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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.

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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-2
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-3
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-4
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-1
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-2
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-3
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-4
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Pierre Charbonnier (1897-1978). The Sleep. Oil On Panel, Monogrammed, Signed And Titled.-photo-5
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Pierre CHARBONNIER (1897-1978)
Le Sommeil
Oil on panel, monogrammed lower right, titled and countersigned on the back
H. 35 cm - W. 26.5 cm

Pierre Charbonnier was born in 1897 in Vienne, in Isère, he studied at the Beaux Arts de Lyon, before joining the Ranson Academy in Paris. From 1919, he exhibited at the Salon des Indépendants, the Tuileries and the Autumn. Very active in the world of cinema, he directed films, and assisted Robert Bresson for a long time in the decoration of his feature films. Close to the intellectual milieu of his time, he befriended René Char, Jacques Prévert and Francis Ponge. Fully integrated into the cultural life of the capital, he exhibited with Katia Granoff, Albert Loeb, Henriette Gomes...

The period of the 1920s marked the first stylistic attempts. The compositions and points of view are already remarkable. Strongly influenced by cinema and photography, Pierre Charbonnier composes his paintings with a certain taste for shooting. Indeed, the plans are studied and sophisticated and the effects of dynamic openings. When it comes to a sleeping young woman, the close composition is neat, reminiscent of some snapshots of photography of the time. Also, very attentive to nature, he does not fail to represent the elements of modern life. The countryside landscapes thus integrate infrastructures and technical materials. Of great richness, Pierre Charbonnier's painting vibrates and proves to be of a brilliant modernity.

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Painting On Copper, 18th Century
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