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Victor Laks (1924-2011), Watercolor Drawing No. 71bis, 1970
Victor LAKS
1924, Châtillon (Hauts-de-Seine) – 2011, Chavannes-sur-Suran (Ain)
Watercolor drawing no. 71bis, 1970
red ink on paper
76.5 x 56.5 cm
signed and dated lower center
titled, dated, and countersigned on the reverse
frame : 78 x 59 cm
Closely associated with major figures such as Pierre Soulages, Constantin Brancusi, and Seund Ja Rhee, Victor Laks’s work belongs to the currents of abstract art and lyrical abstraction. Trained in the studio of Émile-Othon Friesz and at the École du Louvre, Laks began his career in the United States after the Second World War, where he taught and held his first solo exhibitions while traveling extensively across the American continent. Upon returning to Paris in 1955, he abandoned figuration in favor of a free and gestural abstraction. His studio-garden at the Villa Saint-Jacques became a focal point of artistic exchange. During this period, he gravitated toward the circles of Art Informel and associated with figures such as Michel Tapié, Soulages, Camille Bryen, Natalia Dumitresco, and Seund Ja Rhee.
Influenced by these encounters, he developed a body of work rich in tension, oscillating between density and void, structure and spontaneity. His painting evolved from a constructed expressionism toward an organic and fluid language in which gesture became paramount. From 1968 onward, color returned and forms proliferated into vegetal networks. In the 1980s, his surfaces grew increasingly saturated before once again becoming pared down. His style, though nourished by multiple influences, remains distinctly identifiable. Laks was also an active participant in the artistic scene, as a member or co-founder of several groups and associations (Groupe V, Art & Prospective, Le Limitrophe).
Public collections
Musée d'arts de Nantes
Poliforum Cultural Universitario, Chihuahua, Mexico
1924, Châtillon (Hauts-de-Seine) – 2011, Chavannes-sur-Suran (Ain)
Watercolor drawing no. 71bis, 1970
red ink on paper
76.5 x 56.5 cm
signed and dated lower center
titled, dated, and countersigned on the reverse
frame : 78 x 59 cm
Closely associated with major figures such as Pierre Soulages, Constantin Brancusi, and Seund Ja Rhee, Victor Laks’s work belongs to the currents of abstract art and lyrical abstraction. Trained in the studio of Émile-Othon Friesz and at the École du Louvre, Laks began his career in the United States after the Second World War, where he taught and held his first solo exhibitions while traveling extensively across the American continent. Upon returning to Paris in 1955, he abandoned figuration in favor of a free and gestural abstraction. His studio-garden at the Villa Saint-Jacques became a focal point of artistic exchange. During this period, he gravitated toward the circles of Art Informel and associated with figures such as Michel Tapié, Soulages, Camille Bryen, Natalia Dumitresco, and Seund Ja Rhee.
Influenced by these encounters, he developed a body of work rich in tension, oscillating between density and void, structure and spontaneity. His painting evolved from a constructed expressionism toward an organic and fluid language in which gesture became paramount. From 1968 onward, color returned and forms proliferated into vegetal networks. In the 1980s, his surfaces grew increasingly saturated before once again becoming pared down. His style, though nourished by multiple influences, remains distinctly identifiable. Laks was also an active participant in the artistic scene, as a member or co-founder of several groups and associations (Groupe V, Art & Prospective, Le Limitrophe).
Public collections
Musée d'arts de Nantes
Poliforum Cultural Universitario, Chihuahua, Mexico
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