Beschreibung:

Triptych - Oil on canvas - Sig. on the reverse "R. Raveel / Machelen / Leie" (3x) - 145 x 423 cm (total) - Framed separately - Exhibition labels on the reverse
Remarks 145 x 114 cm (2x) - 145 x 195 cm (1x) Exhibition "25 años de Arte Belga" Museo de Arte Moderno, Mexico City 1971 "Fortunately there is still some grass - Etienne Elias Raoul De Keyser Reinier Lucassen Roger Raveel" Camden Arts Centre, London 1973 "Roger Raveel" Stedelijk Museum, Amsterdam 1974, cat. nr. 46 "Retrospectieve Roger Raveel" Centrum voor Kunst en Cultuur, Ghent 1974, cat. nr. 129 "Tentoonstelling 150 jaar NMBS" 1985 Literature "Roger Raveel en de Nieuwe Visie" Marc Ruyters, Ed. Snoeck, Gent 2006, p. 290-291 ill. (there incorrectly dated 1966) With certificate of authenticity by Octave Scheire Provenance coll. Arthur Vandekerckhove, Ingelmunster WORLD FAMOUS IN FLANDERS This year we celebrate the centenary of Roger Raveel His heritage appears to be more relevant today than ever. His art is deeply rooted in Flemish soil. When Hugo Claus advised him once to go to the United States, he replied: "I don't think I will see the cosmos in New York any differently than in Machelen. So I better stay here ". This local anchoring was crucial for the development of his own visual language. Raveel proceeded in a very meticulous and unconventional way, wary of any trends, and succeeded in creating universal art. He was not concerned with international fame. His work as a painter and draftsman would carry out his name. He stayed true to his home region, while pushing his boundaries in his visual language. Raveel pursued the recognition of what he called a "New Vision". The triptych "Beyond the concrete wall" (1970) unmistakably depicts a wall, an everyday element we recognize immediately. But we don't look at this wall like an original wall. It's about its picture in a larger plan - which is a subtle but essential difference. The wall is anything but realistic. Without shadow, in a strange perspective, the wall does not seem to have a beginning or an end. Furthermore, narrative elements creating confusion emerge. The composition consists of several bright colored areas with neat contours, disturbed by a bush, a pole and a passer-by. These elements deviate pictorially as well as formally and compositionally. Whilst hat and cloak are painted almost photographically, the passer-by lacks any recognition. Brutish brush strokes compose the bush in a pasty layer of paint, while the pole is especially minimalistic. Raveel creates tension between reality, representation and illusion. As spectators we question our own perception and the relationship between the painting and its surroundings.