{"id":5079,"date":"2025-05-26T12:45:16","date_gmt":"2025-05-26T10:45:16","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5079"},"modified":"2026-05-17T22:53:05","modified_gmt":"2026-05-17T20:53:05","slug":"surrealisme-georges-goldfayn-chez-berthet-aittouares","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/surrealisme-georges-goldfayn-chez-berthet-aittouares\/","title":{"rendered":"La collection m\u00e9connue de Georges Goldfayn chez Berthet-Aittouar\u00e8s"},"content":{"rendered":"

Apr\u00e8s leur passion pour l\u2019art africain, Andr\u00e9 Breton et ses compagnons surr\u00e9alistes ont port\u00e9 leur regard vers les archipels de Papouasie-Nouvelle-Guin\u00e9e. Les sculptures africaines ont c\u00e9d\u00e9 la place \u00e0 des objets plus expressifs. C\u2019est dans cette veine que s\u2019inscrit la collection de Georges Goldfayn, ancien assistant et ami proche de Breton. Aujourd\u2019hui, celle-ci est mise en lumi\u00e8re par la galerie Berthet-Aittouar\u00e8s \u00e0 Paris.<\/strong><\/p>\n

\"\"Un art oc\u00e9anien joyeux<\/h3>\n

La galerie Berthet-Aittouar\u00e8s pr\u00e9sente un Kulap, statue fun\u00e9raire en craie provenant de Nouvelle-Irlande, et un masque \u00e0 igname, utilis\u00e9 lors des c\u00e9r\u00e9monies de moisson. Ces deux objets, dat\u00e9s du XIXe si\u00e8cle (voire du d\u00e9but du XXe), sont embl\u00e9matiques de l\u2019esth\u00e9tique oc\u00e9anienne. “Le Kulap souligne le lien profond entre les vivants et les morts”, explique Emeline Bril, assistante de direction \u00e0 la galerie Berthet-Aittouar\u00e8s, experte en \u00e9thologie. Le visage souriant du kulap, ses teintes vives, ses gravures d\u00e9licates sur le sommet du cr\u00e2ne r\u00e9v\u00e8lent une expressivit\u00e9 rare. Nous sommes bien loin des visages fig\u00e9s des sculptures africaines. Quant au masque \u00e0 igname, il est confectionn\u00e9 en vannerie. Recouvert de pigments color\u00e9s (dont un blanc symbolique), il jouait un r\u00f4le central lors des f\u00eates de moisson.<\/p>\n

\"\"<\/p>\n

Georges Goldfayn, collectionneur \u00e0 l’\u00e2me surr\u00e9aliste<\/h3>\n

Longtemps rest\u00e9 dans l\u2019ombre de Breton, Georges Goldfayn se r\u00e9v\u00e8le \u00eatre un expert de l\u2019art oc\u00e9anien. Il a constitu\u00e9 une collection coh\u00e9rente, centr\u00e9e sur la Papouasie-Nouvelle-Guin\u00e9e. L’art oc\u00e9anien frappe par sa vivacit\u00e9. Les visages souriants, les couleurs vives, les formes souples d\u00e9gagent une forme de gaiet\u00e9 qui a su s\u00e9duire les Surr\u00e9alistes en qu\u00eate d\u2019un art spontan\u00e9. La collection Georges Goldfayn t\u00e9moigne d\u2019un go\u00fbt \u00e9tendu. \"\"La collection comprend \u00e9galement deux toiles d\u2019Herv\u00e9 T\u00e9l\u00e9maque<\/a>, le dernier des peintres surr\u00e9alistes.<\/span><\/span> Dat\u00e9es de 1962, les toiles s’inscrivent dans la s\u00e9rie new-yorkaises des a\u00e9rolithes. \u00c0 ces \u0153uvres s\u2019ajoutent une gouache de Gaston Chaissac<\/a>, artiste autodidacte admir\u00e9 des surr\u00e9alistes pour son langage plastique brut et singulier, ainsi qu\u2019un collage rare de Toyen, figure majeure du surr\u00e9alisme tch\u00e8que, dont l\u2019univers onirique et \u00e9rotique a marqu\u00e9 l\u2019histoire du mouvement.<\/span><\/p>\n

Un catalogue-manifeste<\/h3>\n

Le catalogue de la collection contient un texte d\u2019Annie Le Brun. Proche d\u2019Andr\u00e9 Breton d\u00e8s les ann\u00e9es 1960, la po\u00e9tesse a perp\u00e9tu\u00e9 l\u2019esprit d\u2019insoumission du mouvement. Dans cet \u00e9crit, elle revient sur la puissance subversive de l\u2019art oc\u00e9anien. Annie Le Brun \u00e9crit : “Une passion de la diversit\u00e9 dans laquelle Goldfayn aura d\u00e9pens\u00e9 sans compter autant son \u00e9nergie sensible que ses remarquables moyens conceptuels.”<\/p>\n

\"\"<\/a><\/h3>\n

En pr\u00e9sentant la collection Georges Goldfayn dans son bureau, Odile Aittouar\u00e8s tisse un lien sensible entre l\u2019histoire du surr\u00e9alisme, les mondes extra-occidentaux, et la vitalit\u00e9 contemporaine de la cr\u00e9ation. Un h\u00e9ritage vivant, transmis de main en main, d\u2019\u0153il en regard.<\/p>\n

> Pour commander le livre galerie-ba.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Apr\u00e8s leur passion pour l\u2019art africain, Andr\u00e9 Breton et ses compagnons surr\u00e9alistes ont port\u00e9 leur regard vers les archipels de Papouasie-Nouvelle-Guin\u00e9e. Les sculptures africaines ont c\u00e9d\u00e9 la place \u00e0 des objets plus expressifs. C\u2019est dans cette veine que s\u2019inscrit la collection de Georges Goldfayn, ancien assistant et ami proche de Breton. Aujourd\u2019hui, celle-ci est mise […]<\/p>\n","protected":false},"author":1,"featured_media":5080,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1166],"tags":[1176,1302],"class_list":["post-5079","post","type-post","status-publish","format-standard","has-post-thumbnail","category-masterpiece","tag-collection","tag-surrealisme"],"yoast_head":"\nLa collection m\u00e9connue de Georges Goldfayn chez Berthet-Aittouar\u00e8s - GREAT-ARTMAG<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/surrealisme-georges-goldfayn-chez-berthet-aittouares\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La collection m\u00e9connue de Georges Goldfayn chez Berthet-Aittouar\u00e8s - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"Apr\u00e8s leur passion pour l\u2019art africain, Andr\u00e9 Breton et ses compagnons surr\u00e9alistes ont port\u00e9 leur regard vers les archipels de Papouasie-Nouvelle-Guin\u00e9e. Les sculptures africaines ont c\u00e9d\u00e9 la place \u00e0 des objets plus expressifs. C\u2019est dans cette veine que s\u2019inscrit la collection de Georges Goldfayn, ancien assistant et ami proche de Breton. 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