608
CorneilleJeune paysageOil on canvas. 54 x 65 cm. Framed. Signed and dated 'Corneille '60'. Signed,
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Corneille
Jeune paysage
Oil on canvas. 54 x 65 cm. Framed. Signed and dated 'Corneille '60'. Signed, dated and titled '"jeune paysage" Corneille '60' verso on canvas and stenciled numeration "1977 117" (crossed out).
With accompanying certificate from Natacha Beverloo Corneille Laktionoff, Brussels, dated April 2014.
''What Corneille paints belongs to him alone. A glance suffices to identify his work: it is not possible to mix up the course of his search with someone else's, as so often happens today. And in the meantime, despite this uniqueness - and perhaps because of it - as soon as one reaches a conclusion to grasp at their development, his works give rather a glimpse of a general meaning, which instead certify their exemplary peculiarity. It happens that a work, once the furore has been removed, without meaning to, touches the ghost of the time; in other words, beyond the frequent fermentations, it understands to penetrate deep into the thoughts that secretly move it. Corneille's experience belongs here, it seems that his painting cuts a path to the greatest internalisation which the current art offers. In a wonderful way it demonstrates what the substance of modern art and the stock of his time are. More precisely, this experience adds his development in a slow and significant work to the correlations and disruptions, from where, transformed and comprehensible as extraordinary, the connections are made which commonly unite them. (…) in 1960, no already 1959, a new form of construction of the whole seems to put an end to the keys of the past. With this, the structure of opposites disappears. The images are no longer separated into two zones. Each of their sections show a scenery of great flows of movement, which restrain one another. Tension and calm, continuity and restlessness are present in the same way everywhere. Each section of the space is now double: responsible and autonomous, united and different, simultaneous dynamism in the expansion (continu) and formal burden (discontu), a place of power and dam standing in opposition to the other masses (powers). Turmoil and calm are no longer in designated places, they no longer deform the picture. The tension between the confusion and differentiation, between the continuous and the incessant becomes the substance. Everything happens as though that which is real has been internalised in its own totality up to the establishment of the fundamental being.'' (Max Loreau, Corneille der Geometer, in: Karl Heinz Hering (ed.), Corneille, exhib.cat. Kunstverein für Rheinlande und Westfalen Düsseldorf, Düsseldorf 1967, n. pag.)
Corneille
Jeune paysage
Öl auf Leinwand. 54 x 65 cm. Gerahmt. Signiert und datiert 'Corneille '60'. Rückseitig auf der Leinwand signiert, datiert und betitelt '"jeune paysage" Corneille '60' sowie mit der schablonierten Nummer "1977 117" (durchgestrichen).
Mit beiliegendem Zertifikat von Natacha Beverloo Corneille Laktionoff, Brüssel, vom April 2014.
„Was Corneille malt, gehört ihm ganz allein. Ein Blick genügt, um sein Werk zu identifizieren: es ist nicht möglich, den Verlauf seines Suchens mit dem eines anderen zu verwechseln, wie es heute so häufig vorkommt. Und währenddessen, trotz dieser Einzigartigkeit - und vielleicht sogar derentwegen - sobald man den Entschluss fasst, sie in ihrer Entwicklung zu ergreifen, geben seine Werke eher den Einblick in eine allgemeine Bedeutung, die ihnen statt dessen eine beispielhafte Eigentümlichkeit bescheinigt. Es geschieht, dass ein Werk, einmal dem Aufsehen entzogen, ohne es zu wollen, den Geist der Zeit berührt; das heißt, über die häufigsten Gärungen hinaus, versteht es tief in die Gedanken einzudringen, die es im geheimen bewegen. Das Erleben Corneilles gehört hierhin, es scheint, dass seine Malerei einen Weg bricht zur größten Verinnerlichung, die die aktuelle Kunst bietet. Es zeigt in wunderbarer Weise, was die Substanz der
Jeune paysage
Oil on canvas. 54 x 65 cm. Framed. Signed and dated 'Corneille '60'. Signed, dated and titled '"jeune paysage" Corneille '60' verso on canvas and stenciled numeration "1977 117" (crossed out).
With accompanying certificate from Natacha Beverloo Corneille Laktionoff, Brussels, dated April 2014.
''What Corneille paints belongs to him alone. A glance suffices to identify his work: it is not possible to mix up the course of his search with someone else's, as so often happens today. And in the meantime, despite this uniqueness - and perhaps because of it - as soon as one reaches a conclusion to grasp at their development, his works give rather a glimpse of a general meaning, which instead certify their exemplary peculiarity. It happens that a work, once the furore has been removed, without meaning to, touches the ghost of the time; in other words, beyond the frequent fermentations, it understands to penetrate deep into the thoughts that secretly move it. Corneille's experience belongs here, it seems that his painting cuts a path to the greatest internalisation which the current art offers. In a wonderful way it demonstrates what the substance of modern art and the stock of his time are. More precisely, this experience adds his development in a slow and significant work to the correlations and disruptions, from where, transformed and comprehensible as extraordinary, the connections are made which commonly unite them. (…) in 1960, no already 1959, a new form of construction of the whole seems to put an end to the keys of the past. With this, the structure of opposites disappears. The images are no longer separated into two zones. Each of their sections show a scenery of great flows of movement, which restrain one another. Tension and calm, continuity and restlessness are present in the same way everywhere. Each section of the space is now double: responsible and autonomous, united and different, simultaneous dynamism in the expansion (continu) and formal burden (discontu), a place of power and dam standing in opposition to the other masses (powers). Turmoil and calm are no longer in designated places, they no longer deform the picture. The tension between the confusion and differentiation, between the continuous and the incessant becomes the substance. Everything happens as though that which is real has been internalised in its own totality up to the establishment of the fundamental being.'' (Max Loreau, Corneille der Geometer, in: Karl Heinz Hering (ed.), Corneille, exhib.cat. Kunstverein für Rheinlande und Westfalen Düsseldorf, Düsseldorf 1967, n. pag.)
Corneille
Jeune paysage
Öl auf Leinwand. 54 x 65 cm. Gerahmt. Signiert und datiert 'Corneille '60'. Rückseitig auf der Leinwand signiert, datiert und betitelt '"jeune paysage" Corneille '60' sowie mit der schablonierten Nummer "1977 117" (durchgestrichen).
Mit beiliegendem Zertifikat von Natacha Beverloo Corneille Laktionoff, Brüssel, vom April 2014.
„Was Corneille malt, gehört ihm ganz allein. Ein Blick genügt, um sein Werk zu identifizieren: es ist nicht möglich, den Verlauf seines Suchens mit dem eines anderen zu verwechseln, wie es heute so häufig vorkommt. Und währenddessen, trotz dieser Einzigartigkeit - und vielleicht sogar derentwegen - sobald man den Entschluss fasst, sie in ihrer Entwicklung zu ergreifen, geben seine Werke eher den Einblick in eine allgemeine Bedeutung, die ihnen statt dessen eine beispielhafte Eigentümlichkeit bescheinigt. Es geschieht, dass ein Werk, einmal dem Aufsehen entzogen, ohne es zu wollen, den Geist der Zeit berührt; das heißt, über die häufigsten Gärungen hinaus, versteht es tief in die Gedanken einzudringen, die es im geheimen bewegen. Das Erleben Corneilles gehört hierhin, es scheint, dass seine Malerei einen Weg bricht zur größten Verinnerlichung, die die aktuelle Kunst bietet. Es zeigt in wunderbarer Weise, was die Substanz der
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Corneille
Jeune paysage
Oil on canvas. 54 x 65 cm. Framed. Signed and dated 'Corneille '60'. Signed, dated and titled '"jeune paysage" Corneille '60' verso on canvas and stenciled numeration "1977 117" (crossed out).
With accompanying certificate from Natacha Beverloo Corneille Laktionoff, Brussels, dated April 2014.
''What Corneille paints belongs to him alone. A glance suffices to identify his work: it is not possible to mix up the course of his search with someone else's, as so often happens today. And in the meantime, despite this uniqueness - and perhaps because of it - as soon as one reaches a conclusion to grasp at their development, his works give rather a glimpse of a general meaning, which instead certify their exemplary peculiarity. It happens that a work, once the furore has been removed, without meaning to, touches the ghost of the time; in other words, beyond the frequent fermentations, it understands to penetrate deep into the thoughts that secretly move it. Corneille's experience belongs here, it seems that his painting cuts a path to the greatest internalisation which the current art offers. In a wonderful way it demonstrates what the substance of modern art and the stock of his time are. More precisely, this experience adds his development in a slow and significant work to the correlations and disruptions, from where, transformed and comprehensible as extraordinary, the connections are made which commonly unite them. (…) in 1960, no already 1959, a new form of construction of the whole seems to put an end to the keys of the past. With this, the structure of opposites disappears. The images are no longer separated into two zones. Each of their sections show a scenery of great flows of movement, which restrain one another. Tension and calm, continuity and restlessness are present in the same way everywhere. Each section of the space is now double: responsible and autonomous, united and different, simultaneous dynamism in the expansion (continu) and formal burden (discontu), a place of power and dam standing in opposition to the other masses (powers). Turmoil and calm are no longer in designated places, they no longer deform the picture. The tension between the confusion and differentiation, between the continuous and the incessant becomes the substance. Everything happens as though that which is real has been internalised in its own totality up to the establishment of the fundamental being.'' (Max Loreau, Corneille der Geometer, in: Karl Heinz Hering (ed.), Corneille, exhib.cat. Kunstverein für Rheinlande und Westfalen Düsseldorf, Düsseldorf 1967, n. pag.)
Corneille
Jeune paysage
Öl auf Leinwand. 54 x 65 cm. Gerahmt. Signiert und datiert 'Corneille '60'. Rückseitig auf der Leinwand signiert, datiert und betitelt '"jeune paysage" Corneille '60' sowie mit der schablonierten Nummer "1977 117" (durchgestrichen).
Mit beiliegendem Zertifikat von Natacha Beverloo Corneille Laktionoff, Brüssel, vom April 2014.
„Was Corneille malt, gehört ihm ganz allein. Ein Blick genügt, um sein Werk zu identifizieren: es ist nicht möglich, den Verlauf seines Suchens mit dem eines anderen zu verwechseln, wie es heute so häufig vorkommt. Und währenddessen, trotz dieser Einzigartigkeit - und vielleicht sogar derentwegen - sobald man den Entschluss fasst, sie in ihrer Entwicklung zu ergreifen, geben seine Werke eher den Einblick in eine allgemeine Bedeutung, die ihnen statt dessen eine beispielhafte Eigentümlichkeit bescheinigt. Es geschieht, dass ein Werk, einmal dem Aufsehen entzogen, ohne es zu wollen, den Geist der Zeit berührt; das heißt, über die häufigsten Gärungen hinaus, versteht es tief in die Gedanken einzudringen, die es im geheimen bewegen. Das Erleben Corneilles gehört hierhin, es scheint, dass seine Malerei einen Weg bricht zur größten Verinnerlichung, die die aktuelle Kunst bietet. Es zeigt in wunderbarer Weise, was die Substanz der
Jeune paysage
Oil on canvas. 54 x 65 cm. Framed. Signed and dated 'Corneille '60'. Signed, dated and titled '"jeune paysage" Corneille '60' verso on canvas and stenciled numeration "1977 117" (crossed out).
With accompanying certificate from Natacha Beverloo Corneille Laktionoff, Brussels, dated April 2014.
''What Corneille paints belongs to him alone. A glance suffices to identify his work: it is not possible to mix up the course of his search with someone else's, as so often happens today. And in the meantime, despite this uniqueness - and perhaps because of it - as soon as one reaches a conclusion to grasp at their development, his works give rather a glimpse of a general meaning, which instead certify their exemplary peculiarity. It happens that a work, once the furore has been removed, without meaning to, touches the ghost of the time; in other words, beyond the frequent fermentations, it understands to penetrate deep into the thoughts that secretly move it. Corneille's experience belongs here, it seems that his painting cuts a path to the greatest internalisation which the current art offers. In a wonderful way it demonstrates what the substance of modern art and the stock of his time are. More precisely, this experience adds his development in a slow and significant work to the correlations and disruptions, from where, transformed and comprehensible as extraordinary, the connections are made which commonly unite them. (…) in 1960, no already 1959, a new form of construction of the whole seems to put an end to the keys of the past. With this, the structure of opposites disappears. The images are no longer separated into two zones. Each of their sections show a scenery of great flows of movement, which restrain one another. Tension and calm, continuity and restlessness are present in the same way everywhere. Each section of the space is now double: responsible and autonomous, united and different, simultaneous dynamism in the expansion (continu) and formal burden (discontu), a place of power and dam standing in opposition to the other masses (powers). Turmoil and calm are no longer in designated places, they no longer deform the picture. The tension between the confusion and differentiation, between the continuous and the incessant becomes the substance. Everything happens as though that which is real has been internalised in its own totality up to the establishment of the fundamental being.'' (Max Loreau, Corneille der Geometer, in: Karl Heinz Hering (ed.), Corneille, exhib.cat. Kunstverein für Rheinlande und Westfalen Düsseldorf, Düsseldorf 1967, n. pag.)
Corneille
Jeune paysage
Öl auf Leinwand. 54 x 65 cm. Gerahmt. Signiert und datiert 'Corneille '60'. Rückseitig auf der Leinwand signiert, datiert und betitelt '"jeune paysage" Corneille '60' sowie mit der schablonierten Nummer "1977 117" (durchgestrichen).
Mit beiliegendem Zertifikat von Natacha Beverloo Corneille Laktionoff, Brüssel, vom April 2014.
„Was Corneille malt, gehört ihm ganz allein. Ein Blick genügt, um sein Werk zu identifizieren: es ist nicht möglich, den Verlauf seines Suchens mit dem eines anderen zu verwechseln, wie es heute so häufig vorkommt. Und währenddessen, trotz dieser Einzigartigkeit - und vielleicht sogar derentwegen - sobald man den Entschluss fasst, sie in ihrer Entwicklung zu ergreifen, geben seine Werke eher den Einblick in eine allgemeine Bedeutung, die ihnen statt dessen eine beispielhafte Eigentümlichkeit bescheinigt. Es geschieht, dass ein Werk, einmal dem Aufsehen entzogen, ohne es zu wollen, den Geist der Zeit berührt; das heißt, über die häufigsten Gärungen hinaus, versteht es tief in die Gedanken einzudringen, die es im geheimen bewegen. Das Erleben Corneilles gehört hierhin, es scheint, dass seine Malerei einen Weg bricht zur größten Verinnerlichung, die die aktuelle Kunst bietet. Es zeigt in wunderbarer Weise, was die Substanz der
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