The classification provides four or more codes placed on four axis (A - formalism, B - matériality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history.
A axis : FORMALISM
When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist").
A320 : Representative works Traditional representative works
from the most poetic vision to the most delicate evocation of what constitutes our life and environment, represented by the various forms of painting we know as the "French Tradition" (from Cézanne's Provence landscapes to Van Gogh's bunches of flowers, from Boudin's seascapes to Kisling's portraits...).
A470 : Forms of "Realism"
Differents ways of observing the realities of the world, from a point of view of: the solely Formal
between the "Neue sachlichkeit", "American scene" or "Nouvelle figuration", Reality as perceived by an artist whose subjectivity remains in abeyance (Christian Schad, Gérard Schlosser, Vincent Corpet, Gilles Aillaud, ...).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, Bertrand Lavier, ...).
B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).
C axis : INVOLVEMENT BODY/ MIND
With what body:mind ratio does the artist enter into his work?
Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...).
C130 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: l'introspective
inner landscapes, emotions, feelings (Arpad Szenes, ...), serenity (Yves Klein's "Monochromes", ...), equilibrium ("mandalas" of Augustin Lesage or Adolf Wölfli, ...), memory (Boltenski "boxes", ...).
C180 : tending towards the corporeal / the senses via expression with a frank sensuality, or even openly sexual
either literal (Courbet's "Origin of the world", Lucian Freud, John Kacere, P. Klossowki, David Salle, Gilbert and George, ...),
- symbolic (Paul Armand Gette, Andreas Serrano, ...),
- humorous (Gilles Barbier "cerveau", Boyd Webb "the globe" , ...),
- or "realist" (certain "Body-artists" such as Otto Muehl, Paul Mc Carthy's "installations" , Zoran Naskovski's videos, ...), ...
D axis : COMMUNICATION
Does the artist have the deliberate intention to convey a message of any sort through his work?
(classified from the most "mystical" to the most "worldly").
D110 : via what is meant with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...).
D130 : via what is meaningful
based on the idea that work on what symbolizes forms an intentional message in itself (for example: Daniel Dezeuze's "Stretchers", etc., etc., ...). by variations in execution
seriality, multiplication (Claude Viallat, Niele Toroni, "figurines" by Antony Gormley, ...), accumulation or compression (J. Chamberlain, Arman, César, ...), subtleties and variability of the material (Rober Ryman's "Whites"; dissolutions of "matter / life" by Roman Opalka or by On Kawara; Gilberto Zorio, ...).
PFAADT Aurélie - Lady Poppies