Berthe Dubail

Although Berthe Dubail's early canvases, in their choice of subject (landscapes, still-lifes and portraits) and their muted palette, chimed with the animist trend that was dominant in Belgium in the 1930s and during the war, there would soon be some distance between them and the pictorial concepts of a group of artists who came together in Hainaut under the name of Nervia. The sensory delight of these youthful works, the generously applied paint and their muffled harmonies are more reminiscent of an artist like Jacob Smits, with the same humanity of vision, simplified media and sensuous thick pigment, but which generate a sort of interior light, worthy of the master of the Campine.

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Le jour, 1942
Le moulin Stoclet à Leval, 1944
Jeune femme au pull vert, 1950
La palissade bleue à Yvry, 1950

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Mady de profil, 1952
L'ouvrier (Paris), 1953
Chevreuse, 1954
Le repas, 1954

 

She made many trips to Paris, spending several months at a time there, frequenting the famous studios of the Académie de la Grande Chaumière, which caused her art to evolve. Impasto was gradually replaced by angular outlines, authoritatively defining the contours of figures and urban landscapes: this was sober, serious, even severe art, which astonished Parisian critics with its masculine mastery and Expressionist tendencies, but which depicted with contained emotion the intensity of simple, human subjects, such as the variations on her female model Yan – the third version of which, through admirable grey-dominated tones, offers up a monumental morphology against an abstract background, presaging the artist's options to come.

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Yan, 3e version, 1954
Yan, 4e version, 1954

 

Still curious to explore new ideas, and in line with the first shocks of post-war abstraction, from 1955 onward Berthe Dubail produced her first abstract experiments, with all the fervour of artists with fiery temperaments – an experience which coincided with a change in her life, when she moved to Ixelles-Brussels and continued her teaching at the lycée in that commune. Closer contact with the cultural life of Brussels, and meeting the poet Pierre Bourgeois, an indefatigable champion of modernity, proved to be favourable conditions for her aesthetic progression.

 

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Hommage à Rembrandt, 1956
La tour, 1956
Espace bleu ou Espace nocturne, 1959
Forces adverses, 1960
Lumière noire, 1961

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Entre les mondes, 1961
Soulèvement de bleus, 1962
Tournoiements, 1962

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Gouache n°11, 1962
Prométhée, 1963
Vers le point Oméga, 1963

 

Starting with graphic motifs of plant-like fluidity and long curves joined together to create totemic angles, the artist created rapid rhythms, constructing a dense, luminous space which, as certain titles suggest, already evoked something of the immensity of the cosmos. "I try to give a physical presence to my moments of enthusiasm, distress, tenderness; sometimes the anxiety of the cosmos resolves itself in a controlled dynamism, and sometimes, conversely, the trembling subsides into an unusual balance," the artist noted with lucidity. For about eight years, Berthe Dubail opted for dynamism: incessant arabesques, broad deployments of gyratory rhythms, bringing with them luminous masses which soar, twirl and rear up. In her gouaches too, the artist demonstrates audacious gestures, much like Hartung in Paris, or Mortier or Van Anderlecht in Brussels. A major solo exhibition at the Palais des Beaux-Arts in Brussels in 1963 allowed her to show these works to the public and the critics.

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Gouache n°25, 1963
Sans titre, 1963
Intrusion, 1964

 

In around 1965, an internal struggle gradually led Berthe Dubail to a change of style. A new formal world occupied the space, although the artist remained faithful to certain inflexions and an interplay of curves and ovals. At that time they were less suggestive of the moving orbs of the cosmos and more of the silent presence of mineral expanses. Everything from here on seems to have been a favoured interaction with the earth, its accumulations of sediment, its stratified zones, its spaces swept by the wind and made iridescent by the light. The most original aspect of these paintings is undoubtedly the very nature of the pictorial material itself, made from a mix of sand and oil or casein. In parallel with Raoul Ubac, with these new coarse-grained materials, the artist was seeking soothing balances between minerals and life, through an abstract language that speaks by itself and also seems to embody various kinds of mental geography. Her choice of a sandy material, and a palette in which beiges and ochres dominate, lead the viewer to draw analogies with the mineral world and marine shorelines.

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Des couleurs comme des sons, 1965
Eveil, 1965
Rapports insolites, 1966

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Tensions amorties, 1966
Menace imprévue, 1966
Autarcie, 1967
Des éléments passent, 1967

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Formes amies ou Accords, 1967
Pierres de lune III, 1968
Faisceau oblique, 1969

 

The monumentality of the planes and their interplay, the beauty of the full surfaces, the eloquence of the sumptuously worked materials… in short, the precision and economy of Berthe Dubail's pictorial media indicate her exceptional mastery of the register she chose and clearly situate her oeuvre among the greatest abstract works her country has ever produced.

Serge Goyens de Heusch

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Péril de l'escalade, 1972
Forme méditative, 1972
Face au futur, 1975
La puissance et l'arrêt, 1975

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Eclosion, 1979
La quête de l'absolu, 1981
Miracle, 1984