T03955 Forms on Grey
Oil on canvas 1299 x 971 (51 1/8 x 38 1/4)
Inscribed ‘P. Vézelay 1935' b.l. and ‘P. Vézelay 1935. | 1935' on back of canvas t.l. Inscribed on labels removed from the stretcher and now separately preserved ‘"FORMS ON GREY" | Paule Vézelay | 1935 | 60F' and ‘OIL. Paule Vézelay. | 1935. | "Forms on Grey." | 60F'
Presented by the artist's executors in accordance with her wishes 1985
Exh: Paule Vézelay Retrospective: Drawings, Collages, Paintings, Sculptures and Constructions 1916-1968, Grosvenor Gallery, Oct.-Nov. 1968 (20); Abstraction Création, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, April-June 1978, Musée d'art moderne de la Ville de Paris, June-Sept. 1978, (no number, repr. p.282); Paule Vézelay: Paintings, Drawings and Constructions 1933-1980, Zabriskie Gallery, New York, Oct.-Nov. 1980, (8, repr. p.3); Paule Vézelay, Tate Gallery, Feb.-May 1983 (21, repr. p.35)
Repr: Arts Magazine, vol.55, Nov. 1980, p.100
In 1934 Vézelay joined and exhibited with Abstraction Création, a loosely knit organisation of artists which was dedicated to the defence of non-figurative art. This step coincided with a move in her work towards a more geometrical type of imagery from which references to recognisable objects or a naturalistic atmosphere were excluded. Ronald Alley has written that many of the shapes in Vézelay's works in the mid 1930s
suggest objects such as vases, horn-like trumpets, tubes and the like, whose outlines are composed of a variety of curves and straight lines. The paintings therefore became studies of harmony, balance, spacing and rhythmical contrast, executed in clear contrasting colours or black and white. There is usually only a limited suggestion of space and many of the forms are divided down the centre into light and dark zones (‘Introduction', in Paule Vézelay, exh. cat., Tate Gallery, 1983, p.11).
Vézelay consistently denied that the forms in her paintings were derived from nature. In a letter to the Tate Gallery dated 17 May 1975 she corrected a misapprehension of a curator, insisting, ‘I am sure
the forms in my non-figurative works are invented
forms & do not
have their "genesis in natural forms"'. However, although invented according to the artist's compositional concerns with the balance of line, shape and colour, the shapes in T03955 can be seen as echoing forms found in the objects of daily life. ‘Collection of Objects on a Blue Table', 1934 (private collection), for example, shows a medley of shapes based upon a table-top scene of fruit, thin-necked vases and bowls, some divided centrally into different colour areas. The imagery of this painting is clearly related to that of T03955 as is that of one of Vézelay's rare later figurative paintings ‘Fruit and Vases', 1945 (private collection). In this context it should be noted that the fact that even her most abstract-looking paintings suggest familiar forms has been a longstanding theme in reviews of her work. In 1934, for example, a French critic wrote that Vézelay's long experience as a figurative painter had allowed her to retain in her abstract paintings the idea of the object, its charm and its hold on the imagination, saving her work from the aridity of that of other members of Abstraction Création
(‘Les Expositions à Paris et ailleurs', Cahiers d'Art, vol.9, 1934, p.124). In 1949 Humphrey Jennings also related her abstract works to the things of the material world, writing:
she chooses & arranges shapes & harmonies as she lays a table or arranges the mantelpiece: with care and affection. That is why her pictures aren't really abstract - the affection is for real objects. You can't see the objects ‘in the picture itself'? No. She learnt in Paris not to make the old mistake of confusing the origin of her feelings with the final expression of it (Paule Vézelay: Moving and Static Forms, exh. cat., St. George's Gallery, 1949, [p.2]).
The Tate Gallery 1984-86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982-84, Tate Gallery, London 1988, pp.287-8