Hugo Duchateau (Belgium 1938)
“Vijf Lino’s” – from Revolver poetry magazine
1988
Linocut (Linocut with hand coloring – printer’s ink)
153/300
Signed & numbered bottom of first print only
10″ x 7¼” paper
3¾” x 3″ image size approximate. Varies slightly by image.
$375.00
Signature and edition in pencil on first image only
Revolver magazine portfolio
Linocut #1 with signature and edition
Linocut #2
Linocut #3 with hand coloring
Linocut #4
Linocut 5 with hand coloring
Duchateau’s response to a question regarding this portfolio… “The small linocuts (5) were designed for the poetry magazine Revolver. Apparently somebody cut them out and sold them. The red and blue colours were created by manually rubbing printer’s ink onto the pages. This was a small initiative for my 50th birthday.
Hugo Duchateau is part of the flow of fundamental painting. Like Luc Tuymans, Raoul De Keyser and Vincent Van Den Meersch, he explores the cornerstones of painting: the color, the form, the material and the effects that these aim at. Hugo Duchateau goes one step further, to hyperrealism. He concentrates on the carrier, the tools, the matter, the tension between creation and creation. In his earliest work, Hugo Duchateau examines the tools of the artist: he paints painting and draws the drawing from the wonder of man as a mechanical engineer and the tool as an extension of the ingenious hand. Pencil, paper, paint brush, paint, pen, charcoal, all are subjected to the artist’s gaze. Later he makes objects and installations around the same theme. Hugo Duchateau broadens his vision over the years. From the tension between the artist and his tools, the emphasis shifts to the relationship between nature and culture. In his paintings lines and surfaces seem to have their own will: they form a game of controlled chaos in which the artist can experiment with color, form and substance. And increasingly he also dares to get off in object and installation art. From the 90s, Hugo Duchateau let nature – and therefore the subject matter from which he makes his works – free. The paint drips, apparently at will, over the canvas; the comb draws random lines; the installations proliferate … The artist’s miracle is only to know when nature has done its work, when the artwork is art.