Ladislas Kijno (1921-2012)
French painter born in Warsaw in 1921. His family moved to a small town in the Pas-de-Calais, Nœux-les-Mines in 1925. He studied philosophy, including Jean Grenier, then attended the workshop Germaine Richier in the post-World war II. He founded the Cadran group in 1950, with Paul Gay and focuses exclusively to painting from 1954.
His meeting with Louis Aragon and Ponge in 1943 has also led to much work in collaboration with poets. At the same time, he began a long correspondence with Paul Claudel.
At the end of the war, he experiences the first crumpled papers that will make it known internationally.
In 1949, he participated with some of the greatest artists of the first half of the twentieth century - Henri Matisse, Georges Braque, Fernand Léger, Georges Rouault, Jean Bazaine, Germaine Richier, among others - to the decoration of the Church of Assy (Haute-Savoie) he painted a Last Supper for the crypt.
In 1955 Kijno burn all of it painted for two years (250 paintings) and share to settle in Antibes where, in 1957, the Dor Souchère friend of Nicolas de Staël and Pablo Picasso, takes the initiative to organize the first large Kijno exhibition at the Musée d'Antibes.
Based in Paris since 1958, Ladislas Kijno has, over the decades, multiplied sprays paint and has become one of the masters of the so-called crumpling technique. He became a member of the Salon de Mai steering committee from 1958 and regularly participate in major Parisian salons such New Realities, Comparisons, Department of Youth and Today Sacred Art, ...
The exhibitions are multiplying both in France and abroad, Kijno focuses increasingly on large-scale projects around the wall art. It carries a large mosaic with Luigi Guardigli for Louise-Michel college of Saint-Etienne-du-Rouvray, in 1968.
Countless tributes inhabit his creations: Nicolas de Stael, Nelson Mandela, then Gagarin Galilee; but still fighting alongside Algerian and Vietnamese peoples, but also Tahiti, China, Easter Island.
His research will also make it a synthesis between traditional techniques of painting and industrial discoveries, notably in the area of vaporization and dyes. Ladislas Kijno has worked in series. He wanted to constantly reject the widened gap between abstraction and figuration, creating a personal world, using signs and curves that seem to create a modern mythology.
In 1974 Kijno involved in carrying large colorful structures with Albert Feraud, Pierre and Michel Guino Gastaud.
