Artists
Max Wechsler
96-EMT-4, 1996 Collaged Paper on Wood 77 x 74 cm
"The letter, constantly transformed and deconstructed, resists, revealing itself as indestructible... I thus associate what will be forever ignored with that which will remain indelible."
Max Wechsler
Born in 1925 in Berlin to a Jewish family, Max Wechsler was sent to Paris in January 1939. At the end of the war, having lost his family, he chose to remain in Paris, where he worked in various jobs before starting at Vaillant newspaper as an illustrator and graphic designer, a profession he practiced part-time until the early 1990s.
Starting in the 1950s, he began painting intensely—landscapes, portraits, compositions inspired by frequenting museums, where he drew influence from artists such as Paul Klee and Jean Dubuffet.
His first exhibition of these small-format works took place in 1959.
In the 1960s, he painted extensively in a surrealist vein, creating Fantastic Compositions made of "organic expansions [...] spirals, bulges, cracks..." according to Pierre Gaudibert, or "symbolic figures bearing witness to a work of suffering," in the words of Alfred Paquement. These works were exhibited at the Musée d’Art Moderne de la Ville de Paris during the ARC's first event in 1968.
Max Wechsler
96-EMT-4, 1996 Collaged Paper on Wood 77 x 74 cm
"The letter, constantly transformed and deconstructed, resists, revealing itself as indestructible... I thus associate what will be forever ignored with that which will remain indelible."
Max Wechsler
Born in 1925 in Berlin to a Jewish family, Max Wechsler was sent to Paris in January 1939. At the end of the war, having lost his family, he chose to remain in Paris, where he worked in various jobs before starting at Vaillant newspaper as an illustrator and graphic designer, a profession he practiced part-time until the early 1990s.
Starting in the 1950s, he began painting intensely—landscapes, portraits, compositions inspired by frequenting museums, where he drew influence from artists such as Paul Klee and Jean Dubuffet.
His first exhibition of these small-format works took place in 1959.
In the 1960s, he painted extensively in a surrealist vein, creating Fantastic Compositions made of "organic expansions [...] spirals, bulges, cracks..." according to Pierre Gaudibert, or "symbolic figures bearing witness to a work of suffering," in the words of Alfred Paquement. These works were exhibited at the Musée d’Art Moderne de la Ville de Paris during the ARC's first event in 1968.
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