Aurélie Biot-Worms spent several years training alongside established experts before founding her gallery in 2020. Based in Paris’s 9th arrondissement where she receives by appointment, she selects – guided by her discoveries and always with a sensitive eye – paintings and drawings from the 19th and 20th centuries by both artists of established renown and gifted creators whose work is ripe for rediscovery.
Not confining herself to any single artistic movement, she seeks above all to convey a personal vision, favouring figurative compositions that seduce through their aesthetic sureness and painterly quality.
Aurélie Biot-Worms is laureate of the Marcus Prize 2024 for Young Dealers Championing Cultural Heritage, created at the initiative of the SNCAO-GA under the patronage of the French Ministry of Culture.
Georges BAUQUIER
(1910-1997)
Self-portrait,, 1935
Pencil on paper
Tiltled and dated on verso
60 x 45 cm
Provenance
Estate of Simone Bauquier, artist’s wife.
Born in the Gard region in 1910, Georges Bauquier displayed a pronounced aptitude for drawing from an early age.
He commenced his studies at the École des Beaux-Arts in Paris in 1934 before enrolling, in 1936, at the art school directed by Fernand Léger, where he was elected “massier”.
A profound bond united the two men, as the student gradually became the master’s closest collaborator, ultimately joining him in Biot in the early 1950s. In addition to championing Fernand Léger’s legacy posthumously, Georges Bauquier cultivated a distinctive and original body of his own paintings. From 1950, he exhibited at the Bernheim-Jeune Gallery, followed by the Louis Carré Gallery in 1953.
Drawing occupies a central place in Georges Bauquier’s artistic practice. As an heir to Fernand Léger’s teachings, the artist consistently privileges line over subject, even when depicting a face.
Within this resolutely modern conception, he liberates himself from the object in order to be guided exclusively by the demands of plastic order. The face thus becomes a terrain of light and shadow, in which each detail must be apprehended separately. The nose, the ear, and the shirt collar are distilled to their formal essence, defined solely by lines and curves.
The self-portrait from 1935 presented here is not a preparatory study but a work in its own right.
The solidity of the forms — the face, the pipe — and the interplay of light upon them constitute the true subject of the drawing. It was executed during a pivotal period in Georges Bauquier’s career, as he was absorbing the teachings of Fernand Léger and engaging with the aesthetic preoccupations of the recently formed “Forces Nouvelles” group.
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