{"id":1246,"date":"2007-01-11T02:55:12","date_gmt":"2007-01-11T02:55:12","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=1246"},"modified":"2008-07-19T14:48:59","modified_gmt":"2008-07-19T13:48:59","slug":"the-art-of-yves-doare","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/01\/11\/the-art-of-yves-doare\/","title":{"rendered":"The art of Yves Doar\u00e9"},"content":{"rendered":"<p><a href=\"http:\/\/www.fitch-febvrel.com\/doare_angebig.jpg\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2007\/01\/doare1.jpg\" id=\"image1244\" alt=\"doare1.jpg\" \/><\/a><\/p>\n<p><em>Ange (1981).<\/em><\/p>\n<p><a href=\"http:\/\/www.galleriadelleone.com\/artistes\/doare\/reservoir.htm\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2007\/01\/doare2.jpg\" id=\"image1245\" alt=\"doare2.jpg\" \/><\/a><\/p>\n<p><em>Le r\u00e9servoir (1979).<\/em><\/p>\n<blockquote><p>Yves Doar\u00e9 is well known for his paintings and drawings but better known for his haunting etchings, drypoints and wood engravings. Doar\u00e9 began exhibiting his art in France in 1966 and since that time his art has been the subject of one man exhibitions at the Gallery Sumers, New York (1975), the Gallery Michele Broutta, Paris (1982), the House of Culture, Orleans (1985), the Gallery Dom Quichotte, Rome (1987), Workshop of Arts, Douarnenez (1993) and the Museum of Contemporary Art, Chamalieres, Belgium (1994). His art is now included in such public collections as the Museum of Annecy, the Museum of Morlaix, the Museum of Fine Arts, San Francisco, and the National Library of Paris.<\/p>\n<p>Many of Doar\u00e9&#8217;s original etchings and engravings explore the theme he has termed, \u201ca kind of geological memory.\u201d Using as his starting point the actual etching plate or engraving block, Doar\u00e9 explores the surface&#8217;s capacity to reveal its own forms and figures. Much like a sculptor, Doar\u00e9 thus orchestrates the emergence of the random forms which the surface suggests.<\/p><\/blockquote>\n<p>More pictures at the <a href=\"http:\/\/www.fitch-febvrel.com\/doare.html\" target=\"_blank\">Fitch-Febvrel Gallery<\/a>, <a href=\"http:\/\/www.galleriadelleone.com\/artistes\/doare\/doare-works.htm\" target=\"_blank\">Galleria del Leone<\/a> and <a href=\"http:\/\/www.yves-doare.com\/\" target=\"_blank\">the artist&#8217;s own site<\/a>.<\/p>\n<p><strong>Update:<\/strong> more reproductions at <a href=\"http:\/\/www.velly.org\/Yves_Doare_ses_gravures.html\" target=\"_blank\">Velly.org<\/a>.<\/p>\n<p>Elsewhere on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/the-etching-and-engraving-archive\/\">The etching and engraving archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ange (1981). Le r\u00e9servoir (1979). Yves Doar\u00e9 is well known for his paintings and drawings but better known for his haunting etchings, drypoints and wood engravings. Doar\u00e9 began exhibiting his art in France in 1966 and since that time his art has been the subject of one man exhibitions at the Gallery Sumers, New York &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/01\/11\/the-art-of-yves-doare\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The art of Yves Doar\u00e9&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,30,18],"tags":[],"class_list":["post-1246","post","type-post","status-publish","format-standard","hentry","category-art","category-black-white","category-surrealism"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-k6","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/1246","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=1246"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/1246\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=1246"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=1246"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=1246"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}