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When I came back to Paris in 1931, after a long convalescence in the South, the 'Abstraction-Création' group had just be founded. Vantongerloo had be… - Michel Seuphor
" "When I came back to Paris in 1931, after a long convalescence in the South, the 'Abstraction-Création' group had just be founded. Vantongerloo had been given our mailing list. At the same time I learned of Van Doesburg's death in Davos. The first issue of 'Abstraction-Création' came off the press just a year later, printed in the same dusty small shop that had brought out 'Cercle et Carré' and where I had earned a meagre living as a non-union proof-reader and make-up man. 'Abstraction-Création' had a much wider influence than its predecessor. From 1932 to 1936 an annual cahier presented reproductions and statements by painters.
English
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About Michel Seuphor
Fernand Berckelaers (1901, Antwerp – 1999, Paris), pseudonym Michel Seuphor (anagram of Orpheus), was a Belgian painter, draughtsman, and a designer of carpets. He wrote several books on the history and development of modern abstract art and used all the contacts he had with many abstract artists in Europe and the U.S.
Also Known As
Alternative Names:
Fernand Berckelaers
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Fernant Berckelaers
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Ferdinand Louis Berckelaers
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Michel Berckelaers
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Additional quotes by Michel Seuphor
In 1936, when the last issue of 'Abstraction-Création' appeared, Europe was in a deep slump. Hitlerism was rampant in Germany and many artists had already fled there... There were evil portents on the horizon; night was about to descend over Europe. It was at that moment that America took up the case of abstract art. The association of 'American Abstract Artists' was founded that year, and it was also in 1936 that the exhibition Cubism and Abstract Art was held at the Museum of Modern Art in New York... At about this time a flood of refugees – artists, intellectuals, and men of science – began to pour into the United States.
For if art, like religion, belongs to no country, it is perhaps itself the only country and the only true religion. Only those hear its call who have that siren’s song within them. The inner riches of the eyes bring out the secret virtues of the work, and little by little they begin to speak... Every artist, every work of every artist, establishes, in his or its own absolutely inaccessible way, this contact of the spirit with the spirit. Provided of course, that the viewer is in 'a state of grace'.
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