caziel arrived at geometric shapes against a white background. Second one-man show at the Grabowski Gallery, London. Exhibited at the Royal Academy of Arts, London. Moved his family from Ponthévrard to Somerset, England. Exhibited at the National Museum, Warsaw – Circle of Tadeusz Pruszkowski. Exhibited works on paper at the Summer Exhibition at Fair Maids House Gallery, Perth. Died in Somerset. Memorial Exhibition at the Polish Cultural Institute, London. Exhibition at the Butlin Gallery, Dillington House College, Ilminster, Somerset. Exhibition of works from 1945 – 1988 at the Royal West of England Academy, Bristol.
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1995 1997 1998 2001 2004 2006 2008 2010 2012 2014 2017 2018
Exhibition Caziel: Substance and Light, Whitford Fine Art, London. Exhibition Caziel: Drawings from the Forties, Whitford Fine Art, London. Exhibition Caziel: Works from the Fifties, Whitford Fine Art, London. Retrospective Exhibition at the National Museum, Warsaw. Exhibition Contour and Line: Selection of Works on Paper from 1965, Whitford Fine Art, London. Exhibition Caziel: Abstraction 1963 – 1967, Whitford Fine Art, London. Retrospective Exhibition at the Embassy of the Republic of Poland, London. Centenary Retrospective Exhibition, Whitford Fine Art, London. Exhibition Caziel: ‘Je suis abstrait’ - Works from the Fifties, Whitford Fine Art, London. Exhibition Caziel: Drawings and Watercolours 1935 – 1952, Whitford Fine Art, London. Exhibition Caziel: In Search of a New Reality, Whitford Fine Art, London. Exhibition Caziel: Forever Yours, Whitford Fine Art, London. Exhibition Caziel: Espace - Abstraction: Works from the Fifties, Francis Maere Arts, Ghent, Belgium. Exhibition Caziel: Abstraction Explored, Whitford Fine Art, London. Exhibition Caziel: Painting Lacerated Rhythms: Paintings 1963-1967, Whitford Fine Art, London.
Our profound thanks go to Mrs Clementina Stiegler, for her support and assistance during the preparation of this catalogue. Published in London by Whitford Fine Art, London, UK. ©An Jo Fermon All artwork ©Caziel Estate, courtesy of Whitford Fine Art, London All rights reserved under international copyright conventions. No part of this publication may be reproduced or utilised in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Exhibition coordination: Gabriel Toso, Whitford Fine Art, London Photography all artwork: Mario Bettella, London Design and Production: Artmedia Press Ltd, London Printed and bound in UK ISBN 978-1-9996593-0-1
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