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10 Opus 384, 1950 Signed and dated 'Schneider 50' lower right; annotated '384' verso Oil on canvas 45 5 / 8 x 35 1 / 8 in, 116 x 89 cm Provenance Private Collection, Paris Exhibitions Bilbao, BBK Foundation, Schneider, los años 50, 25 January – 17 April 2006 Literature Angers, Michel Ragon, Schneider, Editions Expressions Contemporaines, 1998, illus. in colour p.60 Bilbao, Nicolas Morales, Schneider, los anos 50, Edition Fundacion BBK Fundazioa, 2006 (illus. in colour) This work is recorded in the Gérard Ernest Schneider archives as No. GS-T-50-13-1 and will be included in the catalogue raisonné to be published in 2017 by Galerie Diane de Polignac, edited by Laurence Schneider and Patrick Gilles Persin. GÉRARD ERNEST SCHNEIDER 1896 - 1986 Gérard Ernst Schneider was one of the principal artists of the École de Paris alongside Hans Hartung and Pierre Soulages who embraced an expressive and lyrical style of abstract painting. Exhibiting together for the first time in 1947 at the Salon Surindépendants, the trio became inseparable in their artistic collaboration and are largely seen as the inheritors of Kandinsky's poetic abstraction. Created just two years after his invitation to the Venice Biennale (1948), Opus 384 is an exceptional example of Schneider's work. It marks the beginning of his most successful period and the decisive moment when Schneider, Hartung and Soulages joined the Parisian gallerist Louis Carré and his impressive roster of abstract artists. Manipulating form and colour into a harmonious arrangement, Opus 384 relates to the monumental murals made by Schneider in the late 1940s. In this series Schneider absorbed the dancing calligraphy and flat planes of Japanese painting. Although he never travelled to the Far East, his interpretation of their art was admired by contemporary Japanese painters who were stimulated by the force and passion of Schneider's brushstroke. His work was exhibited in major exhibitions in Tokyo and Osaka during the 1950s. Gérard Ernst Schneider exhibited at the Venice Biennale (1954) alongside Hartung, De Stael, Estève and Vieira da Silva and at the first documenta (1955). He also received the le Grand Prix Lissone d'art abstrait in Milan in 1957.