Sandoz Gérard (1902-1995) - Composition abstraite






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Composition abstraite, oil on canvas, France, 1978 (1970–1980).
Description from the seller
Sandoz Gérard (1902-1995)
Abstract composition oil on canvas 60x73 cm
Signed and dated 1978
In the artist’s photo in his studio, this painting is hanging in the background.
Gérard SANDOZ
(1902-1995)
Gérard Sandoz was born in Paris in 1902 into a family of jewelers and watchmakers. He began working for the Sandoz House as a jewelry designer. In 1929 he joined the Union of Modern Artists, known by the abbreviation UAM. The aim of this association is to promote and defend modern art.
He produced jewelry with monumental architectural sensibility: imposing bracelets, rings with sculpted and structured lines, massive pendants.
His themes are engraved silver and lacquer in red and black tones. He also experimented with eggshells. He places particular importance on visible mountings and the striking colors of his jewelry. Technical execution and precision of design are more important to him than the value of the materials. He uses hematite, corals, onyx, lapis lazuli, aventurine, jaspe, and chalcedony. He consistently executes simple and strict lines, smooth surfaces and corners in colored, polished and matte metals. He depicts scenes of daily life on his lacquered boxes. He is among the avant-garde jewelers of his time.
At the end of the 1920s, his father ceded the business to Georges L’Enfant, for whom Gérard worked as art director until 1931, when he decided to devote himself fully to painting and cinema.
Sandoz Gérard (1902-1995)
Abstract composition oil on canvas 60x73 cm
Signed and dated 1978
In the artist’s photo in his studio, this painting is hanging in the background.
Gérard SANDOZ
(1902-1995)
Gérard Sandoz was born in Paris in 1902 into a family of jewelers and watchmakers. He began working for the Sandoz House as a jewelry designer. In 1929 he joined the Union of Modern Artists, known by the abbreviation UAM. The aim of this association is to promote and defend modern art.
He produced jewelry with monumental architectural sensibility: imposing bracelets, rings with sculpted and structured lines, massive pendants.
His themes are engraved silver and lacquer in red and black tones. He also experimented with eggshells. He places particular importance on visible mountings and the striking colors of his jewelry. Technical execution and precision of design are more important to him than the value of the materials. He uses hematite, corals, onyx, lapis lazuli, aventurine, jaspe, and chalcedony. He consistently executes simple and strict lines, smooth surfaces and corners in colored, polished and matte metals. He depicts scenes of daily life on his lacquered boxes. He is among the avant-garde jewelers of his time.
At the end of the 1920s, his father ceded the business to Georges L’Enfant, for whom Gérard worked as art director until 1931, when he decided to devote himself fully to painting and cinema.
