{"id":6102,"title":"Anti-peinture I","dimensions":"70 x 58 cm","date_begin":"1960-01-01","material":"wood","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Ronny Van de Velde, Antwerp","cached_tag_list":"reliëf","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"anti-peinture-i","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Painting","nl":"Schilderij","fr":"Peinture"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/894/large/Vic_Gentils__Antipeinture_I.__1960__relief__houten_gebrande_lijstfragmenten_op_hout.jpg?1350045774","poster_credits":null,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eFollowing years of search and doubt during which Vic Gentils (1919-1997) assimilates expressionism and the ubiquitous Picasso and Klee, in 1955 he turns to abstract painting. And when that too seems inadequate, Gentils starts making his famous assemblages. These are indeed abstract compositions, from wood scraps \u0026ndash; usually frames from doors or windows \u0026ndash; that he combines with appropriated picture frames, thus also referring to the painting as \u0026lsquo;window on the world\u0026rsquo;. In this sense *Anti-peinture I* (1960) is not really an adieu to painting but rather an evocation of painting\u0026rsquo;s own shortcomings. Gentils makes art-historical art. With cast-off decorations once sold to nostalgic parochial folk, he forges a new patrimony. In the white modern spaces so desirous of being timeless, his assemblages function like alienating interventions, objects that underscore the historical nature of each object, each space. And perhaps the opting for dark tones was his way to escape from the shadow of expressionism, by ironic reference to that somber style sometimes drown in asphalt.\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eNa jaren van zoeken en twijfel waarin Vic Gentils (1919-1997) invloeden verwerkt van het expressionisme en van de alomtegenwoordige Picasso en Klee, gaat hij in 1955 abstract schilderen. En als dat ook ontoereikend blijkt gaat hij zijn beroemde assemblages maken. Het zijn wel abstracte composities, maar het wrakhout \u0026ndash; meestal omlijstingen van deuren en ramen - dat hij combineert met afgevoerde schilderijlijsten, verwijzen nog naar het schilderij als \u0026lsquo;venster op de wereld\u0026rsquo;. In die zin is *Anti-peinture I* (1960) niet echt een afscheid maar een evocatie van het schilderkunstig tekort. Gentils maakt kunsthistorische kunst. Met afgedankte versieringen die ooit massaal verkocht werden aan nostalgische kleinburgers, maakt hij nieuw patrimonium. In de witte moderne ruimten die zo graag tijdloos willen zijn, functioneren zijn assemblages als vervreemdende tussenkomsten, objecten die het historische karakter benadrukken van elk voorwerp, elke ruimte. En misschien is de keuze voor sombere tinten zijn manier geweest om aan de schaduw van het expressionisme te ontsnappen, door ironische verwijzing naar die sombere stijl die soms in bitumen verdronk.\u003c/p\u003e"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":1198,"name":"Vic Gentils","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}