Claude Venard started training as a painter at the age of 17 at the École des Arts Appliqués in Paris. In 1936, he was part of a group show at the Galerie Billet-Worms, which critic Waldemar George hailed as the birth of the group Forces Nouvelles. During the next four years, this group promoted a new form of figuration, marked by the rejection of Impressionism, Cubism, and Surrealism. Over time, Vernard distanced himself from the group, which became increasingly figurative. In 1939, the group officially split, but Venard continued to gain recognition during and after the war.

He remained faithful to a post-Cubist compositional style established by the Forces Nouvelles, but progressively accentuated the chromatic qualities of his palette, striving to produce crude colors, which he applied in thick impasto. Venard enjoyed success during his lifetime, and was given solo shows around the world, in Paris, London, New York, Philadelphia, Chicago, Dusseldorf, Munich Buenos Aires, Tokyo, Canada, Belgium, and Holland.

Today, his works can be found in major public and private institutions around the world, including The Metropolitan Museum of Art in New York, the Musée d’Art Moderne in Paris, the Tate London, and the São Paulo Museum of Art.

  • abstracted oil painting of apples on a plate and a blue jug

    Nature Morte aux deux pommes

    by Claude Venard

    DIMENSIONS: (unframed) 18 x 21.7 inches (46 x 55 cm) (framed) 20 x 23.5 inches (50.8 x 59.7 cm) SIGNATURE: Signed 'C Venard' (lower right) MEDIUM: Oil on canvas Claude Venard has painted an ebullient still life composition, with thickly laid paint and his characteristic abstraction lending the static forms a sense of dynamism.  
  • La Table

    by Claude Venard

    DIMENSIONS: (unframed) 39.4 x 31.9 in./ 100 x 81 cm (framed) 44.5 x 37 in./ 113 x 94 cm SIGNATURE: Signed 'Venard' lower left MEDIUM: Oil on canvas Claude Venard is known for his powerful abstract compositions that explore the inner forces and underlying rhythms of subjects, rather than their outward appearance. This opens up the viewer to new perspective and way of looking by projecting spatial vistas into every part of the canvas, in accordance with an emotional rather than a physical order. Venard’s optimistic attitude and obvious enjoyment of life imbues everyday objects and his views of Paris with an undeniably French joie de vivre. The artist said of his approach to his paintings “One must be wary of works that seduce at first sight; I do not mean that ugliness is a virtue, but a painting should be powerful without the use of trite devices.”    
Go to Top