{"id":4685,"date":"2026-01-15T01:21:13","date_gmt":"2026-01-15T01:21:13","guid":{"rendered":"https:\/\/artcollection-interparking.be\/plan-mobile-door-pol-bury\/"},"modified":"2026-09-08T10:44:29","modified_gmt":"2026-09-08T10:44:29","slug":"plan-mobile-door-pol-bury","status":"publish","type":"page","link":"https:\/\/artcollection-interparking.be\/nl\/plan-mobile-door-pol-bury\/","title":{"rendered":"“Plans Mobiles” van Pol Bury"},"content":{"rendered":"\t\t
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\"Plans Mobiles\" van Pol Bury<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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“Een van de belangrijkste redenen die me in de richting van dit onderzoek duwden [ik heb het over de Plans mobiles] was dat ik genoeg had van de archa\u00efsche conventie van het schilderen op een ezel. Sinds mijn eerste plans mobiles heb ik geen enkel schilderij meer kunnen maken; vaste vormen, beperkt tot de rechthoek, kunnen me niet langer boeien. Ik vraag me niet af of dit onderzoek me op het terrein van de beeldhouwkunst heeft gebracht. Naar mijn mening moet je niet stoppen bij de grenzen tussen beeldhouwkunst en schilderkunst; de twee zullen uiteindelijk met elkaar verweven raken en de conventie die hen scheidt is geen noodzaak.”<\/span> <\/span><\/p>

Pol Bury in een brief aan Roger Bordier, 17 januari 1955, gepubliceerd in Cnacarchives 7, Pol Bury, Ivry, 1972, p. 61. <\/span> <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Hoewel ze esthetisch nauw verwant zijn aan zijn geometrische schilderijen uit 1952 en begin 1953, markeren de Plans mobiles letterlijk en figuurlijk een keerpunt in het werk van Pol Bury. Tijdens de tentoonstelling “10 Plans mobiles” in de Galerie Apollo in Brussel (4-17 december 1953), waar dit reli\u00ebf werd tentoongesteld, werd het publiek uitgenodigd om de werken te manipuleren door ze om hun as te draaien. Misschien als verwijzing naar Marcel Duchamps Pri\u00e8re de toucher (1947) werden de werken vergezeld van een label met de tekst “Please touch”. <\/span> <\/span><\/p>

Het bezoek aan de tentoonstelling van de Parijse galeriehouder Denise Ren\u00e9 is minstens zo belangrijk als de breuk met het klassieke, statische schilderen op doek. Het was Victor Vasarely, die nauwe banden had met veel grote Belgische kunstverzamelaars, die zijn aandacht vestigde op deze tentoonstelling in Brussel. Les Plans mobiles bezorgde Pol Bury een plaats in de tentoonstelling Le Mouvement, die Denise Ren\u00e9e voorbereidde voor 1955. <\/span> <\/span><\/p>

Deze tentoonstelling, begeleid door een tekst van Pontos Hult\u00e9n, brengt werken samen van Yaacov Agam, Pol Bury, Alexander Calder, Marcel Duchamp, Robert Jacobsen, Jes\u00fas Rafael Soto, Jean Tinguely en Victor Vasarely. Als zodanig zijn de Plans mobiles de werken die Pol Bury stevig vestigden als een van de toonaangevende avant-garde kunstenaars van de naoorlogse periode en die hem in staat stelden door te breken op de internationale sc\u00e8ne. <\/span> <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Herkomst: Robert L. <\/span>Delevoy Collectie<\/span>Gepubliceerd: Milaan, X Triennale di Milano, 28 augustus – 15 november 1954, nr. 29, ill. 3, p.5 (niet afgebeeld) K.N. <\/span>Elno<\/span>Luc <\/span>Peire<\/span>. <\/span>Vormen<\/span> van <\/span>Heden<\/span>Knokke, 1957 (tentoonstellingscatalogus) ill. Jean <\/span>S\u00e9aux<\/span>Pol Bury” in <\/span>Quadrum<\/span>Brussel, n\u00b05, 1958, p.142, ill. Wieland <\/span>Schmied<\/span>Andr\u00e9 Balthazar, Pol Bury, <\/span>Kestner<\/span>-Gesellschaft, Hannover, 1971 (tentoonstellingscatalogus), p.32, ill. Mich\u00e8le <\/span>Moutashar<\/span>Jean Tardieu, Anne Tronche, Roger Bordier, Andr\u00e9 Balthazar, Simon Watson Taylor, Dore Ashton, Gilbert <\/span>Lascault<\/span>Eug\u00e8ne Ionesco, Daniel <\/span>Marchesseau<\/span>Pierre <\/span>Descargues<\/span>Pol Bury, Arles, 1979 (tentoonstellingscatalogus), p.52, ill. z\/w. Karel <\/span>Geirlandt<\/span>Phil Mertens, Jean <\/span>Dypr\u00e9au<\/span>Wim Van <\/span>Mulders<\/span>Hedwige <\/span>Verschaeren<\/span>L’Art en Belgique depuis 45, Fonds Mercator, Antwerpen, 1983, p.68, ill. Rosemarie E. <\/span>Pahlke<\/span>Pol Bury, met oeuvrecatalogus, Gemeentekrediet, Gent, 1994, p.120, cat.53-11 Gilles <\/span>Markiezin<\/span>Catalogue raisonn\u00e9 en ligne de Pol Bury, cat.R003 Tentoongesteld : Galerie Apollo, Brussel, Pol Bury. 10 losbladige plannen, 4 – 17 december 1953. A.P.I.A.W, Luik, Pol Bury – Jean Rets, 23 februari -7 maart 1957, ill. Galerie Le Rouge et le Noir, Charleroi, Jean Rets – Bury – Fernand Carette – Jo <\/span>Delahaut<\/span> – Paul Van <\/span>Hoeydonck<\/span> – Guy <\/span>Vandenbranden<\/span>6 – 19 april 1957, ill. <\/span> <\/span> <\/span><\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

“Plans Mobiles” van Pol Bury “Een van de belangrijkste redenen die me in de richting van dit onderzoek duwden [ik heb het over de Plans mobiles] was dat ik genoeg had van de archa\u00efsche conventie van het schilderen op een ezel. Sinds mijn eerste plans mobiles heb ik geen enkel schilderij meer kunnen maken; vaste […]<\/p>\n","protected":false},"author":1,"featured_media":4680,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_templately_pack_id":"","_templately_imported_at":"","_templately_source":"","_templately_import_session_id":"","site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-4685","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/pages\/4685","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/comments?post=4685"}],"version-history":[{"count":3,"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/pages\/4685\/revisions"}],"predecessor-version":[{"id":4990,"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/pages\/4685\/revisions\/4990"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/media\/4680"}],"wp:attachment":[{"href":"https:\/\/artcollection-interparking.be\/nl\/wp-json\/wp\/v2\/media?parent=4685"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}