The Surrealist and American Period: 1934-1950

Curious for new trends and passionate about the history of painting, with a fascination for the Italian Renaissance, Jacqueline relinquishes her explorations during her life together with André Breton. She instead devotes herself periodically to the creation of objects, collages and collective drawings, such as the exquisite corpse.

It is only during her stay in the United States from 1941 that she, at last, dedicates herself to her pictorial research. The workshop at her disposal in Roxbury, during her time spent with David Hare, allows her to paint her first canvases.

Her paintings, inspired by her natural environment and by memories of her travels in the American West, consist mainly of geometric shapes, crystals, prisms, squares, and triangles. Her attraction to trees, flowers, skies, and cosmos are already noticeable. Her talent as a colorist offers a range of browns, ochers, and greens that often bloom in a nocturnal, fluorescent, and transparent atmosphere.

This American period can be compared to Oscar Dominguez’s decals, the graphic work of Gordon Onslow Ford and especially the universe of Matta, whom she often frequents, entering her research phase of the fourth dimension and “infinite space”.

Le Puits, 1942. Huile sur toile, 82cm x 82cm
Roxbury, astres, 1946. Huile sur toile,76 x 101 cm
Reflets, 1947. Huile sur toile, 72,5 x 92 cm
Intérieur d’une maison la nuit, 1947. Huile sur toile, 55 x 70,5 cm
Rivière, 1948. Huile sur toile, 105 x 126 cm
Lune et soleil sur la montagne, 1948. Huile sur toile, 102 x 77 cm
Coupe orange sur forêt noire, 1948. Huile sur toile, 56,5 x 77 cm
Tournesol, 1948. Huile sur toile.
Maison dans la forêt, 1948. Huile sur toile, 100 x 134 cm
Tipis indiens, 1951. Huile sur toile, 85 x 188 cm

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