Boccara has an important collection of Emile Gilioli’s sculptures and tapestries.
Among the tapestries signed by the artist we can recognize the classical motifs that distinguish the art of this great and talented men.
In these works strong colours are predominant as well as geometric motifs that create a visual balance.
The Boccara collection presents not only the beautiful tapestries of Emile Gilioli but also his sculptures showing all the facets of this French Impressionist & Modern artist.
The Boccara collection thus manages to create an interesting parallel between the textile and the sculptural universe.
Émile Gilioli (France, 1911 – 1977)
Son of a shoe-maker, Emile Gilioli was born in 1911 in Paris (where he died in 1977).
Like Henri Laurens, he was born at the edge of the channel St Martin. When he was 3 years old, the family left Paris for Mantoue (Italy). There, Emile was employed to forge. After the first world war, the Gilioli’s settled down in Nice. He followed courses to the Ecole des Arts Décoratifs and in the same time he was still forging. At 17 years old, he worked with a craftsman sculptor. Two years later – he was 19 years old – he passed the Paris-Ecole-des-Beaux-Arts entrance examination and he joined Jean Boucher’s sculpture atelier.
The chance of his mobilization in Grenoble in 1939, his meeting with the Museum curator contributed to know the cubists and particularly the painter Pierre Closon, one of the rare French artists who personally shared the abstract adventure-beginnings. Gilioli came back to Paris in 1945; he bound to Poliakoff and Deyrolle and took his place in the young abstract school of Paris. He seriously participated in all the exposures of the young sculpture, in France and abroad.
His first personal exposure took place in Grenoble, in 1945. Very early, he got public order (in Isere). One must notice that Gilioli’s work is a remarkable unity: in the form, in the matter, as in the way. The form always turning around the ideality of a egg or a shingle polished. The matter because of the workman he always was. The way, polished, smoothed, to the mirror, that of the craftsman in “the good manners” which he would always be. Gilioli said: “The most beautiful sculpture, it is the sky”.