Back to home page - This page contains a biography, non-exhaustive lists of exhibitions, museums and some auction results of the painter

Edouard GOERG "Toujours la vie recommence" Huile sur toile, 1958  Edouard GOERG Les Espagnoles Huile sur papier, 1937-1938
click on the photos


Édouard Goerg is one of the major artists of his generation.

Coming from a Champagne family, he was born in Sidney, Australia, in 1893, during a professional stay of his father. After passing through London, he arrives in Paris at the age of seven. At twenty, between 1913 and 1914, he studieds painting at the Académie Ranson with Maurice Denis and Paul Sérusier. He travels to Italy and India. Mobilized in 1914, he is sent to Artois, then to Argonne. From 1920, he exhibits at the Salon des Independants, then at the Salon d'Automne where he joins with Laboureur. At Berthe Weil, in 1924, he participates in the exhibitions of the Gromaire group, a prelude to a series of exhibitions in Paris (Berthe Weill, Bernheim Jeune), as in Brussels (Le Centaure). Goerg illustrates books including Table of the beyond by F.Boutet. In 1928, he meets Paul Guillaume who exhibits his works in Boston and the Art Institute of Chicago. He continues to show his works, satires of the bourgeois manners, at Bernheim Jeune, then at Lucie Krogh. In 1934, he travels to Belgium and Holland where he paints surrealist paintings that will be exhibited at Jeanne Castel. In 1935-1936, he meets Aragon, who opened the doors of the houses of the cultures created by the Association of Writers and Revolutionary Artists. The Spanish war and the Second World War mark it deeply. He must protect his daughter and his Jewish women against the pursuit of the Nazis. The latter will die by lack of care. In 1949, Goerg is appointed professor of Fine Arts and teaches at the Grande Chaumière. He is elected to the Academy of Fine Arts in 1965. He dies in 1969.

" His satirical verve is that of a Toulouse-Lautrec of the Roaring Twenties. Goerg instigates the world from which he comes, his ceremonial, morgue and the falsity of important people " (Michel Charzat, La jeune peinture française)

In the paintings of his early period he attacks the morality of post-war bourgeois society, and in that sense was similar to expressionist painters like Georg Grosz. The major works of this period are: Pirate (1922); Gourmand (1923); Bar (1923); Marriage (1924); Window (1924); Don Quixote (1925); and Good fortune (1925). He travels extensively, and in 1935 visits the museums of Holland, where he is deeply influenced by the works of Hieronymus Bosch and Bruegel. He then directs a series of paintings on the theme of the tragedy of the human condition, under the generic title: "eThis is how the world turns under the eye of the police".

After the Second World War, he savs his vitriolic commentary for his etchings, and in his paintings ceased to criticize real life and instead celebrated the evil charms of the flower-girls. He illustrates many books, including: Tales of Hoffmann, Picture of the Beyond by Frederick Boutet, Knock by Jules Romains, The Flowers of Evil by Charles Baudelaire, The Book of Job and Apocalypse of St. John by Sir Isaac Newton, who have all demonstrated his engraving skills. Asked about his art, he confesses that he had first wanted to try to unblock the "comedy of everyday forms". Essentially a painter of figures, he generally paints groups of feminine nudes; however, these nudes are often accompanied by conservatively dressed male spectators, who are the most enduring symbol of his first comic intentions. Nevertheless, the comedy is loaded with bitterness and sarcasm.

After several refusals, he is accepted at the Salon des Artistes Indépendants in 1922. His work then appears at the Salon d'Automne, at the Salon des Tuileries, at the Salon des Peintres Témoins of Their Time and at the Salon of the Society of Painters-Engravers, where he becomes honorary president from 1945 to 1958. He makes his first personal exhibition in Paris in 1925. After that, he exhibits regularly in France and abroad. There have been several retrospectives of his work, notably in 1988 at the Grand Palais in Paris and the Salon du Verney in Vichy. In 1949, he receives the very prestigious Hallmark prize for Nativity. In 1950 he receivesthe Lugano Prize for Engraving.

"In the mid-twenties, he developed his plastic code: canvases with a flat surface, a chromatic range that has brightened with phosphorescent blues and greens, a craft that wants to transcend the subject by intrinsic beauty. Goerg works with the patience of the alchemist his paste that he superimposes to obtain the sumptuousness of enamels. A pictorial magic unifies the different periods of the work" (Michel Charzat, La jeune peinture française)

chronology taken from the site
1893-9 June birth of Edouard Joseph Goerg in Sidney (Australia), son of Gustave Goerg, director of family counters champagne Irroy Australia and Blanche Adet (half-Irish, half-Bordeaux).
1894 - The family settles in London
1900 - Arrival in Paris, 111, rue de Longchamp (XVI °)
1903 - Studies in Gerson then Janson-de-Sailly
c.1910 - decides to become a painter, against the advice of his father who wants to see his business partner with 1912 - Enrolled at the Académie Ranson, where E. G. follows the teaching of Maurice Denis and Paul Sérusier. He meets Ker Xavier Roussel and Paul Vallotton. Settles in a workshop 9, rue Campagne Première (XIV °) 1913 - Study trip to Italy (Florence, Assisi and Siena)
1914 - Trip to India. Return precipitated in France to the declaration of war. Mobilized, he is sent to the Somme, Champagne and Ardennes.
1915-1917- E. G. volunteers in the East Army (18 months)
1919 - Demobilized, he returns to the Ranson Academy, where he meets Andrée Berolzheimer.
1920 - Exhibits for the first time at the Salon des Independants. June 9, wife Andrée Berolzheimer.
1921 - May-June, travels to Italy. June, the couple buys a house in Cély-en-Bière in Seine-et-Marne.
1922 - First private exhibition at the Panardie Gallery, Paris Received at the Salon d'Automne.
1923 - Meeting Jean-Emile Laboureur at the Druet Gallery, who introduces him to Marcel Gromaire and encourages him to make etchings.
1924 - July, birth of his daughter Claude-Lise.
1925 - Berthe Weill Gallery Exhibition, Paris
1926 - Move in Cité Seurat (101, rue de la Tombe Issoire, fourteenth) in a home-workshops (built by André Lurçat) co-owned with Marcel Gromaire. Appointed member at the Salon d'Automne
1928 - Meeting Paul Guillaume, with whom he exhibited in Boston and the Art Institute of Chicago. Death of his father, E.G. takes care of his mother.
1929 - Special exhibition at Georges Bernheim
1934 - E. G. changes his style and subject, he starts a series of so-called fantastic works. Get in touch with Emmanuel Mounier and the Esprit group.
1935 - May-June, exhibition of his recent works at Jeanne Castel. Meeting Aragon and participate in the activities of A.E.A.R. First Salon du Temps present, E. Goerg is part of the organizing committee, chaired by André Lhote. Travel to Belgium and Holland.
1936 - May, participates in the first debate on Realism and Painting, organized by the House of Culture. 1937 - February, Edouard Goerg leaves, with 6 other members of A.E.A.R. (Cabrol, Jannot, Labasque, Lauze, Lefranc and Masereel) in Barcelona. Participates with 9 paintings at the exhibition "The Masters of Independent Art 1897-1937" at the Petit-Palais
1938 - Settles in a mansion 11, rue Ducouédic (XIV °)

Edouard GOERG Les Espagnoles Huile sur papier, 1937-1938
Two young Soanish girls (1937-1938)
oil on paper
on sale in our catalogue

1939 - With the war, his painting focuses on feminine and floral themes: "flower-women" that he will paint until the end of his life.
1940 - Signs a contract with Galerie Drouant
1941 - Remains in Paris during the whole occupation
1944 - February, death of his wife Andrée, he is totally shot and only a shock treatment will restore him. Approach the lithography. June, collaborates on the album Vaincre, published by the National Front of Painters for the benefit of the French Francs Tireurs et Partisans Français.
1945 - President of the Society of French Painters-Engravers (until 1958) Illustrates The Apocalypse of Saint John (J. Haumont editor)
1946 - Appointed professor of engraving at the Ecole des Beaux-Arts in Paris. Trip to Grisons with the Marquet, offered by the Swiss government to French artists. December, trip to Algiers.
1947 - Second marriage.
1949 - Hallmark Award, Knight of the Legion of Honor. Exhibition in London.
1950 - First engraving prize in Lugano.
1954 - Participates in the Venice Biennale. Exhibitions in Cairo, Alexandria and Beirut.
1955 - Exhibitions in Sao Paulo, Rio de Janeiro and Buenos Aires
1956 - Death of his mother. Exhibition in Nantes (Mignon-Massart), Reims (Andre Droulez), Nancy (Librairie des Arts, engravings), Strasbourg (Aktarius) and in Lausanne (Maurice Bridel and Nane Cailler).
1957 - Acquires a property in Callian (Var).
1960 - Permanently leaves Paris and the Paris region to settle in Callian.
1965 - Appointed member of the Institute at the Academy of Fine Arts.
1969 - April 13, death in Callian.



E. Goerg, by Gaston Diehl, Editions de Clermont, Paris, 1947

For nearly a century the history of art has recorded a series of successive revolutions, of which we have been able to boast about the magnitude and importance. Almost all, from Impressionism to Nabism, from Fauvism to Cubism, tended to free the means of expression solely on the level of visual aesthetics, in the sense of a renewal of plastic forms; this extension of the power of visuality corresponds very exactly to the very evolution of society towards a fatal development of materialism.

These brave researches and the magnificent results obtained by this transformation of the creative effort, however, do not have to make neglected or forgot the necessary preponderance of spiritual valuesBy its very essence, art is language, and as such, in charge of conjugating both man and time in equivalent signs. The image, regardless of its own beauty, is only relevant insofar as it integrates with the moment and brings back to life essential human problems, that is to say that it bears in itself a complete and conclusive testimony of the time. Unfortunately, these inner qualities receive less attention and often go unnoticed. And today, more than ever before, both the public and the artists tend to look more inwardly at plastic writing without paying too much attention to its deeper meaning. Perhaps because, overwhelmed by the unleashing of events and continually outpaced by its new metamorphoses, our world prefers to ignore the true face of its painful gestation and not to face face to face with this tragic figure of itself that it presents in secret contemporary art. Perhaps also because unfortunately accustomed to this daily tragedy that has been harassing and pressing him for so many years, it ends up accepting it as best it can and no longer discerns the expressive value of the signs.

Yet among the artists there are some who claim from life all its fullness and refuse this tacit acceptance, this passivity a little shameful, this resignation of moral and spiritual forces. They are not afraid to confess openly and highly the drama that is in them and around them, the threats that hover. They denounce weaknesses and laches, they deliver the spirits and hopes that are common to everyone. They are, so to speak, the interpreter of destiny and assign before him men and events. But this is a dangerous role, for society has never liked to discover its remorse or its intentions before it, in the light of its turpitude and decay. All the visionaries, be they artists or prophets, have always been sacrificed to the interests of the moment, but with some precaution because they generally arouse the passionate curiosity of the crowd. The method traditionally employed is silence or denigration. The society violated in its dignity avenges itself of those who publicly denounce it and reveal its errors, by excommunicating them, treating them as jugglers or polemicists, denying their importance or their particular qualities. That they assert themselves with time. Sooner or later the said society is obliged to recognize itself in them, because they have gone to the most authentic truth, that of revelation; but it is always with some reluctance. History abounds in striking examples. Even the Greco or Goya did not take long to be justified in their century! And Daumier does not wait for his final reclassification?

Yet among the artists there are some who claim from life all its fullness and refuse this tacit acceptance, this passivity a little shameful, this resignation of moral and spiritual forces. They are not afraid to confess openly and highly the drama that is in them and around them, the threats that hover. They denounce weaknesses and laches, they deliver the spirits and hopes that are common to everyone. They are, so to speak, the interpreter of destiny and assign before him men and events. But this is a dangerous role, for society has never liked to discover its remorse or its intentions, in the light of its turpitude and decay. All the visionaries, be they artists or prophets, have always been sacrificed to the interests of the moment, but with some precaution because they generally arouse the passionate curiosity of the crowd. The method traditionally employed is silence or denigration. The society violated in its dignity avenges itself of those who publicly denounce it and reveal its errors, by excommunicating them, treating them as jugglers or polemicists, denying their importance or their particular qualities. Certainly they assert themselves with time. Sooner or later the society is obliged to recognize itself in them, because they have gone to the most authentic truth, that of revelation; but it is always with some reluctance. History abounds in striking examples. Even the Greco or Goya did not take long to be justified in their century! And Daumier does not wait for his final reclassification?

Today Rouault and Goerg, who belong to this same spiritual family, begin only with the recoil of the years to be truly rehabilitated and put back as they deserve, one by the Church, the other by history. And there is something surprising in a world that preaches so much the spirit of freedom and glorifies the revolutionary will. Indeed, it is they, even more than the best creative geniuses, who will present themselves in the future as the true revolutionaries. The revolt that manifests itself in them is total, demanding, despotic. It has in itself a value of eternity: it is based on the man and not on the idea, it goes to the bottom of things and disdains the accidental in spite of the first appearances, and especially it preserves to life its force gushing, its density and its richness. As and when their work will be defined with increasing authority compared to our time, as its most lucid portrait and the most complete.

The place occupied by Goerg in contemporary art has certainly been recognized for a long time already, because of the power of expression and the pictorial qualities of his work. But it is only now, through the various aspects that the latter has taken, that one can deduce without confusion its actual importance and verify to what extent this language corresponds to the fundamental data of our time.

From now on the horizon that such a work discovers gives the measure of its extent of elocution and its imperious legitimacy. And its undeniable inner unity as its overwhelming emotive intensity alternately dramatic, prophetic or joyfully exalting, attest that it is not a succession of happy encounters with chance, a fortunate deliverance or a lyrical outpouring more or less free, but that it remains unceasingly a stern and meditated commitment to the whole being. It determines the profound meaning of this last quarter of a century; it gives the most valid and most definite definition. It presents itself as the very consciousness of our time which it assigns to history by marrying by its fluctuations all its hesitations and torments. It accuses it, and at the same time gives evidence for it by faithfully reflecting its remorse, its aspirations, its fears or its secret convictions. It sums up admirably each major event keeping only the essential, exceeding it in time and in its immediate scope. Thanks to it, the atmosphere of the first world war can be traced back to the second, that of the two post-war periods, as well as that of various world crises or incidents. In advance it situates them, limits them and prepares them for their outcome. It synthesizes the human adventure, reconstructs its inevitability and establishes the sovereign affirmation of the spirit in its triumphant conquests as in its renunciations or its most abject deeds.

If it imposes its reality with so much relief and naturalness, it is because it proceeds more from intuition than from intelligence. It marks the living relationship of a man with his time. And the satirical virulence or the apparent cruelty with which it is sometimes responsible, does not translate the position of an egotistical egoism, but on the contrary the presence of a vigilant altruism, concerned with the social fact. However, by natural generosity and independence of character, Goerg never obeys any partisan or preconceived reasoning. He instinctively attacks all that is the true negation of this life of which he eagerly seeks the most intense and profound forms of expression. The violence of his reactions only responds to his desire to defend her even in its most everyday aspects. And the trial he is bringing is aimed more at man than at civilization or the events that he uses only to raise his inner drama on the level of the universal. He claims for everyone the right to life and is indignant to see it scorned and mocked.

Thus, by the happiest conjunction, this work evokes on a spiritual level the salient facts of the time and goes beyond the latter, stands out from the moment, interpreting also the eternal tragedy of man, his loneliness, his metaphysical anxiety, the desires, the impotence or the despair that he carries in him. At once present and virtual, it is almost nothing more than a mere refuge, the very one that the individual lost in the middle of the crowd wishes to hide his dismay under the appearance of exasperation or defiance. . The invective, again, is only a form of pity, a latent desire for patient regeneration, because the painter is totally committed and is both judge and party. Precociously matured by the war of 1914 and painfully affected for four years by his spectacle of destruction and death, he kept a particular affectivity for human suffering that gives him this faculty of penetration and this astonishing clairvoyance in the face of upheavals and disasters. incessant convulsions of our world. His worried waiting allows him to discern them in their premises and to consider them in terms of the human consequences that will result.

Thanks to this dramatic tension of his mind, the canvases he makes, while reconnecting with the accidental proceed from an authentic inner justification. Emanations sentimental of the moment, they integrate so well with all its possible extensions, that they manage to define the most absolute generality and to impose without the slightest artifice like a true revelation. Creations purely subjective, they offer the double advantage of presenting oneself as the most authoritative document on society as well as on the individual himself, and of asserting himself as a pathetic message authoritatively authorizing the sovereign and immutable grandeur of the human.

However, we should not confine Goerg in this role of prophet or preacher. If his work is worthy of his desire to decipher human destiny, it has no less its place among the master artistic productions of this time. Historians, forgetting that the visionaries belong to a secular family, are only too much inclined to underestimate their influence or to neglect their contribution under the vain pretext that they never know to which contemporary current they belong. Our painter did not escape this common law and the label of expressionist which was attached to him, especially caused the worst confusions. Another fact also played against him, it is the stupid habit taken today to measure the importance of an artist among his imitators.

By the character of his work, as well as by his own individualism, which set him up from his youth against the family, he personifies the very type of the independent. His radiant spirituality as well as his imperious demands on time condemn him, like Daumier or Rouault, to live apparently in recluse and alone among his contemporaries. His relations with them result in the fact that he belongs to a generation that has paid a heavy tribute to the war and whose survivors overwhelmed by his memory, such as La Fresnaye, La Patellière or Alix, Malfray or Gromaire, share with him the same feelings of lost greatness and painful helplessness for today's man. Circumstances rather than art in themselves bring them closer to each other and lead them to adopt an almost identical attitude. But this sense of tragedy, this respect for fatality, this taste for the mysterious, this seriousness of the commitment that they may have in common, is reflected in them in a way that is too different for us to claim to group them together. together as we have tried so often. The spirit of revolt of a Yves Alix or the powerful exaltation of a Gromaire are more opposed than they are to the subjective violence of Goerg. And the parallel that we wanted to trace to their beginnings between the last two and Le Fauconnier is just as inaccurate as the importance given to their so-called Nordic ancestry - Goerg's mother was English - when we consider their subsequent evolution.

Except in a few paintings executed immediately after the war, our painter, unlike his comrades, has always remained away from cubist disciplines, not out of disdain of  problems of form or concerns of the plastic, but by a constant desire to escape all possible recruitment as much as by an instinctive need to end up with an immediate emotional transcript. His hypersensitivity pushes him to deliver himself with force from his anguish, to materialize it in a world entirely recreated in this design and which he composes with meticulous care. In the same way, his relations with Gromaire have been too much mentioned for his art, while obviously their respective paths now appear to us so divergent. Besides, was he not, from 1923-1924, in full possession of his means and already master of a world of his own, before meeting the next year at Berthe Weill, those who would become his comrades of exhibition and his friends: Pascin, Gromaire, Per Krogh, etc. The affinities which are soon established between them are more on the moral plane. They will never form a real group; they are gathered together because of the limited number of artists from this generation decimated by the war. And it was not until much later, in 1934-1935, that Goerg, as he admitted, became aware of the surrealists that he actually belonged to a generation.

Quand on veut comparer son attitude à celle des expressionistes étrangers des difficultés semblables surgissent. Le degré d'élévation et de finesse de sa satire, l'éloquente prédominance de son sentiment de l'étrange, la variété de son pouvoir d'affabulation, la subtile simplicité de ses moyens, n'ont guère de points communs avec l'exaspération dramatique et les déformations plastiques des Allemands ou avec la lourdeur terrienne des Flamands. Sa retenue, son univers de stabilité et par instant presque de silence, son art riche d'allusions discrètes, sa constante défiance vis-à-vis d'un inutile emportement, de l'improvisation ou du lyrisme gratuit, l'éloignent aussi bien des uns et des autres. Qu'il se rencontre parfois avec la verve pamphlétaire et altière d'Ensor ou avec la spontanéité primesautière de Tytgat ne présume en rien de sa situation particulière. Ce sont là correspondances d'époque plus que de fait. La meilleure preuve nous en est sans doute fornie par Chagall dont l'accent de rêve et de fantaisie s'apparente au sien, mais qu'il contredit par la densité et la gravité, je dirais presque la rigueur pascalienne, de son message.

Expressioniste, Goerg ne l'est donc pas tant vis-à-vis de ses contemporains que principalement à l'égard des siècles précédents, dans le sens où le mot désigne non une appartenance à une école, mais une qualité permanente de la peinture : la possibilité pour celle-ci d'atteindre à la force d'expansion d'un langage immédiat et de posséder sa plus totale signification humaine. Dans la mesure où son art accède en partie à cette vertu qu'un Goya ou un Daumier ont définie magistralement, il échappe à toute classification arbitraire du moment et se rapproche davantage de tous ceux qui l'ont précédé.

Mais en même temps, on peut également admettre que, par son amour du surnaturel, par ses remarquables prédispositions pour acclimater ses rêves au sein de la réalité et de les accréditer d'une manière aussi absolue, il n'est pas étranger aux préoccupations des surréalistes, sans toutefois qu'il y ait là encore, un quelconque échange entre les uns et les autres. Tant il est vrai qu'une oeuvre bien vivante déborde des cadres dans lesquels on voudrait l'enfermer et garde sa valeur propre sous la pression même de tout ce qui l'entoure et la nourrit. Ainsi l'art de Goerg se suffit-il à lui-même par ses seuls caractères.

L'univers dans lequel il nous introduit s'avère d'ailleurs intransmissible du point de vue formel, par sa propre subjectivité, par son intensité même et son pouvoir de révélation. Se développant dans le sens visionnaire, il échappe aux courants contemporains, semblable par là à celui de Brueghel ou du Greco, avec lesquels il entretient plus d'affinités spirituelles qu'avec l'un ou l'autre des représentants de l'actuel expressionisme. Les figures qui s'y meuvent, bien que réduites à l'état de signes, ont une valeur éternelle par la force de leur accent et leur degré d'humanité.  Etirées et déformées jusqu'au rictus, simplifiées et évidées jusqu'au filigrane, elles se présentent cependant comme des êtres douées d'évidence par les caractères mêmes qu'elles accusent. A peine esquissées, ces silouhettes allusives qui conservent la gaucherie de l'intuition, semblent sortir directement du rêve intérieur. Elles ont l'immobilité étonnée, la naïve grandeur des personnages de jeux de massacre forains, et appartiennent à ce même légendaire caricatural et familier. Leur registre est presque aussi restreint et elles obéissent à un rituel à peu près semblable évoquant l'immuable géhenne. De la jeune rouée impudique à la matrone sans scrupule, du niais au faraud, du matamore au rapace, toute la comédie humaine défile ici en une ronde sans fin. Le vice ou la bêtise n'ont-ils pas toujours un visage identique ! Mais ces types traditionnels interprétés par un artiste de génie avec une extraordinaire acuité et un rare sens de l'observation prennent un relief extrême et deviennent de vivants symboles qui se renouvellent, tout en se répétant, grâce à leur puissance émotive. Quelques traits saillants, quelques taches de couleur suffisent à les définir avec exactitude et cette synthèse éloquente souligne d'autant la violence interne dont ils sont chargés. Un cri d'appel et d'angoisse jaillit de cette immobilité en attente, de ces yeux effarés qui emplissent tout le visage, de ces contours démesurés et indéfiniment allongés, traités en cernes sombres. On en oublie l'apparente anecdote. Est-ce tellement la société de notre temps qui est fustigée et ridiculisée, ou l'homme lui-même dans toute sa fausse dignité ? Ces filles-fleurs perverses ne sont-elles pas à l'image de ces Parques qui détiennent notre pauvre destin entre leurs mains ? Leur érotisme provocant répond d'avance à notre révolte impuissante. La présence constante, tantôt discrète, tantôt triomphante, de ces bouquets multicolores ne peut-elle s'interpréter comme une supplication, une offrande ? Nous les avons bien vus ces dernières années, au plus fort de notre détresse, pendant l'occupation, remplir presque toute la toile comme une promesse invincible, une certitude de tous nos espoirs.

Et derrière tous ces pantins, qui le disputent tour à tour au burlesque et au tragique, n'y a-t-il pas la nature condensée en brèves formes, suggestives par leur brutalité même ; et surtout l'espace, cet espace mystérieux, vague, incertain, toujours immense, phosphorescent, qui finit par s'imposer comme le signe propre de la fatalité, à laquelle nul, être ou chose, ne peut échapper ?

Quand enfin dans ses peintures à partir de 1933, durant les années de crise et d'inquiétude qui précédèrent la guerre, et récemment dans ses magnifiques séries d'illustrations pour "l'Apocalypse" ou "le Livre de Job", Goerg donne libre cours à son imagination prophétique et fait surgir un univers fantastique grouillant de larves immondes, n'est-ce pas tout l'inutile désespoir de notre monde d'aujourd'hui qu'il découvre en un message cosmique qui s'insère naturellement dans la tradition métaphysique des grands initiés ou visionnaires, de Jérôme Bosch à William Blake ?

Edouard GOERG "Toujours la vie recommence" Huile sur toile, 1958
Toujours la vie recommence (1958)
huile sur toile


Quelques expositions parmi d'innombrables :

1922 : Paris, galerie Panardie
1922 : Salon d’Automne
1925 : Paris, galerie Berthe Weill
1929 : Paris, galerie Georges Bernheim, exposition particulière
mai-juin 1935 : Paris, galerie Jeanne Castel Premier Salon du temps présent. Goerg fait partie du comité organisateur, présidé par André Lhote
1937 : Édouard Goerg part à Barcelone en février avec six autres membres de l’A.E.A.R. Il envoie neuf tableaux à l’exposition Les Maîtres de l’art indépendant 1897-1937 au Petit Palais à Paris
1954 : Biennale de Venise . Expositions au Caire, à Alexandrie et à Beyrouth
1955 : expositions à Sao-Paulo, Rio de Janeiro et Buenos-Aires
1956 : expositions à Nantes (Mignon-Massart), Reims (André Droulez), Nancy (Librairie des Arts, gravures), Strasbourg (Aktarius), Lausanne (Maurice Bridel et Nane Cailler)
2012 : Paris, Musée National d'Art Moderne (Centre Georges Pompidou)L'art en guerre.


Musée National d'Art Moderne, Centre Pompidou, Paris
Musée des beaux-arts de Menton
Musée Fabre, Montpellier
Musée des beaux-arts de Reims

Résultats de ventes

Le record, que nous connaissons, des oeuvres d'Edouard Goerg en vente publique a été établi à Drouot le 16 octobre 1994 à Paris. FF302.500 (frais de vente inclus) pour une huile sur toile de 80 x 129 cm intitulée "La ville". Le montant actualisé en mars 2018 : €45.700 ou $58,300 USD. 
Puis "Les chevaux de bois aux Champs-Elysées" (FF300.000 fdvi, €43.500) huile sur toile à Drouot, Paris en 1990, "La vie recommence" (FF237.500 fdvi, €35.700) huile sur toile à Drouot, Paris, en 1993, etc...

Vous trouverez ci-dessous d'autres résultats avec photos. Pour calculer le montant actualisé, utilisez un convertisseur de monnaie avec conversion dans le passé.

Sotheby's - 9 février 2012 - Londres
Huile sur toile "Le portrait"
Cm : 81 x 59,5 cm
Prix réalisé : £12.500 GBP fdvi, soit actualisé en mars 2018 : £13.720 GBP or €15.600

Drouot - 24 novembre 2010 - Paris
Huile sur toile "Le bal Nègre"
60 x 73 cm
Prix réalisé : €12.000 fdvi, soit actualisé en mars 2018 : €12.850

12 février 2007 -Paris
Huile sur toile "Admiration"
100 x 81 cm
Prix réalisé : €11.000 fdvi, soit actualisé en mars 2018 : €12.500

Drouot - 29 novembre 2009 - Paris
Huile sur toile "Les sisters"
Cm : 73 x 92 cm
Prix réalisé : €11.250 fdvi, soit actualisé en mars 2018 : €12.250

Ader - 30 mai 2007 - Paris
Huile sur toile "Le French Cancan"
100 x 50 cm
Prix réalisé : €12.000 fdvi, soit actualisé en mars 2018 : €13.500

Christie's - 8 février 2013 - Londres
Huile sur toile "L'amoureux"
Cm : 65 x 54,4 cm
Prix réalisé : £6.880 fdvi, soit actualisé en mars 2018 : £7.350 GBP ou €8.400