Surface couleur - Série 14 2E
1971
acrylic on canvas
200 x 200 centimeters
The paintings entitled "Surface Couleur Série 14 2 E" and "Surface Couleur Série 14 n° 9", produced in 1970-71, mark a surprising return to painting, a practice that LE PARC, like the rest of the GRAV in 1960, had excluded from his work. Similar to the rest of his works, each 'Target' creates a minimalist and deductive structure where every new element stems from the previous one. It is systematically constituted out of fourteen concentric circles of solid colours on a white background of a square canvas (ranging up to 2 x 2 meters). The choice of colours is also the product of a rational logic, inherited from Max Bill, first used by LE PARC in 1959 in a series on paper and tracing paper ("Projet Couleur"), which he abandoned in 1960. The principle is purposely simple and explicit: according to a simple combinatory scheme, each one of the fourteen circles is painted in one of the fourteen colours of the spectrum, which he chose beforehand. Since the system continues from one work in the series to the next, each combination constitutes a new and 'unique' painting.
Surface couleur - Série 14 E n° 12
1971
acrylic on canvas
100 x 100 centimeters
The paintings entitled "Surface Couleur Série 14 2 E" and "Surface Couleur Série 14 n° 9", produced in 1970-71, mark a surprising return to painting, a practice that LE PARC, like the rest of the GRAV in 1960, had excluded from his work. Similar to the rest of his works, each 'Target' creates a minimalist and deductive structure where every new element stems from the previous one. It is systematically constituted out of fourteen concentric circles of solid colours on a white background of a square canvas (ranging up to 2 x 2 meters). The choice of colours is also the product of a rational logic, inherited from Max Bill, first used by LE PARC in 1959 in a series on paper and tracing paper (Projet Couleur), which he abandoned in 1960. The principle is purposely simple and explicit: according to a simple combinatory scheme, each one of the fourteen circles is painted in one of the fourteen colours of the spectrum, which he chose beforehand. Since the system continues from one work in the series to the next, each combination constitutes a new and 'unique' painting.
Surface couleur - Série 14 n°9
1971
acrylic on canvas
171 x 171 centimeters
The paintings entitled "Surface Couleur Série 14 2 E" and "Surface Couleur Série 14 n° 9", produced in 1970-71, mark a surprising return to painting, a practice that LE PARC, like the rest of the GRAV in 1960, had excluded from his work. Similar to the rest of his works, each 'Target' creates a minimalist and deductive structure where every new element stems from the previous one. It is systematically constituted out of fourteen concentric circles of solid colours on a white background of a square canvas (ranging up to 2 x 2 meters). The choice of colours is also the product of a rational logic, inherited from Max Bill, first used by LE PARC in 1959 in a series on paper and tracing paper (Projet Couleur), which he abandoned in 1960. The principle is purposely simple and explicit: according to a simple combinatory scheme, each one of the fourteen circles is painted in one of the fourteen colours of the spectrum, which he chose beforehand. Since the system continues from one work in the series to the next, each combination constitutes a new and 'unique' painting.
Surface couleur - Série 15 E n° 11
1970
acrylic on canvas
100 x 100 centimeters
The paintings entitled "Surface Couleur Série 14 2 E" and "Surface Couleur Série 14 n° 9", produced in 1970-71, mark a surprising return to painting, a practice that LE PARC, like the rest of the GRAV in 1960, had excluded from his work. Similar to the rest of his works, each 'Target' creates a minimalist and deductive structure where every new element stems from the previous one. It is systematically constituted out of fourteen concentric circles of solid colours on a white background of a square canvas (ranging up to 2 x 2 meters). The choice of colours is also the product of a rational logic, inherited from Max Bill, first used by LE PARC in 1959 in a series on paper and tracing paper (Projet Couleur), which he abandoned in 1960. The principle is purposely simple and explicit: according to a simple combinatory scheme, each one of the fourteen circles is painted in one of the fourteen colours of the spectrum, which he chose beforehand. Since the system continues from one work in the series to the next, each combination constitutes a new and 'unique' painting.
