Corneille (1922-2010) - Olympic centennial

ABOUT THE PRINT
- Litografi Velin d'Arches -paperille.
- Allekirjoitettu ja päivätty käsin.
- Kuuluu taiteelliseen projektiin 'Suite Olympic Centennial'

ABOUT THE ARTWORK

The Olympic Suite consists of 50 lithographs and silkscreen prints chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of the modern Olympic Games. The selected artists work in a wide variety of movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented are creators of great international renown, widely recognised by critics.

ABOUT THE ARTIST

Corneille (1922–2010) was a French artist of Belgian birth, best known as a founding member of the avant-garde group COBRA, which emerged in 1948. Born in Liège, Belgium, he moved to Paris and became one of the leading figures in postwar European art.

Corneille’s work is characterized by its vivid colors, expressive lines, and a playful, almost childlike style. He drew inspiration from nature, especially birds, women, and landscapes, which became recurring motifs in his paintings. His artistic language combined spontaneity with imagination, reflecting the COBRA movement’s emphasis on freedom, experimentation, and rejection of traditional academic techniques.

One of his main artistic achievements was helping to establish COBRA as a key movement in modern art, alongside artists like Karel Appel and Asger Jorn. After COBRA dissolved in 1951, Corneille continued to evolve his style, incorporating influences from his travels, particularly in Africa and Asia.

Throughout his career, Corneille worked not only in painting but also in sculpture, ceramics, and graphic art. His work has been exhibited internationally, and he remains an important figure in European modern art.