We are pleased to contribute to the Léon Wuidar exhibition at the Château Bonisson art center by lending some works by Auguste Herbin

It was in the late 1960s that Léon Wuidar began creating singular paintings, simultaneously heirs to geometric abstraction and not entirely abandoning the representation of the world. A painting with variable geometry, both abstract and figurative. (...)
Nourished by these reflections on the cosmos, science, and the physical and spiritual nature of color, Herbin developed his plastic alphabet in 1942. From this new pictorial language, consisting of a system of correspondences between letters of the alphabet, geometric forms, colors, and musical sounds, emerged one hundred and sixty-one paintings produced between 1942 and 1960, including Parfum No. 2 (1954), AI (1955), and Dora No. 2 (1957), presented in this exhibition. Their combinations of forms and colors, which speak and sing, bear witness to this meaningful abstraction that the canons of essentialist formalism deemed impure. As if to better demonstrate his refusal to break with meaning, Wuidar's painting even indulged in the pleasure of a typographic turn starting in the 1980s.

Excerpts from the text by Marjolaine Lévy: Léon Wuidar, a painting with variable geometry

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