Lot 628 D

In den Jahren 1960-1961 findet eine Veränderung in den Werken von Bram Bogart statt, die er selbst mit seinem Umzug von Paris nach Brüssel in Verbindung setzt. Statt wie zuvor seine Werke auf der Staffelei zu kreieren, werden die Leinwände nun auf dem Boden liegend gestaltet. Seine neue Methodik gibt ihm einen größeren Gestaltungsspielraum im Farbauftrag und in der Bearbeitung der Farbschichten, was seinen Werken einen expressiven Ausdruck verleiht. „During these years my work underwent considerable changes. Perhaps because I moved to Brussels. Perhaps because the grey of Paris had influenced me somehow and left its traces. The cubist movement, which came into existence in Paris in 1910, also had been strongly influence by its surroundings. However, this did not stop artist like Sonia Delaunay from making colourful paintings. Whatever the reasons, my colours did change in Brussels, and the easel paintings, which I had been making until 1961, where replaced by jute canvas on panel. Because of the weight and liquidity of my materials, I had to work on the floor. My work now became more expressive, and I was able to enhance the colour by applying paint masses with the brush or a knife. Although I made mainly large size paintings, they never exceeded 200x300 cm. In my opinion, the painter is to remain master of the plane and should dominate it at all times. Formats must not be given too much importance as the contents of a small painting (50 x 70 cm, for example) can be much stronger than those of huge work. I must admit I prefer Rubens' smaller works to his bigger ones.” (Bram Bogart, December 1982, in: Francine-Claire Legrand, Bram Bogart, Tielt 1988, S.103)