Roger Raveel Belgium / 1921 - 2013
Op stap met een tekenblad (Going out with a sheet of drawing paper) (1965)


"Roger Raveel" PvSK, Brussels 1966, exhibition cat. nr. 50
Documenta IV, Kassel 1968
"Roger Raveel" Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster 1983
"De wonderlijke werkelijkheid van Roger Raveel - Het vroege werk" Cobra Museum, Amstelveen 2004
"Het verschrikkelijke mooie leven. Roger Raveel. Schilderijen 1934-1967" Bernard Dewulf, Octave Scheire & Hans Sizoo, Ludion/Cera Foundation, Ghent 2003, nr. 350, p. 170 reprod.
"Roger Raveel en de Nieuwe Visie" Marc Ruyters, Ed. Snoeck, Ghent 2006, p. 249 reprod.
"Roger Raveel. Het overzicht. Schilderijen 1934-2013" Octave Scheire and others, Ludion, Antwerp 2013, p. 131 reprod. and reprod. on the coverbox
With attestation of authenticity by Mr. Octave Scheire


"I wanted to see things and humans in a large perspective, within their cosmic connection. Hence my ambition to create a continuous interrelation between the painting and the spectator, between the painting and the environment. Hence the voids in many of my paintings, the cutting off of the action on canvas, the integration of mirrors, the attachments of real objects… By intensifying the reality in a plastic way, I also want to integrate an absurdity in my artwork that shakes us up into the brain." (Raveel 1969)

Roger Raveel strives to "let art flow into life". He focusses on making art that can't exist apart from life, but that on the contrary mingles with life, and interacts with life. He realizes this by the creation of fields of tension at multiple levels: as well compositional, pictorial as formal, as can also be found in "Laat uw portret maken als een David ruiter" (1973, lot 416 in this auction)

In this game between reality and fiction, Raveel misleads the viewer. The painter's perspective is forced upon us, enabling us to identify ourselves with him. When looking at the empty sheet in front of us, we feel stimulated to get on with it. The viewer's creativity is mirrored onto the blanc canvas: all possibilities seem to be open to us.

The thick, black outlines cut the drawing sheet from the rest of the composition, which appears to be painted to reality with its softer colors and brushstrokes. The artist himself walks the canvas, and at the same time the painting enters its surrounding space. The boundaries between the paper sheet, the canvas and the room fade away. Reality, image and illusion intertwine.

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