Bernard Dufour, 1922 - 2016
FEMME NUE, TROIS ARBRES, c. 1966
Oil on canvas
146 x 114,5 cm; 57 1/2 x 45 1/16 in.
Private collection
Dufour cannot paint anybody. He paints the woman he most desires among all the ones he sees. It cannot work without desire. He chooses to represent female nudes, but not any woman, she who touches him the most, his. Dufour speaks about bodies: the other's body. And by doing so, he speaks about the very body of painting, the one that takes shape on the canvas. It is also our own body when it projects itself in the anarchic space of desire and fantasy, far away from beautiful polished images and good manners. In this interlacing of colors and shapes, life unfolds in a disruptive chaos. More on this painting
Bernard Dufour, 1922 - 2016
NU DE DOS, FORÊT, FEUILLAGE, c. 1966
Oil on canvas
146 x 114,5 cm; 57 1/2 x 45 1/16 in
Private collection
Bernard Dufour (21 November 1922 – 21 July 2016) was a French painter. He was notable for abstract painting after the Second World War, and later for portraits and human figures.
Dufour originally studied agricultural engineering. During the German Occupation, he was pressed into war labour. He was sent to Germany with Alain Robbe-Grillet and there they met Claude Ollier. In the winter of 1944–45, he went to the University of Heidelberg and studied Eugène Delacroix and Stéphane Mallarmé. After the war he copied works of Michelangelo and Tintoretto in the Louvre.
His first solo exhibition was at the Galerie Maeght in 1948, followed by exhibitions in the Jeanne Bucher gallery between 1951 and 1953. Motivated by these successes, he soon signed an exclusive contract with art dealer Pierre Loeb. In the later 1950s, he began to attract attention outside France; in 1959, he participated in the second documenta exhibition in Kassel.
Bernard Dufour, 1922 - 2016
NU, ARBRE, SOUCHE, c. 1966
oil on canvas
Oil on canvas
146 x 114,5 cm; 57 1/2 x 45 1/16 in.
Private collection
From 1960, he turned from abstract to figurative painting, initially self-portraits and mournful figures, later scandalous nudes. In 1961 he opened a studio in an old mill on the Aveyron River in Foissac, where he also lived. He took part in the Venice Biennale in 1964. From this time he formed enduring friendships with other writers of the literary avant garde. From the 1970s he worked in photography as well as painting, and wrote several volumes of artistic notes and memoirs.
La Belle Noiseuse, Jacques Rivette's 1991 film about an elderly artist, was partly inspired by Dufour, who was credited as "the hand of the artist" painting the picture at the heart of the film. In 1995, Dufour's wife Martine died of cancer. Dufour lived his last years in Villeneuve. More on Bernard Dufour
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