Michel Tyszblat


Michel Tyszblat was born in Paris on July 9, 1936. Following his stints in André Lhote and Robert Lapoujade’s workshops, Tyszblat built a universe based on a very personal color range in which the comings and goings between figuration and abstraction were constant.

Tyszblat is in line with certain artists from narrative figuration, such as Bernard Rancillac, with whom he exhibited during the 1960’s, but he soon took a parallel path, far from the political and social content of this movement, as is evident in the works that he exhibited in 1968 in Templon.

In the early 70’s, he ventured into therapeutic art and began to give painting classes to mentally ill patients. Later on, he became a professor of plastic arts and art history at the Versailles School of Architecture. All these diverse experiences actively contributed to nurturing his pictorial research.

He died in Paris on November 27, 2013.

Brief chronology

In the 1960s, Tyszblat shares the reflections of artists who, opposing abstraction, invent a new figuration and in 1964 they group together in a trend that they call «narrative figuration. » However, Tyszblat doesn’t form part of this group, and prefers to evolve on his own. His objective is to short circuit the real, give it a new vital force by transforming everyday objects.

After the series Toys, Televisions and Engines, which mark the 60’s and the early 70’s in his career, and following the advice of his friend Martin Barré, Tyszblat focuses on constructing his painting almost mathematically, something captured in the Elements series.

During the next decade, he creates the series Paths, a true deconstruction of the urban space that he recomposes from a kaleidoscopic vision.

Later on, in 1990, he breaks away from formal precision and shifts towards greater gestures. He no longer makes preparatory drawings; the artist’s hand lets itself go until achieving informalism.

His works from the 2000s are marked by comings and goings between abstraction and figuration, between chance and automatism, which he organizes based on a narrative procedure that can be interprets freely.