Offered by Galerie Paris Manaus
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Decorative Arts of the 20th century
Proof in bronze with shaded brown patina on a green background
Signed "Oudot" on the front
Bears the founder's stamp "A. Valsuani" on the plinth to the right
Numbered 3/8
Height: 35 cm
Length: 20 cm - Width: 8 cm
Biography :
Born on July 28, 1928 in Chaumont, Haute Marne, and died on October 13, 2004 in Besançon, Doubs, Georges Oudot was a French painter and sculptor.
After studying at the Ecole des Beaux Arts in Besançon, he entered the Ecole Nationale Supérieure des Beaux-Arts in 1946, where he was a pupil of Marcel Gimond and Alfred Janniot. He then returned to Besançon, where he set up his studio.
He is considered one of the most significant exponents of contemporary figurative sculpture. He is also the author of numerous engravings and lithographs, as well as several medals.
His many portraits include those of Pierre Mendès France, Edgard Faure (whose academician's sword he created), Juliette Gréco, Madame Pompidou, Léon Bourgeois and Princess Grâce of Monaco.
His works are exhibited in some twenty museums, including the Paris Museum of Modern Art, Marseille, Strasbourg, Besançon and Belfort .... And all over the world: Lausanne, Vatican, Erlangen, Freiburg, Monaco, Skopje, Teheran, etc.
He is a Chevalier of the Légion d'Honneur, the Ordre National du Mérite and the Ordre des Arts et des Lettres.
Georges Oudot has received numerous awards, including the Prix Fénéon for sculpture, the Prix National des Arts, the Prix de la Jeune Sculpture, the Prix Modigliani for drawing, the Prix Biennale de Sculpture and the Prix de la Critique Jury's Tribute for his body of work.
Georges Oudot was Edgar Faure's cultural advisor when he was President of the Franche Comté Region. He took part in the creation of the CRDC, Centre Régional de Diffusion Culturel, of which he was president for many years. He created the Besançon biennial art festival and set up the first FRAC management committee, made up of artists and craftsmen. He left this position abruptly, without putting in place the foundations of a sound art acquisition policy.
