Bienvenue à la semaine française! Welcome to the french week
The English version to follow the French biography
Bernar Venet (1941) était le plus jeune de quatre garçons. Il a été élevé à Château-Arnoux-Saint-Auban et a eu une éducation religieuse, aspirant à devenir missionnaire. Il commence à s'intéresser à la peinture et au dessin dès son plus jeune âge. À l'âge de 11 ans, découvrant un livre sur Pierre-Auguste Renoir, il comprit d'abord qu'il pourrait peut-être se forger une carrière grâce à son talent particulier.
Après plusieurs tentatives pour acquérir une formation artistique, il travaille comme décorateur à l'Opéra de Nice en 1959. En 1961, Venet rejoint l'armée française tout en commençant à établir son style d'artiste. Durant cette période, il peint au goudron et crée son art avec ses pieds dans un style gestuel. Cette œuvre s'est par la suite développée en peintures monochromes noires évitant toute forme de peinture d'action.
Par la suite, Venet se familiarise avec le travail d'Arman et de certains des nouveaux réalistes parisiens, tels que César Baldaccini, Raymond Hains et Jacques Villeglé, et commence à sculpter avec du carton. Il a exposé aux côtés d'artistes d'œuvres d'artistes néo-réalistes et pop au Salon Comparaisons du Musée d'art moderne de Paris.
En 1966, lors d'une visite de deux mois à New York, Venet est influencé par le minimalisme et intègre par conséquent ce style dans son art. En 1967, Venet s'installe à New York et partage le studio de l'artiste, Arman. De 1971 à 1976, Venet ne créa aucun art et entra dans une période de rétrospection. Il a commencé à enseigner l'art et la théorie de l'art à l'Université Paris-Sorbonne et a fréquenté des conférences en Angleterre, en Italie, en Pologne et en Belgique. Il reprend son activité artistique en 1976 et expose ses œuvres à la "Documenta VI" de Kassel en 1977. En 1979, il crée une série de reliefs en bois, intitulés Arcs, Angels, Diagonals.
Au cours des années 1980, Venet continue de développer son art selon des lignes logiques. Il a également composé, chorégraphié et imaginé les costumes et les dessins de la production du ballet Graduation par Jean-Louis Martinoty. Dans les années 1990, il crée sa série Indéterminate Lines, puis ses Arcs, exposés dans divers lieux, notamment à Versailles et dans le monde.
En 2012, Venet a été commandé par Alan Gibbs, un collectionneur d'art basé en Nouvelle-Zélande; Sa plus récente et la plus grande sculpture se trouve dans le parc de sculptures de la ferme Gibbs. En 2012, le constructeur de voitures de luxe Bugatti a invité Venet à créer une œuvre d'art unique à appliquer sur un Veyron Grand Sport. L'œuvre finie, décrite comme "l'œuvre la plus rapide jamais réalisée", a été révélée à la Rubell Family Collection à Miami lors de la manifestation Art Basel Miami Beach.
En 2016, Venet a reçu le prix d'excellence pour ses réalisations dans la sculpture contemporaine du Centre international de sculpture.
Bernar Venet (1941) was born to Jean-Marie Venet, a school teacher and chemist, and Adeline Gilly. He was the youngest of four boys. He was brought up in Chateau-Arnoux-Saint-Auban and had a religious upbringing, aspiring to become a missionary. He had struggled with asthma and academic subjects at school, while excelling in drawing and painting. With the support of a local artist; however, he became interested in painting and drawing at a young age. At age 11, discovering a book on Pierre-Auguste Renoir, he first understood that he might be able to forge a career out of his particular talent.
After several attempts at gaining a formal education in the arts, he worked as a stage designer at the Nice Opera in 1959. In 1961, Venet joined the French Army whilst also starting to establish his style as an artist. During this period, he painted with tar, creating his art with his feet in a gestural style. This work eventually developed into black monochromatic paintings which eschewed all forms of action painting.
After completing his military service, Venet returned to Nice, where he established his studio and continued to explore painting with tar, creating art with coal, and photography. His first sculpture, Coal Pile, has a restrained and minimal quality.
Subsequently, Venet became familiar with the work of Arman and some of the New Realists in Paris, such as César Baldaccini, Raymond Hains and Jacques Villeglé, and started sculpting with cardboard. He exhibited alongside New Realists and Pop artists' works in the Salon Comparaisons at the Paris Museum of Modern Art.
In 1966, during a two-month visit to New York City, Venet was influenced by Minimalism, consequently incorporating this style into his art. In 1967, Venet moved to New York and shared fellow artist Arman's studio, at 84 Walker Street.
From 1971-76, Venet did not create any art, entering a period of retrospection. He took up teaching Art and Art Theory at the Paris-Sorbonne University, and frequented lectures in England, Italy, Poland and Belgium. He resumed his artistic activity in 1976, exhibiting works at "Documenta VI" in Kassel in 1977. In 1979, he created a series of wood reliefs, entitling them Arcs, Angels, Diagonals.
During the 1980s, Venet continued to develop his art along logical lines. He also composed, choreographed and imagined the costumes and designs for Jean-Louis Martinoty’s production of the ballet Graduation. In the 1990s, he created his Indeterminate Lines series and subsequently his Arcs, which have been exhibited at various locations, including Versailles and internationally.
In 2012, Venet was commissioned by Alan Gibbs, an art collector based in New Zealand; His newest and largest sculpture stands in the Gibbs Farm sculpture park. In 2012, luxury car maker Bugatti invited Venet to create a one-off artwork to be applied to a Veyron Grand Sport. The finished work, described as "the fastest artwork ever", was revealed at the Rubell Family Collection in Miami during Art Basel Miami Beach.
In 2016, Venet was awarded the International Sculpture Center's Lifetime Achievement in Contemporary Sculpture Award
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Bernar Venet. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
The English version to follow the French biography
Bernar Venet (1941) était le plus jeune de quatre garçons. Il a été élevé à Château-Arnoux-Saint-Auban et a eu une éducation religieuse, aspirant à devenir missionnaire. Il commence à s'intéresser à la peinture et au dessin dès son plus jeune âge. À l'âge de 11 ans, découvrant un livre sur Pierre-Auguste Renoir, il comprit d'abord qu'il pourrait peut-être se forger une carrière grâce à son talent particulier.
Après plusieurs tentatives pour acquérir une formation artistique, il travaille comme décorateur à l'Opéra de Nice en 1959. En 1961, Venet rejoint l'armée française tout en commençant à établir son style d'artiste. Durant cette période, il peint au goudron et crée son art avec ses pieds dans un style gestuel. Cette œuvre s'est par la suite développée en peintures monochromes noires évitant toute forme de peinture d'action.
Par la suite, Venet se familiarise avec le travail d'Arman et de certains des nouveaux réalistes parisiens, tels que César Baldaccini, Raymond Hains et Jacques Villeglé, et commence à sculpter avec du carton. Il a exposé aux côtés d'artistes d'œuvres d'artistes néo-réalistes et pop au Salon Comparaisons du Musée d'art moderne de Paris.
En 1966, lors d'une visite de deux mois à New York, Venet est influencé par le minimalisme et intègre par conséquent ce style dans son art. En 1967, Venet s'installe à New York et partage le studio de l'artiste, Arman. De 1971 à 1976, Venet ne créa aucun art et entra dans une période de rétrospection. Il a commencé à enseigner l'art et la théorie de l'art à l'Université Paris-Sorbonne et a fréquenté des conférences en Angleterre, en Italie, en Pologne et en Belgique. Il reprend son activité artistique en 1976 et expose ses œuvres à la "Documenta VI" de Kassel en 1977. En 1979, il crée une série de reliefs en bois, intitulés Arcs, Angels, Diagonals.
Au cours des années 1980, Venet continue de développer son art selon des lignes logiques. Il a également composé, chorégraphié et imaginé les costumes et les dessins de la production du ballet Graduation par Jean-Louis Martinoty. Dans les années 1990, il crée sa série Indéterminate Lines, puis ses Arcs, exposés dans divers lieux, notamment à Versailles et dans le monde.
En 2012, Venet a été commandé par Alan Gibbs, un collectionneur d'art basé en Nouvelle-Zélande; Sa plus récente et la plus grande sculpture se trouve dans le parc de sculptures de la ferme Gibbs. En 2012, le constructeur de voitures de luxe Bugatti a invité Venet à créer une œuvre d'art unique à appliquer sur un Veyron Grand Sport. L'œuvre finie, décrite comme "l'œuvre la plus rapide jamais réalisée", a été révélée à la Rubell Family Collection à Miami lors de la manifestation Art Basel Miami Beach.
En 2016, Venet a reçu le prix d'excellence pour ses réalisations dans la sculpture contemporaine du Centre international de sculpture.
Bernar Venet (1941) was born to Jean-Marie Venet, a school teacher and chemist, and Adeline Gilly. He was the youngest of four boys. He was brought up in Chateau-Arnoux-Saint-Auban and had a religious upbringing, aspiring to become a missionary. He had struggled with asthma and academic subjects at school, while excelling in drawing and painting. With the support of a local artist; however, he became interested in painting and drawing at a young age. At age 11, discovering a book on Pierre-Auguste Renoir, he first understood that he might be able to forge a career out of his particular talent.
After several attempts at gaining a formal education in the arts, he worked as a stage designer at the Nice Opera in 1959. In 1961, Venet joined the French Army whilst also starting to establish his style as an artist. During this period, he painted with tar, creating his art with his feet in a gestural style. This work eventually developed into black monochromatic paintings which eschewed all forms of action painting.
After completing his military service, Venet returned to Nice, where he established his studio and continued to explore painting with tar, creating art with coal, and photography. His first sculpture, Coal Pile, has a restrained and minimal quality.
Subsequently, Venet became familiar with the work of Arman and some of the New Realists in Paris, such as César Baldaccini, Raymond Hains and Jacques Villeglé, and started sculpting with cardboard. He exhibited alongside New Realists and Pop artists' works in the Salon Comparaisons at the Paris Museum of Modern Art.
In 1966, during a two-month visit to New York City, Venet was influenced by Minimalism, consequently incorporating this style into his art. In 1967, Venet moved to New York and shared fellow artist Arman's studio, at 84 Walker Street.
From 1971-76, Venet did not create any art, entering a period of retrospection. He took up teaching Art and Art Theory at the Paris-Sorbonne University, and frequented lectures in England, Italy, Poland and Belgium. He resumed his artistic activity in 1976, exhibiting works at "Documenta VI" in Kassel in 1977. In 1979, he created a series of wood reliefs, entitling them Arcs, Angels, Diagonals.
During the 1980s, Venet continued to develop his art along logical lines. He also composed, choreographed and imagined the costumes and designs for Jean-Louis Martinoty’s production of the ballet Graduation. In the 1990s, he created his Indeterminate Lines series and subsequently his Arcs, which have been exhibited at various locations, including Versailles and internationally.
In 2012, Venet was commissioned by Alan Gibbs, an art collector based in New Zealand; His newest and largest sculpture stands in the Gibbs Farm sculpture park. In 2012, luxury car maker Bugatti invited Venet to create a one-off artwork to be applied to a Veyron Grand Sport. The finished work, described as "the fastest artwork ever", was revealed at the Rubell Family Collection in Miami during Art Basel Miami Beach.
In 2016, Venet was awarded the International Sculpture Center's Lifetime Achievement in Contemporary Sculpture Award
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Bernar Venet. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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| Mr Bernar Venet |
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| 1961-84, Looking Forward: Installation view |
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| 1976, Two Arcs of 35.5° and 123.5° |
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| 1977, The 200 ton Installation: effondrement of arcs |
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| 1978, Relief Bleu |
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| 1987, Two Arcs of 213.5 |
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| 1996, Surface indérminée |
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| 2003-08, Arcs in Disorder: 3 arcs x5 |
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| 2004, The straight line and its trace |
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| 2005, 100.5° Arc x 8 |
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| 2007, 97.5º Arc X 9 |
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| 2008, Arcs in Disorder: 4 Arcs x 5 |
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| 2009, 224.5° Arc × 18 |
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| 2009, Effondrement: Huit lignes indéterminées |
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| 2010, Ligne indéterminée |
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| 2010, Deux lignes indéterminées |
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| 2011, 78.5° Arc × 8 |
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| 2011, 78.5° Arc × 8 |
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| 2011, 85.8° Arc x 16, Place d’Armes |
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| 2011, Quatre lignes indéterminées |
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| 2011, Rendezetlen ívek (3 ív x 5) |
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| 2012, 88.5° ARC x 8 |
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| 2012, 195.5˚ Arc X 14 |
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| 2012, Deux lignes indéterminées |
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| 2012, Quatre lignes indéterminées |
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| 2012, Installation view, Kunsthalle Mücsarnok, Budapest, Hungary |
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| 2014, 222.5° ARC × 10 |
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| 2014, Arcs en désorde: 11 Arcs |
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| 2015, 9 uneven Angles, Union-Square, NYC |
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| 2016, 17 Acute Unequal Angles |
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| 2016, Angles vers 9277 |
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| 2016, Arcs |
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| 2016, Effondrement: Arcs |
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| 2017, Effondrement 200 Tonnes |
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| 2017, Seven Leaning Straight Lines |
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| 2018, Effondrement 16 Arcs |
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| 2018, Quatre lignes indéterminée |
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| 2019, Indeterminacy |
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| Straight line |
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