{"id":9396,"date":"2026-03-06T20:25:06","date_gmt":"2026-03-06T19:25:06","guid":{"rendered":"https:\/\/alaincardenas.com\/blog\/?p=9396"},"modified":"2026-03-06T20:48:11","modified_gmt":"2026-03-06T19:48:11","slug":"les-polychromies-de-bernard-cathelin-face-a-lasie-peintures-et-lithographies","status":"publish","type":"post","link":"https:\/\/alaincardenas.com\/blog\/les-polychromies-de-bernard-cathelin-face-a-lasie-peintures-et-lithographies\/","title":{"rendered":"LES POLYCHROMIES DE BERNARD CATHELIN FACE A L\u2019ASIE. PEINTURES ET LITHOGRAPHIES"},"content":{"rendered":"\n

THE POLYCHROMES OF BERNARD CATHELIN IN THE FACE OF ASIA.
PAINTINGS AND LITHOGRAPHS<\/p>\n\n\n\n

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par Christophe Comentale<\/p>\n\n\n\n

[Texte en versions fran\u00e7aise, anglaise et chinoise – text in French, English and Chinese versions – \u6cd5\u8bed\u3001\u82f1\u8bed\u548c\u4e2d\u6587\u7ffb\u8bd1\u7684\u6587\u672c<\/strong>]<\/p>\n\n\n\n

Bernard Cathelin (1919-2004, Paris) left his mark on four decades of strong and lively creation with his still lifes, portraits, and distinctive landscapes. Adored in Japan, Taiwan, and China, and although he has been gone for two decades, this French painter, lithographer, and illustrator remains sought after between East and West.<\/p>\n\n\n\n

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\u8d1d\u5c14\u7eb3\u00b7\u5361\u7279\u5170\uff08Bernard Cathelin, 1919-2004\uff0c\u5df4\u9ece\uff09\u4ee5\u5176\u9759\u7269\u3001\u8096\u50cf\u548c\u72ec\u7279\u7684\u98ce\u666f\u4f5c\u54c1\uff0c\u7559\u4e0b\u4e86\u56db\u5341\u5e74\u7684\u5145\u6ee1\u529b\u91cf\u4e0e\u8da3\u5473\u7684\u521b\u4f5c\u3002\u4ed6\u5728\u65e5\u672c\u3001\u53f0\u6e7e\u548c\u4e2d\u56fd\u5907\u53d7\u63a8\u5d07\uff0c\u5c3d\u7ba1\u5df2\u53bb\u4e16\u4e8c\u5341\u5e74\uff0c\u8fd9\u4f4d\u6cd5\u56fd\u753b\u5bb6\u3001\u77f3\u7248\u753b\u5bb6\u548c\u63d2\u753b\u5bb6\u4ecd\u7136\u5728\u4e1c\u897f\u65b9\u4e4b\u95f4\u5907\u53d7\u8ffd\u6367\u3002<\/p>\n\n\n

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Affiche de l’exposition de Cathelin, galerie Yoshii, Tokyo, Japon, novembre 1967. Illustration : Les trois indiennes<\/em> (1967)<\/figcaption><\/figure><\/div>\n\n\n\n\n\n\n

Un parcours entre diff\u00e9rents mondes<\/strong><\/p>\n\n\n\n

Originaire de Mont\u00e9l\u00e9ger, commune au sud de la ville de Valence dans la Dr\u00f4me, une enclave jouxtant le d\u00e9partement voisin du Vaucluse, Bernard Cathelin reste, tout au long de sa vie, tr\u00e8s attach\u00e9 \u00e0 ce paradis aux couleurs fortes et chaudes. Apr\u00e8s des \u00e9tudes classiques \u00e0 Paris, c\u2019est \u00e9galement dans la capitale qu’il est \u00e9tudiant \u00e0 <\/a>l\u2019\u00c9cole nationale sup\u00e9rieure des arts d\u00e9coratifs, de 1945 \u00e0 1948. La rencontre avec Matisse en 1951 est une source riche de conseils et enseignements en tous ordres. La le\u00e7on du ma\u00eetre oriente l\u2019artiste vers des volumes dont la juxtaposition n\u2019est pas sans rappeler les simplifications extr\u00eames qui conduisent Matisse jusqu\u2019\u00e0 des papiers d\u00e9coup\u00e9s aux formes originelles \u2026<\/p>\n\n\n\n

 Vers la fin des ann\u00e9es 80, lorsque la galerie Pi\u00e8ce unique souhaite faire la promotion de son \u0153uvre \u00e0 Taipei, les deux directrices de cette galerie-\u00e9crin sise au 4, rue Jacques Callot, privil\u00e9giaient alors une polychromie correspondant tout \u00e0 fait \u00e0 l\u2019approche esth\u00e9tique des collectionneurs taiwanais. La galerie Elegance, une adresse d\u2019importance pour l\u2019art contemporain de Taipei, avait comme directeur Lee Sung-fung, lui-m\u00eame grand amateur de ce type d\u2019\u0153uvres qui ont le charme et la fascination d\u2019une vision chaude et forte de l\u2019abstraction vue comme creuset d\u2019\u00e9motions fortes empreintes d\u2019une int\u00e9riorit\u00e9 pleine. Les multiples expositions de Bernard Cathelin sont aussi l\u2019occasion de visites dans des lieux multiples, en Andalousie, au Mexique, en Inde, au Japon…, pays d\u00e9couvert au cours d’un tour du monde en 1973. Dans le m\u00eame temps, ses \u0153uvres sont autant appr\u00e9ci\u00e9es dans le monde de l\u2019art \u00e0 Taiwan. La structure de ses \u0153uvres, qui renvoie \u00e0 des compositions du bouddhisme zen, vaut \u00e0 l\u2019artiste un accueil et des expositions multiples. Il r\u00e9alise notamment des lithographies monumentales qui traduisent cette volont\u00e9 d\u2019ouverture sur un Occident qui sait jouer des emp\u00e2tements alli\u00e9s \u00e0 des contrastes ou compl\u00e9ments polychromes inattendus, souvenir de cette r\u00e9gion natale du sud de la France.<\/p>\n\n\n\n

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Ci-dessus, de gauche \u00e0 droite. 1<\/strong>. Mu Qi (attr.) Six kakis<\/em> (XIIIe s.), rouleau, encre sur papier \/ Scroll, ink on paper. Coll. temple Daitokuji Ryokoin, Kyoto National Museum ; 2<\/strong>. <\/a>Bouquet rouge au fond gris<\/em> (1995), huile sur papier, 65 x 42 cm. Coll. priv\u00e9e \/ private collection ; 3<\/strong>. Hsiao Chin, Renaissance-18<\/em> (1990), acrylique sur toile, 148 x 160 cm. Coll. priv\u00e9e \/ private collection<\/p>\n\n\n\n

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Dans l\u2019atelier de Fernand Mourlot<\/strong><\/p>\n\n\n\n

Ma\u00eetre-imprimeur, en particulier de lithographies, embl\u00e9matique d\u2019une \u00e9poque faste pour la promotion, la connaissance et la multiplicit\u00e9 des \u00e9ditions d\u2019estampes, Fernand Mourlot (Paris, 1895- 1988) a d\u00e9ploy\u00e9 une activit\u00e9 dense, dans le sillage familial. Son premier atelier parisien se situe 18 rue de Chabrol dans le 9e<\/sup> arrondissement, le local, initialement occup\u00e9 par son p\u00e8re, Jules Mourlot, imprimeur, est acquis en 1914 de l’imprimeur Georges Bataille. En 1960, Fernand Mourlot d\u00e9m\u00e9nage dans le 13e<\/sup> arrondissement, rue Barrault. Il s’installe enfin, en 1976, au 49 rue du Montparnasse. Pendant pr\u00e8s d\u2019un demi-si\u00e8cle, une production \u00e9ditoriale constante est \u00e0 l\u2019origine d\u2019une bibliophilie qui rassemble les \u0153uvres d\u2019artistes parmi lesquels reviennent les noms d\u2019<\/a>Henri Matisse, Jean Fautrier, Pierre Soulages, Jean Dubuffet, Pablo Picasso, Marc Chagall, Alexander Calder, Kees van Dongen, Pierre Alechinsky. Mourlot fr\u00e9quente par la m\u00eame occasion de nombreux po\u00e8tes et \u00e9crivains comme Louis Aragon, Jean Paulhan, Francis Ponge, \u2026  Bernard Cathelin appartient \u00e0 cette frange d\u2019artistes dont la force de la cr\u00e9ation et un optimisme \u00e0 toute \u00e9preuve gomment les \u00e9preuves qui pars\u00e8ment une existence, f\u00fbt-elle plut\u00f4t source de r\u00e9ussite.<\/p>\n\n\n\n

Un reflet \u00e0 l\u2019Est : Hsiao Chin<\/strong><\/p>\n\n\n\n

En Asie, Bernard Cathelin jouit d\u2019une r\u00e9putation qui doit beaucoup \u00e0 la force de sa touche, une touche qui produit des zones, des surfaces dont la juxtaposition fourmillante a valeur de structure f\u00e9d\u00e9ratrice fondamentale. Il est parfois compar\u00e9 \u00e0 un artiste chinois qui a \u00e9migr\u00e9 \u00e0 Taiwan, Hsiao Chin (1935, Shanghai \u2013 2023, Taipei), <\/a>initi\u00e9 tr\u00e8s jeune aux diff\u00e9rentes approches artistiques par son p\u00e8re, Hsiao Yu-mei, c\u00e9l\u00e8bre musicien et pionnier de la musique chinoise contemporaine. Curieux des liens entre peinture et approche intellectuelle de l\u2019\u0153uvre, comme cela appara\u00eet par ses \u0153uvres mais aussi avec ses livres d\u2019artiste reprenant des citations tao\u00efstes, il a un r\u00f4le notable dans l\u2019\u00e9volution de la peinture chinoise vers l\u2019abstraction. Ses \u0153uvres combinent les ressources de la peinture traditionnelle chinoise au pinceau et le cadre conceptuel du modernisme europ\u00e9en et am\u00e9ricain. Il quitte la Chine en 1949 pour s\u2019\u00e9tablir \u00e0 Taiwan, entre en 1952 dans l\u2019atelier de Li Zhongsheng (1912-1984), ouvert sur les probl\u00e9matiques des avant-gardes europ\u00e9ennes. Il est \u00e0 Milan en 1959, puis aux Etats-Unis de 1967 \u00e0 1972 puis de nouveau \u00e0 Milan en 1973.<\/p>\n\n\n\n

Il sait jouer des traces, continues, fragment\u00e9es, leur donne une pr\u00e9sence. Il a eu l\u2019occasion de voir les \u0153uvres de Bernard Cathelin, lors d\u2019un passage \u00e0 Paris, je l\u2019accueillais au mus\u00e9e de l\u2019Homme avec la d\u00e9l\u00e9gation de jeunes peintres taiwanais d\u00e9sireux d\u2019en savoir davantage sur les sources de l\u2019art occidental. Les deux hommes se rencontrent et font, face aux jeunes peintres un \u00e9tat des lieux sur les rapports Est-Ouest \u00e0 la cr\u00e9ation \u2026 <\/a>Les interactions m\u00eal\u00e9es au geste qui doit rester fort et spontan\u00e9, produisent ces paysages et des natures mortes conservant l\u2019essence d\u2019une narration implicite et fondamentale.<\/p>\n\n\n\n

Unique et multiple<\/strong><\/p>\n\n\n\n

Les huiles de Bernard Cathelin sont devenues des \u0153uvres autant que des t\u00e9moignages essentiels sur les al\u00e9as d\u2019une polychromie qui se veut le reflet d\u2019une soci\u00e9t\u00e9 ouverte et vectrice d\u2019optimisme. En parall\u00e8le \u00e0 ces tranches de vie uniques, Bernard Cathelin confie ses talents de dessinateur \u00e0 l\u2019art de la lithographie qui permet autant des compositions monumentales que des portraits lithographiques intimistes. <\/a>Des \u0153uvres qui traduisent la force des paysages du sud de la France ou la finesse des portraits, souvenir de rencontres devenues des narrations quasi myst\u00e9rieuses mais serties d\u2019une densit\u00e9 psychologique forte. Une fa\u00e7on de renouveler l\u2019art du portrait, si bien cultiv\u00e9 depuis l\u2019\u00e9cole des Clouet\u2026 l\u2019inventivit\u00e9 de l\u2019artiste investit ainsi le monde chaleureux qui est le sien, un monde entre Nature et humain.<\/p>\n\n\n

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Bernard Cathelin dans son atelier \/ Bernard Cathelin in his studio, 1986.<\/figcaption><\/figure><\/div>\n\n\n

THE POLYCHROMES OF BERNARD CATHELIN IN THE FACE OF ASIA.
PAINTINGS AND LITHOGRAPHS<\/strong><\/p>\n\n\n\n

A journey through different worlds
<\/strong>Originally from Mont\u00e9l\u00e9ger, a town south of the city of Valence in the Dr\u00f4me, an enclave bordering the neighboring department of Vaucluse, Bernard Cathelin remained throughout his life very attached to this paradise of strong and warm colors. After classical studies in Paris, he also studied at the \u00c9cole nationale sup\u00e9rieure des arts d\u00e9coratifs in the capital from 1945 to 1948. Meeting Matisse in 1951 provided a rich source of advice and teachings of all kinds. The master’s lesson guided the artist toward volumes whose juxtaposition is reminiscent of the extreme simplifications that led Matisse to his cut-out papers with original shapes\u2026<\/p>\n\n\n\n

Towards the end of the 1980s, when the Pi\u00e8ce Unique gallery wanted to promote its work in Taipei, the two directors of this boutique gallery located at 4 rue Jacques Callot favored a polychromy that perfectly matched the aesthetic approach of Taiwanese collectors. The Elegance gallery, an important venue for contemporary art in Taipei, was directed by Lee Sung-fung, himself a great admirer of this type of work, which has the charm and fascination of a warm and powerful vision of abstraction seen as a crucible of strong emotions full of inner depth. The numerous exhibitions of Bernard Cathelin also provide opportunities for visits to various places in Andalusia, Mexico, India, Japan…, countries discovered during a world tour in 1973. At the same time, his works are just as appreciated in the art world in Taiwan. The structure of his works, which evokes Zen Buddhist compositions, has earned the artist widespread recognition and multiple exhibitions. In particular, he creates monumental lithographs that reflect this desire to engage with the West, which knows how to play with impastos combined with unexpected polychromatic contrasts or complements\u2014a reminder of his native region in the south of France.<\/p>\n\n\n\n

In Fernand Mourlot’s workshop,<\/strong><\/p>\n\n\n\n

Master Printer, particularly of lithographs, emblematic of a prosperous era for the promotion, understanding, and variety of print editions, Fernand Mourlot (Paris, 1895\u20131988) carried out a busy career following in his family’s footsteps. His first Parisian workshop was located at 18 rue de Chabrol in the 9th arrondissement; the premises, initially occupied by his father, Jules Mourlot, printer, were acquired in 1914 from the printer Georges Bataille. In 1960, Fernand Mourlot moved to the 13th arrondissement, rue Barrault. He finally settled, in 1976, at 49 rue du Montparnasse. For nearly half a century, a consistent editorial production led to a bibliophilic collection bringing together the works of artists among whose names repeatedly appear Henri Matisse, Jean Fautrier, Pierre Soulages, Jean Dubuffet, Pablo Picasso, Marc Chagall, Alexander Calder, Kees van Dongen, and Pierre Alechinsky.<\/p>\n\n\n\n

A Reflection in the East: Hsiao Chin
<\/strong>In Asia, Bernard Cathelin enjoys a reputation owed largely to the strength of his touch, a touch that produces areas and surfaces whose bustling juxtaposition serves as a fundamental unifying structure. He is sometimes compared to a Chinese artist who emigrated to Taiwan, Hsiao Chin (1935, Shanghai \u2013 2023, Taipei), who was introduced at a very young age to various artistic approaches by his father, Hsiao Yu-mei, a renowned musician and pioneer of contemporary Chinese music. Curious about the links between painting and the intellectual approach to the work, as evident in his artworks but also in his artist books featuring Taoist quotes, he played a notable role in the evolution of Chinese painting towards abstraction. His works combine the resources of traditional Chinese brush painting with the conceptual framework of European and American modernism. He left China in 1949 to settle in Taiwan, and in 1952 joined the workshop of Li Zhongsheng (1912-1984), which was open to the issues of European avant-gardes. He was in Milan in 1959, then in the United States from 1967 to 1972, and back in Milan in 1973. He knows how to work with traces, continuous or fragmented, giving them a presence. He had the opportunity to see the works of Bernard Cathelin during a visit to Paris; I welcomed him at the Mus\u00e9e de l\u2019Homme with a delegation of young Taiwanese painters eager to learn more about the sources of Western art. The two men met and, in front of the young painters, took stock of the East-West relations in creation\u2026 The interactions combined with a gesture that must remain strong and spontaneous produce these landscapes and still lifes, preserving the essence of an implicit and fundamental narrative.<\/p>\n\n\n\n

Unique and multiple
<\/strong>Bernard Cathelin’s oils have become both works of art and essential testimonies to the challenges of a polychromy that aims to reflect an open society and convey optimism. Alongside these unique slices of life, Bernard Cathelin applies his drawing talents to the art of lithography, which allows for both monumental compositions and intimate lithographic portraits. These works convey the strength of the landscapes of southern France or the delicacy of portraits, mementos of encounters that have become almost mysterious narratives, yet imbued with strong psychological depth. It is a way of renewing the art of portraiture, so well cultivated since the Clouet school… the artist’s inventiveness thus invests the warm world that is his own, a world between Nature and humanity.<\/p>\n\n\n\n

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\u4ed6\u51fa\u751f\u4e8e\u6cd5\u56fd\u5357\u90e8\u7684\u74e6\u6717\u65af\u5e02\uff0c\u4e00\u751f\u4e2d\u59cb\u7ec8\u5bf9\u8fd9\u4e2a\u8272\u5f69\u6d53\u70c8\u3001\u6e29\u6696\u7684\u5730\u533a\u4fdd\u6301\u7740\u6df1\u539a\u7684\u611f\u60c5\u3002\u5728\u5df4\u9ece\u5b8c\u6210\u4e86\u4f20\u7edf\u7684\u5b66\u4e1a\u540e\uff0c\u4ed6\u8fd8\u5728\u9996\u90fd\u7684\u56fd\u7acb\u9ad8\u7b49\u88c5\u9970\u827a\u672f\u5b66\u9662\u5b66\u4e60\uff0c\u65f6\u95f4\u662f1945\u5e74\u81f31948\u5e74\u30021951\u5e74\u4e0e\u9a6c\u8482\u65af\u7684\u76f8\u9047\uff0c\u4e3a\u4ed6\u63d0\u4f9b\u4e86\u4e30\u5bcc\u7684\u5efa\u8bae\u548c\u5404\u65b9\u9762\u7684\u6307\u5bfc\u3002\u8fd9\u4f4d\u827a\u672f\u5bb6\u5c06\u4ed6\u5f15\u5411\u90a3\u4e9b\u6392\u5217\u7ec4\u5408\u7684\u4f53\u91cf\uff0c\u5176\u5e76\u7f6e\u65b9\u5f0f\u4e0d\u7981\u8ba9\u4eba\u8054\u60f3\u5230\u9a6c\u8482\u65af\u90a3\u79cd\u6781\u5ea6\u7b80\u5316\u7684\u521b\u4f5c\u98ce\u683c\uff0c\u6700\u7ec8\u53d1\u5c55\u4e3a\u539f\u59cb\u5f62\u6001\u7684\u526a\u7eb8\u827a\u672f\u2026\u2026<\/p>\n\n\n\n

\u9664\u4e86\u6cb9\u753b\uff0c\u4ed6\u8fd8\u559c\u6b22\u7248\u753b\u6240\u5448\u73b0\u7684\u5e73\u9762\u8272\u8c03\uff0c\u5e76\u4e14\u662f\u5728\u8d39\u5c14\u5357\u00b7\u7a46\u5c14\u6d1b\uff08\u5df4\u9ece\uff0c1895-1988\uff09\u90a3\u91cc\u5370\u5236\u4ed6\u7684\u77f3\u7248\u753b\u3002\u8fd9\u4f4d\u4e3b\u8981\u4ece\u4e8b\u77f3\u7248\u753b\u7684\u5370\u5237\u5927\u5e08\uff0c\u662f\u4e00\u4e2a\u8f89\u714c\u65f6\u4ee3\u7684\u8c61\u5f81\uff0c\u8be5\u65f6\u4ee3\u5927\u529b\u63a8\u5e7f\u3001\u4e86\u89e3\u5e76\u591a\u6837\u5316\u827a\u672f\u5bb6\u7248\u753b\u7684\u51fa\u7248\uff0c\u827a\u672f\u5bb6\u5305\u62ec\u4ea8\u5229\u00b7\u9a6c\u8482\u65af\u3001\u8ba9\u00b7\u798f\u7279\u91cc\u8036\u3001\u76ae\u57c3\u5c14\u00b7\u82cf\u62c9\u70ed\u3001\u8ba9\u00b7\u675c\u5e03\u83f2\u3001\u5df4\u52c3\u7f57\u00b7\u6bd5\u52a0\u7d22\u3001\u9a6c\u514b\u00b7\u590f\u52a0\u5c14\u3001\u4e9a\u5386\u5c71\u5927\u00b7\u8003\u5c14\u5fb7\u3001\u57fa\u65af\u00b7\u8303\u00b7\u4e1c\u6839\u3001\u76ae\u57c3\u5c14\u00b7\u963f\u83b1\u6b23\u65af\u57fa\u3002<\/p>\n\n\n\n

\u5728\u4e9a\u6d32\uff0c\u4f2f\u7eb3\u5fb7\u00b7\u5361\u7279\u6797\u4eab\u6709\u5f88\u9ad8\u7684\u58f0\u8a89\uff0c\u8fd9\u5728\u5f88\u5927\u7a0b\u5ea6\u4e0a\u5f97\u76ca\u4e8e\u4ed6\u7b14\u89e6\u7684\u529b\u91cf\uff0c\u8fd9\u79cd\u7b14\u89e6\u80fd\u591f\u4ea7\u751f\u533a\u57df\u548c\u8868\u9762\uff0c\u5176\u7199\u7199\u6518\u6518\u7684\u5e76\u7f6e\u5177\u6709\u57fa\u672c\u7684\u7ec4\u7ec7\u7ed3\u6784\u4ef7\u503c\u3002\u4ed6\u6709\u65f6\u88ab\u6bd4\u4f5c\u4e00\u4f4d\u66fe\u5728\u7c73\u5170\u548c\u53f0\u6e7e\u957f\u671f\u751f\u6d3b\u7684\u4e2d\u56fd\u827a\u672f\u5bb6\u8427\u52e4\uff081935\u5e74\uff0c\u4e0a\u6d77\uff0d2023\u5e74\uff0c\u53f0\u5317\uff09\u3002\u8427\u52e4\u66fe\u6709\u673a\u4f1a\u5728\u5df4\u9ece\u53c2\u89c2\u4f2f\u7eb3\u5fb7\u00b7\u5361\u7279\u6797\u7684\u4f5c\u54c1\uff0c\u5f53\u65f6\u6211\u5728\u201c\u4eba\u7c7b\u535a\u7269\u9986\u201d\u63a5\u5f85\u4ed6\uff0c\u4ee5\u53ca\u4e00\u6279\u6e34\u671b\u4e86\u89e3\u897f\u65b9\u827a\u672f\u6e90\u6cc9\u7684\u53f0\u6e7e\u5e74\u8f7b\u753b\u5bb6\u4ee3\u8868\u56e2\u3002\u4e24\u4eba\u76f8\u9047\uff0c\u5e76\u5728\u5e74\u8f7b\u753b\u5bb6\u9762\u524d\uff0c\u5c31\u4e1c\u897f\u65b9\u521b\u4f5c\u7684\u5173\u7cfb\u8fdb\u884c\u4e86\u73b0\u72b6\u6c47\u62a5\u2026\u2026<\/p>\n\n\n\n

\u8d1d\u5c14\u7eb3\u00b7\u5361\u7279\u5170\u7684\u4f5c\u54c1\u5c55\u73b0\u4e86\u6cd5\u56fd\u5357\u90e8\u98ce\u666f\u7684\u529b\u91cf\u548c\u8096\u50cf\u7684\u7ec6\u817b\uff0c\u90a3\u4e9b\u66fe\u7ecf\u7684\u9082\u9005\u56de\u5fc6\u88ab\u8f6c\u5316\u4e3a\u51e0\u4e4e\u795e\u79d8\u7684\u53d9\u4e8b\uff0c\u540c\u65f6\u5177\u6709\u5f3a\u70c8\u7684\u5fc3\u7406\u6df1\u5ea6\u3002\u827a\u672f\u5bb6\u7684\u521b\u9020\u529b\u56e0\u6b64\u6ce8\u5165\u4e86\u4ed6\u6e29\u6696\u7684\u4e16\u754c\uff0c\u8fd9\u662f\u4e00\u4e2a\u4ecb\u4e8e\u81ea\u7136\u4e0e\u4eba\u7c7b\u4e4b\u95f4\u7684\u4e16\u754c\u3002<\/p>\n\n\n\n

\u0152uvres de Cathelin<\/strong><\/p>\n\n\n

\n
\"\"<\/a><\/figure><\/div>\n\n\n
\n\n\n\n

1<\/strong>. N\u00e9nuphars<\/em> (ann\u00e9es 80-90), huile sur papier, 40,5 x 32 cm<\/p>\n\n\n\n

\u7761\u83b2\uff0c80-90\u5e74\u4ee3 – \u7eb8\u4e0a\u6cb9\u753b<\/p>\n\n\n\n

\n\n\n
\n
\"\"<\/a><\/figure><\/div>\n\n\n
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2<\/strong>. Foire aux vins<\/em> (1993), huile sur papier, 42 x 37 cm (avec la lettre 62 x 51 cm)<\/p>\n\n\n\n

\u8461\u8404\u9152\u535a\u89c8\u4f1a\uff0c1993\u5e74 – \u7eb8\u4e0a\u6cb9\u753b\uff0c42 x 37 \u5398\u7c73<\/p>\n\n\n\n

\n\n\n
\n
\"\"<\/a><\/figure><\/div>\n\n\n
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3<\/strong>. Champ de lavande dans la Dr\u00f4me<\/em> (1996), lithographie en coul., 36,5 x 12,5 cm<\/p>\n\n\n\n

\u5fb7\u9f99\u7701\u7684\u85b0\u8863\u8349\u7530\uff0c1996\u5e74 – \u5f69\u8272\u77f3\u7248\u753b<\/p>\n\n\n\n

\n\n\n
\n
\"\"<\/a><\/figure><\/div>\n\n\n
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4. La montagne Sainte Victoire <\/em>(1992), huile sur papier, 32,5 x 32 cm, \u00e9tude pour la peinture \u00e0 l\u2019huile, 37 x 22 cm<\/p>\n\n\n\n

\u5723\u70ed\u7eb3\u7ef4\u8299\u5c71\uff0c1992\u5e74 – \u7eb8\u4e0a\u6cb9\u753b\uff0c32.5 x 32 \u5398\u7c73 \u6cb9\u753b\u7814\u7a76\uff0c37 x 22 \u5398\u7c73<\/p>\n\n\n\n

\n\n\n
\n
\"\"<\/a><\/figure><\/div>\n\n\n
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5<\/strong>. An\u00e9mones bleues et blanches<\/em> (1995), huile sur papier, 26 x 36 cm<\/p>\n\n\n\n

\u84dd\u8272\u548c\u767d\u8272\u7684\u94f6\u83b2\u82b1\uff0c1995\u5e74 – \u7eb8\u4e0a\u6cb9\u753b\uff0c26 x 36 \u5398\u7c73<\/p>\n\n\n\n

\n\n\n
\n
\"\"<\/a><\/figure><\/div>\n\n\n
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6. Hortensias et bouteilles noires au fond vert<\/em> (1990), huile sur papier, 35 x 53 cm<\/p>\n\n\n\n

\u7eff\u5e95\u7684\u7ee3\u7403\u82b1\u548c\u9ed1\u8272\u74f6\u5b50\uff0c1990\u5e74 – \u7eb8\u4e0a\u6cb9\u753b\uff0c35 x 53 \u5398\u7c73<\/p>\n\n\n\n

\n\n\n
\n
\"\"<\/a><\/figure><\/div>\n\n\n
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7. Bouquet rouge au fond gris<\/em> (1995), huile sur papier, 65 x 42 cm<\/p>\n\n\n\n

\u7070\u8272\u80cc\u666f\u4e0a\u7684\u7ea2\u8272\u82b1\u675f\uff0c1995\u5e74 – \u7eb8\u672c\u6cb9\u753b\uff0c65 x 42 \u5398\u7c73<\/p>\n\n\n\n

\n\n\n\n

El\u00e9ments bibliographiques<\/strong><\/p>\n\n\n\n