Eugène Dodeigne (born 27 July 1923, Rouvreux, near Liège) is a French sculptor living and working at Bondues (Nord-Pas-de-Calais).[1][2]
Contents |
He learned his trade from his father, a stonecutter, who hired him to take courses in drawing and modeling at Tourcoing and Paris at the Ecole des Beaux-Arts, where he experienced a revelation in the studio of Marcel Gimond. It was under the influence of the abstract forms of Constantin Brâncuşi. He then follows, in 1960, the path of chipped stone that leads to an abrupt figuration, highly expressive, continuing until his most recent sculptures. he also absorbs the counting of Giacometti and Germaine Richier. When asked to recall his early works and his influences, he remains elusive.
He exhibited at the Jean Brody Galerie,[3] Galerie Claude Bernard, Gallery Pierre Loeb, the Galerie Jeanne Bucher, then in Berlin, Hanover, Rotterdam, Brussels and Pittsburgh provide him, in the sixties, international recognition which does not disturb his exploration.[4] In 1968, he devoted himself to a series of sculptures combining new way of smooth surfaces and volumes of irregular stone exploded.
In the seventies, the Group of Ten (Prouvost Foundation, Marcq-en-Barœul) devoted his evolution towards the monumental, which coincides with the simultaneous development of outdoor sculpture in cities and parks. His sculpture populates many cities and museums of North: Lille, Dunkirk, Villeneuve d'Ascq, Antwerp, Liege, Hanover, Utrecht, then Bobigny, Argentan and Paris, to Grenoble in 1998 and Créteil, more recently.
He participated in the Paris Biennale in 1985, an exhibition at the Rodin Museum in 1988,[5] his participation in the Champs de Sculpture in 1995, Made in France at the Musée National d'Art Moderne in 1996, and his presence in the new park Sculpture in the Tuileries Gardens in 1999, an exhibition at the Fondation de Coubertin (Saint-Rémy-lès-Chevreuse) in 2002, confirms the growing importance Dodeigne occupies in the history of sculpture of the second part of twentieth century.