Robert-Louis Nicoidski, Swiss (1931 - 2001)

 Robert-Louis Nicoidski, Swiss (1931 - 2001)

Robert Louis Nicoïdski, born in La Chaux-de-Fonds December 5, 1931 and died in Paris on 23 October 1996, is a painter and Swiss writer of Polish descent. The writer Clarisse Nicoïdski is his wife.

Robert Nicoïdski, child of a solitary temperament whose artistic vocation appears very early, started painting at the age of sixteen, "and this, frantically." 1 He was a student of Lucien Schwob2 in La Chaux-de-Fonds from 1950 to 1952, then joined the School of Fine Arts of Geneva in 1952. Getting showing independent and rebellious (recognized very good designer but already creating its own paint instead of the must copy classical art), the conflictual relationship with his master painting actually exclude the 1955.

Arriving in Paris in 1956 (he lived at 11, boulevard de Clichy), Robert Nicoïdski attended the École nationale supérieure des Beaux-Arts from 1957 to 1960, working successively in the engraving workshop of Edouard Goerg, which it can only noted "the painful caricature in her bare and uncompromising treatment of the theme of pleasure" 4, and Jean-Eugène Bersier consensual master in that "it mixes sympathy for the archaic and curiosity for contemporary expressions" . Bersier will set out from the rest a master-pupil relationship was good or accomplice, referring Nicoïdski in its short history of the original lithograph in France6. The gallery owner René Bréheret then discovered and is the first to expose Robert Nicoïdski in Paris.

In 1962, Robert Nicoïdski went to New York where it was Karl Lunde (1931-2010) who discovers the 7 turn and exposes, for the first time in 1962, then regularly in his gallery The Contemporaries. Despite his immediate success in the US market, the artist, refusing any bait affluence so offered, wishes to remain strictly vigilant not to "produce" of repetition and holds itself to this, with his wife and Clarisse son, to a life of recluse any discipline devoted to the pictorial research for him, writing to her, solitude so that will stay granted until 1975. This is when he slips towards lyrical abstraction the composition of Nus, where "torture and deform the body into a landscape, a monster, a martyr, where he made portraits of people being murdered and those around them" , announcing its series of Abortions of mother and child, the body experiences, the 33 crucifixions.

The most dramatic encounter of Robert Nicoïdski in 1975 remains one of Lyons Roger Kowalski9 he immediately becomes the friend, it welcoming for snapping his picture rails of K. Gallery in Lyon, in the series of paintings Abortions . Roger Kowalski, aged just 41, died a few weeks after exposure and Robert Nicoîdski will paint several key portraits, tributes to the poet-gallery, entitled Portrait of K.

If the relationship between Robert and sulfur Nicoïdski Fernand Legros are not historically reconstructed, they are attested by a series of scenes and portraits by Nicoïdski, one of these tables illustrating the book cover of Fernand Legros (False stories of a fake dealer, Albin Michel, 1979).

The Nichido Prize is awarded to Robert Nicoïdski in 1976 has a traveling solo exhibition in major Japanese cities, and therefore, for our artist, a trip to Japan where a major fascination is revealed for the show of sumo. He discovers a notion of aesthetics that reinforces his own, where what is by Western standards "of the disproportion and the enormity" is transfigured in his eyes, in representation of "beauty essential" its " paintings, where we see painfully intertwine these naked warriors destined from an early age to early death, carry with them this disturbing mixture of gentleness and violence that suggests the powerful fragility of forms ".

Leaving this world - also too early - December 23, 1996, two months day day day after the death of Robert, the ultimate text writer Clarisse Nicoïdski was the biography of her husband that she gave at the National Museum -arts Chartres for the retrospective-tribute Robert Nicoïdski which opened in January 1997 and to which he was promised she assistât. "Tireless worker, evokes Does elle8, he questioned all aspects of trait without giving artificial boundary between what is abstract and what is the figuratif.Curieux to the extreme of all the resources that can offer to a plastic material, it will be one of the first to use acrylic paint in its association with other types of paint. It is also one of the first to use plastic resins to make vitraux and collaborate with various architectural works.

Solo Exhibitions
Museum of Fine Arts in La Chaux-de-Fonds 1955.
Prints Nicoïdski Robert, La Hune, 170, boulevard Saint-Germain, Paris, 1962.
The Contemporaries Gallery, Madison Avenue, New York, 1962.
Robert Nicoïdski prints, Art and History Museum of Geneva, May-June 1963.
Museum of Athénée, Geneva, 1969.
Abortions, Gallery K. 25, quai de Bondy, Lyon, 1975.
Gallery Jade, Colmar, 1976.
Travelling exhibition in Japan: Tokyo, Kyoto, Nagoya, 1976.
Galerie Frédéric Gollomb, Saint Paul de Vence, 1976.
Nichido Gallery, Paris, 1977.
Robert Nicoïdski, retrospective-tribute, Museum of Fine Arts in Chartres, January-March 1997.
Ader Nordmann, Atelier Robert Nicoïdski, Hôtel Drouot, Paris, October 2015.

Group Exhibitions
Bréheret René Gallery, 9, Malaquais quay, Paris, 1960.
Biennale de Paris, Musée d'Art Moderne de la Ville de Paris, 1961, 1965.
traveling exhibition of prints, Sao Paulo, Stockholm, Ljubljana, Tokyo, 1970.
Furniture tables, Centre Georges Pompidou, Paris, 1977.
independent living, Grand Palais, Paris, 1977.
History of European Art, 1950-1980 years, Pierre Cardin Gallery, New York, October 1980.
Bonnard to Baselitz, ten years of enrichment of the Print Room, National Library of France, 19923.
Bollag Galleries, Zürich, 2010.

Critical reception
"A wild eroticism emanates from the nude Nicoïdski. Attitudes, distortions, certainly the result. We can find the haunting yet in the long, heavy hair which veil milk them or members, whose weight makes arching loins, as Negritude in which the epidermis has the patina of bronze. Nothing is further from the obscenity that this eroticism then remains tense and engraved in its most direct manifestations. "- Jean-Marie Dunoyer

"This painting challenges that we have safer and at the same time more fragile our physical realm. Nicoïdski painting is the most serious and most direct who can find. But necessary to question his mental extensions that are infinite ... "- Alain Bosquet

"With persistence, Nicoïdski probe the secrets of the body, the mystery of his birth to the alchemy of its developments, glare from its inception that the fighting will never stop conducting. Explosion of life and the meaning of the first series of drawings meet the great female nudes body torn by violent distortions. The excitement of the plot leaves here not to violence in the treatment of these tortured bodies, braced enclosed in architectures that seem to spare no end. Inexorably alone in his body, being is forever beset by the mutations that lead to its becoming. "- Maïthé Vallès-Bled

"It looks like the creator component equation that would authorize the living. We are at the heart of the cytoplasm that will spark the body. Nicoïdski gives us the signs and forms of its DNA that will be born its models. "- André Parinaud

"He painted a series Abortions representing monstrous and bloody fetus. His female nudes are enlarged, indicating its power of deformation and redial, and his taste for bloody, giving his compositions almost anguished strangeness. "- Dictionary Bénézit16
"Nicoïdski is a rabid painting, his works proclaim a passionate love for an art that is as essential to him as breathing ... From generation Rancillac and Schlosser, close to artists of the New Figuration, its gargantuan nature, eye Dostoevsky to control a sure hand that made him an admirable portrait painter ... But the artist, who died at 65, could not bear to be ahead of his time, misunderstood, considered too violent and yet deeply rooted in its time. "- David Nordmann

Awards and honors

Prize Nichido, Paris, 1976.

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