Jean Albert Gorin A Pioneer of Neoplasticism and Constructivism
(French, 1899–1981)
Jean Gorin passed away in 1981.
Jean Gorin was a French artist who made significant contributions to the development of abstract art in the 20th century. He played a key role in both Constructivist and Concrete art movements, and his artistic journey began with a deep exploration of Piet Mondrian’s Neoplasticism and Russian Constructivism.
Born in Saint-Émilien-de-Blain in 1899, Gorin’s artistic journey began with a deep dedication to his craft. He initially studied at the Beaux-Arts in Nantes before encountering Cubism in the early 1920s in Paris, where he connected with leading avant-garde artists. A pivotal moment came in 1926 when he discovered the principles of Neoplasticism through Mondrian’s writings. Inspired, Gorin met with Mondrian and Georges Vantongerloo in Paris, immersing himself in this new artistic language.
Gorin’s first reliefs, created in 1930, marked a significant shift from flat painting to three-dimensional work. He focused on developing his ideas in relief and spatial constructions, eventually leading to architectural projects. These early explorations, which were significant in their own right, laid the groundwork for his later “space-time compositions,” which became a hallmark of his work after 1965, leaving the audience intrigued and eagerly anticipating his later works.
Gorin viewed sculpture as an open system influenced by Mondrian’s sculptural concepts. He created sculptures that could be seen through and interacted with their surroundings. Depending on the viewer’s perspective, these works offered changing shapes, images, and color constellations. A prime example is “Composition ciné-temporelle No. 72” (Museum Haus Konstruktiv), where thin, colored pieces of wood are mounted on a surface, creating a dynamic interplay of planes and lines.
While Gorin continually simplified his artistic means, he placed increasing importance on color and light. He sought a balance in the distribution of graphic elements, considering both formal and coloristic aspects.
Throughout his career, Gorin remained faithful to Theo van Doesburg’s principle of prioritizing a “spiritual community” over a “social” one, as articulated in the first issue of “De Stijl” (1917). Gorin’s belief in the synthesis of the arts, which he considered best embodied in architecture, was a cornerstone of his artistic philosophy. His reliefs can be seen as architectural models with a poetic touch.Jean Gorin was a French artist who made significant contributions to the development of abstract art in the 20th century. He played a key role in both Constructivist and Concrete art movements, and his artistic journey began with a deep exploration of Piet Mondrian’s Neoplasticism and Russian Constructivism.
Born in Saint-Émilien-de-Blain in 1899, Gorin’s artistic journey began with a deep dedication to his craft. He initially studied at the Beaux-Arts in Nantes before encountering Cubism in the early 1920s in Paris, where he connected with leading avant-garde artists. A pivotal moment came in 1926 when he discovered the principles of Neoplasticism through Mondrian’s writings. Inspired, Gorin met with Mondrian and Georges Vantongerloo in Paris, immersing himself in this new artistic language.
Gorin’s first reliefs, created in 1930, marked a significant shift from flat painting to three-dimensional work. He focused on developing his ideas in relief and spatial constructions, eventually leading to architectural projects. These early explorations, which were significant in their own right, laid the groundwork for his later “space-time compositions,” which became a hallmark of his work after 1965, leaving the audience intrigued and eagerly anticipating his later works.
Gorin viewed sculpture as an open system influenced by Mondrian’s sculptural concepts. He created sculptures that could be seen through and interacted with their surroundings. Depending on the viewer’s perspective, these works offered changing shapes, images, and color constellations. A prime example is “Composition ciné-temporelle No. 72” (Museum Haus Konstruktiv), where thin, colored pieces of wood are mounted on a surface, creating a dynamic interplay of planes and lines.
While Gorin continually simplified his artistic means, he placed increasing importance on color and light. He sought a balance in the distribution of graphic elements, considering both formal and coloristic aspects.
Throughout his career, Gorin remained faithful to Theo van Doesburg’s principle of prioritizing a “spiritual community” over a “social” one, as articulated in the first issue of “De Stijl” (1917). Gorin’s belief in the synthesis of the arts, which he considered best embodied in architecture, was a cornerstone of his artistic philosophy. His reliefs can be seen as architectural models with a poetic touch.
Jean Gorin, born in 1899, was the youngest of four children. His father was a cobbler, and the family relocated to Nort-sur-Erdre, near Nantes, in 1910. After an unsuccessful attempt at obtaining his primary school certificate, Gorin began a professional apprenticeship in Nantes and later in Paris, where he attended the Académie de la Grande Chaumière. His studies were interrupted by World War I, during which he served on the front lines.
Following the war, Gorin enrolled at the École des Beaux-Arts in Nantes in 1919. He settled in Nort-sur-Erdre in 1922, pursuing a professional career while continuing to paint. During a trip to Paris that same year, he encountered early Cubist works that influenced his artistic direction. After a period exploring Cubism, Gorin created his first abstract work in 1925. However, a significant turning point came in 1926 when he discovered the work of Piet Mondrian. This encounter with Mondrian’s work had a profound impact on Gorin, shaping his future artistic endeavors and leading to the development of his unique style.
Gorin’s pivotal involvement with the Abstraction-Création group in 1931, a significant association of abstract artists, led to an invitation to the USSR. This journey was a transformative experience for Gorin, as he was exposed to the pioneering works of the Constructivist art and architecture movement. This encounter significantly enriched his artistic vocabulary and influenced his future works.
In the postwar period, he co-founded the Salon des Réalités Nouvelles in 1946, a vital platform for abstract and non-figurative art. He later joined the Structurists, a group that emerged from the journal STRUCTURE (1958-1964), which aimed to build upon the legacy of De Stijl. Alongside artists like Charles Biederman and Anthony Hill, Gorin explored Constructivism’s theoretical and practical implications.
In 1932, Gorin traveled to the Soviet Union at the invitation of a group of intellectuals and artists, where he encountered Russian Constructivism. This experience broadened his understanding of abstract art and its possibilities. In 1934, he became a member of the steering committee of the Abstraction-Création Association.
Gorin’s work was widely exhibited, with shows at venues like the Musée des Beaux-Arts in Nantes, the Stedelijk Museum in Amsterdam, and the Centre Pompidou in Paris. These exhibitions cemented his reputation as a significant figure in 20th-century abstract art.
Gorin’s life took another turn in 1937 when he moved to Le Vésinet, sold his house in Nort-sur-Erdre, and destroyed a significant portion of his early work. With the outbreak of World War II, he was mobilized in 1939 and became a prisoner of war until 1942. During and after the war, he spent time in Grasse, managing a store for decorative objects. He later resided in Grasse (1947) and Nice (1950) for health reasons, where he continued to develop architectural projects in the Neoplastic style until 1956. Neoplasticism, a term associated with the work of Mondrian, refers to a form of abstract art that uses only straight lines and rectangular forms, typically in black, white, and primary colors. He eventually settled in Le Perreux in 1962 and later in Meudon.
Due to limited space in his studio, Gorin created sculptures primarily as scale models, which he photographed before destroying them. His artistic approach diverged from Mondrian’s strict Neoplasticism by introducing relief and gradually evolving into actual wall sculpture. He also expanded the visual vocabulary of Neoplasticism by incorporating the circle and the oblique line while maintaining the rigor of horizontal and vertical lines.
Dr. Dominique von Burg author and art critic. He wrote “Albert Jean Gorin” on his article about Jean Gorin www.hauskonstruktiv.ch/en/artists/jean-gorin
Regrettably, the specifics of Jean Gorin’s architectural projects are shrouded in mystery. While he did create architectural studies and designs, particularly in Nort-sur-Erdre and Nice, most of these remained theoretical or at the model stage. Gorin’s reputation, however, is primarily built on his paintings, reliefs, and sculptures.
Yet, we can unearth profound insights into his architectural vision from his artistic philosophy and the works he left behind, sparking a sense of anticipation and eagerness in the audience.
Neoplasticism and Architecture: Gorin’s intense engagement with Mondrian’s Neoplasticism suggests an interest in applying its principles of geometric abstraction and harmonious proportions to architecture. His designs for polychrome and abstract furniture for his home in Nort-sur-Erdre demonstrate this inclination.
Spatial Constructions: Gorin’s move into relief and three-dimensional constructions from 1930 onwards can be seen as a step towards architectural thinking. These works explored the interplay of positive and negative space, lines, and planes, much like architectural forms.
- Synthesis of the Arts: Gorin’s belief in the synthesis of the arts, particularly in architecture, further emphasizes his architectural aspirations. He likely saw architecture as the ultimate expression of artistic unity, where form and function could be seamlessly integrated.
While concrete examples of realized architectural projects by Gorin are lacking, his artistic journey and philosophy reveal a fascinating evolution and a desire to extend his artistic principles into the built environment, which will intrigue and engage the reader.
2. How did Jean Gorin’s belief in the synthesis of the arts, particularly in architecture, influence his artistic philosophy?
Jean Gorin’s belief in the synthesis of the arts, particularly in architecture, profoundly shaped his artistic philosophy in several ways:
- Unity of Art and Life: Gorin saw art as an integral part of life, not separate from it. He believed that art should be integrated into everyday experiences, and architecture, as the art of creating living spaces, played a crucial role in this integration.
- Harmony and Balance: His pursuit of a synthesis of the arts reflected a desire for harmony and balance, mirroring his artistic style. He sought to create visually appealing works that expressed a sense of order and unity, much like a well-designed building.
- Functionalism: Gorin’s focus on architecture suggests an appreciation for functionalism, the idea that form should follow function. This is evident in his reliefs, which can be interpreted as architectural models or studies in spatial organization.
- Universal Principles: By applying artistic principles to architecture, Gorin sought to create a universal language of form and expression that could transcend individual disciplines. He believed the underlying principles of harmony, balance, and proportion applied to all art forms, including architecture.
Gorin’s interest in architecture also hinted at a social dimension in his artistic philosophy. He likely believed that art, particularly architecture, had the power to shape and improve society by creating harmonious and functional living spaces. His architectural designs were not just about aesthetics or functionality but also about creating spaces that fostered social interaction and harmony, reflecting his belief in the transformative power of art in society. Gorin’s belief in the synthesis of the arts, especially in architecture, provided a framework for his artistic exploration. It guided his pursuit of unity, harmony, and functionality in his works while also suggesting a broader vision of art’s role in society.
3. What did Jean Gorin focus on during his professional apprenticeship in Nantes and later in Paris?
Unfortunately, the details of Jean Gorin’s professional apprenticeships in Nantes and Paris are not widely documented, leaving a gap in our understanding and piquing the reader’s curiosity. However, considering the period and his later artistic development, he likely focused on practical skills related to decorative arts and crafts.
During the early 20th century, apprenticeships in these fields often involved:
- Drawing and Design: Fundamental skills in drawing and design would have been essential for any artistic pursuit.
- Painting Techniques: Learning various painting techniques, including using different mediums and color mixing, would have been crucial.
- Decorative Painting: This might have included decorative painting on furniture, walls, or other objects, incorporating elements of ornamentation and design.
- Craftsmanship: Developing skills in craftsmanship, such as woodworking or metalworking, could have been part of his training, especially if he was involved in creating furniture or decorative objects.
These formative apprenticeships likely equipped Gorin with a robust foundation in practical artistic skills, which he later adapted and transformed in his journey toward abstract art. Understanding the importance of these early skills can foster a deep appreciation for the evolution of his work.
