Robert Müller. L’Oiseleur.

Robert Müller. L’Oiseleur. : Bois gravé XII, 1964 20/31 Bois en brun et noir sur japon léger crème 52,1 x 75,2 cm M29 © Photographie Alberto Ricci © Adagp, Paris, 2023    Robert Müller. L’Oiseleur. : Paradiso, 1983-1985 14/27 Bois en couleur sur papier paille Feuille : 60,3 x 41,9 cm Impression : 38,6 x 27,4 cm M170b © Photographie Alberto Ricci © Adagp, Paris, 2023    Robert Müller. L’Oiseleur. : Sans titre, 1956 Encre de Chine 42 x 30 cm © Photographie Manuel Müller © Adagp, Paris, 2023   

The exhibition

A former student of Germaine Richier and her Swiss husband Otto Bänninger in their Zurich studio during the war, Robert Müller (1920-2003) initially shared this interest in the recovery of materials with César, Jean Tinguely, Odile Mir and Albert Féraud and even learned the trade of blacksmithing. For Müller, the relationship to the body is based on line and sign. And the exhibition at the Issoudun museum shows the strength and mastery of this through a new set of engravings donated by the art historian Rainer Michael Mason, in memory of Miriam Müller, Robert's wife. Less well known for his graphic work as he covers his career when he finally gave up sculpture in 1978, Müller's line in his genre scenes of Crete and self-portraits has the nuances of his intentions. By turns satirical, tragicomic, parabolic and existential with dogs and birds, he doses the point of irony like his sculpture, to the most accurate form.

Extract from the article by Laurence d’Ist published in the N°105 de la revue Art Absolument. Publication date: March 17, 2023.


11/02/2023 - 08/05/2023
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