VICTOR BRAUNER (1903-1966)

With its enigmatic hybrid central figure, Inclusion morphogène embodies Victor Brauner’s highly individual, polymorphous vision, which made his paintings some of the most striking explorations of archaic tradition and the occult within the Surrealist group. Discussing Brauner’s oeuvre, Susan Davidson has highlighted the rich depth of thought that lay behind paintings such as Inclusion morphogène: ‘Brauner made paintings that often have a naïve, folk art quality. Primarily focusing on figuration – whether human, animal, occult or mythological beings – his works conversely are often realized in boldly coloured abstract shapes permeated by expanses of decorative two-dimensional patterning. While his paintings often seem thematically simple and straightforward, invoking images from a child’s storybook, they are in fact underpinned by a lexicon of symbolism and archetypes that weaves an intricate tapestry of meaning’ (in Victor Brauner: Surrealist Hieroglyphs, exh. cat., Houston, 2001, p. 9). In the early 1960s, Brauner’s work focused increasingly on totemic fantastical beings and creatures, realised in brightly coloured, simplified forms, reminiscent of ancient cave paintings or graffiti. Influenced by non-European art, they offer a captivating glimpse into Brauner’s highly personal lexicon of mysterious characters, whose arcane powers and individual natures, remain beyond our grasp.