GUIDETTE CARBONELL (1910-2008) - Lot 17

GUIDETTE CARBONELL (1910-2008) La Nageuse, ceramic model for the murals in the refectory of the Caisse des dépôts et consignations in Arcueil. Bas-relief. Two ceramic panels, partially glazed, assembled to form the title composition and mounted on a wooden support. Signed Guidette CARBONELL, on the back of the wooden support. Height: 15cm - Length: 57,5cm Exhibition: La céramique au féminin - 30 Glorieuses des années 40, 50 et 60 - Musée de la Poterie Méditerranéenne, Saint-Quentin-la-Poterie, from April 6 to October 31, 2025. Our work exhibited at this event. Bibliography: La céramique au féminin - 30 Glorieuses des années 40, 50 et 60 - Catalogue of the exhibition organized at the Musée de la Poterie Méditerranéenne, Saint-Quentin-la-Poterie (April 6 - October 31, 2025), Éditions Musée de la Poterie Méditerranéenne, Saint-Quentin-la-Poterie, 2025. Our work reproduced on page 15. Bibliography and related works: Frédéric Bodet and Karine Lacquemant - Guidette Carbonell, céramiques et tapisseries - Catalogue of the travelling exhibition organized at the Musée des Arts décoratifs, Paris (June 5 - September 30, 2007); at La Piscine, Musée d'Art et d'Industrie André-Diligent, Roubaix (October 20, 2007 - January 20, 2008); at the Musée de la Céramique, Rouen (March 1 - June 1, 2008), Éditions Norma, Paris, 2007. Our work can be compared with one of the bas-reliefs designed for the refectory of the Caisse des dépôts et consignations in Arcueil, reproduced on page 100. Guidette Carbonell's decorative, figurative style and chromatic choices inevitably evoke her early training as a painter at the Académie de la Grande Chaumière under André Lhote (1885-1962), Othon Friesz (1879-1949) and Roger Bissière (1886-1964). She embarked on her ceramic adventure in 1932, as a self-taught artist, guided by the advice of Josep Llorens Artigas (1892-1980). She created a highly personal world of dreamlike, fantastical characters, with a strong reference to the traditions of European earthenware and Renaissance art. Her earthenware, porcelain, stoneware and terracotta pieces are characterized by their neutral backgrounds animated by brightly colored motifs. Throughout her career, she participated in numerous exhibitions and salons, including the Salon des Artistes Décorateurs, the Milan Triennale in 1936 and the Exposition des arts et techniques dans la vie moderne in 1937, for which she created two fountains and a mural decoration for the Pavillon de la Lumière. After a spell at the Manufacture Nationale de Sèvres in the 1940s, Carbonell had the opportunity to work alongside Pablo Picasso (1881-1973) at the Atelier Madoura in Vallauris for a time. In the immediate pre-war period, and throughout the 1940s and 1950s, her creations, with their sculpted details and relief enamels, were much appreciated by various Parisian galleries and numerous decorators, including Jacques Adnet (1900-1984). From the 1960s onwards, she devoted herself to a more sculptural production of large engraved plaques and architectural panels, while at the same time taking an interest in textile design.