1954-1958 Italian Period

However, he feels overwhelmed, and does not want to follow this new American trend and decides to return to Europe and its convictions. The island of Ischia is a great comfort to him and he painted there until 1958. But he maintained all his relationship in USA with his galleries.
The period marked by the "circles" seems to be a veritable initiatory passage towards abstraction in relation to Kandinsky and Malevitch.






1956 Ischia
Portrait Elie Borgrave     1954 Ischia 1955-56 C Forio dIschia -
 Studio in Ischia  Elie Borgrave at 50 years old 1956 Forio d'Ischia
Forio dIschia - compressé Forio dIschia 2 - compressé Forio dIschia 3 - compressé Forio dIschia 4 - compressé
Island of Ischia in the 1950'            Forio d'Ischia in the 1950'              Piazza Matteotti

Exhibitions in Italy :

Ischia "Il natale nell'arte Ischinata"

Roma "Solidarieta Internazionale" and at the Schneider Gallery

Bordighera "Contemporary American Painting"



"About  Paul Klee ...
Vinci in the " Treatise on Painting " talked to discover in every object ... the particular way goes through its full extent .. some fluctuating line is as the generator axis " Bergson argues that the wavy line " may be no visible lines of the figure, " that" it is neither here nor there "and " yet gives the key of everything. " There are no visible lines in itself, but " form themselves " came as a prespatial world ... There is no question of release , to revive their constituent power and it is no contradiction we see them reappear in triumph and painters such as Klee and Matisse who believed more than anyone to the color.

Because, according to Klee , it no longer mimics the visible, it makes "visible" , it is the blueprint of a genesis of things. Perhaps never before Klee, we had " left a dream line" The line is no longer, as in classical geometry , the appearance of being on the empty background , it is, as in geometry,  moderate  restriction, segregation, modulation prior spatiality." Elie Borgrave


E 56 8 E 56  120 x 48 cm E 56 7
"Σ 56" Photograph of oil on canvas "Σ 56" Oil on canvas 120 x 48 cm Coll. N&S B "Σ 56" Photograph of oil on canvas
E 56  90 x 60 cm E 56 Oil on cardboard 20 x 25 cm Rust brown black surrounded E 56  32 x 21 cm
"Σ 56" Oil on canvas 90 x 60 cm Coll N& "Σ 56" Oil on cardboard 20 x 25 cm Coll. AB
"Σ 56" Oil on canvas 32 x 21 cm Coll N&S B 


Black and white pictures of 1956 paintings :

 E 56 C Oil on canvas Ph. L. Meyerlist - Firenze  E 56 C PH L. Meyerlist Firenze   3.E 56 C Ph. L. Meyerlist - Firenze
4.E 56 C Ph. L. Meyerlist Firenze  2 6.E 56 C Ph. L. Meyerlist Firenze 5.E 56 C Ph. L. Meyerlist Firenze  3


All those paintings have been black and white photographied in Firenze but they disappeared. They probably belonged to exhibitions in Italy and have been sold.





At that time, he went through a difficult period of doubt. A "mea culpa" obsession which resulted in a very religious and mystical feeling.



"Parent of all sacred and foreign to all other styles, our pictorial style that seems to ignore religion "André Malraux

"Art : February 10th 1956 Search texts supporting or demolishing an aristocratic art, to confirm or deny the feeling that is not natural in this matter" Σ. 02.56

"Work, art and science are just different ways to get in touch with the divine order of the universe" Σ. Borgrave in 1956

"Art is an individualistic response to the forces of standardization that stifle us. However, this reaction can not bite or on the field of action, nor the realm of thought. It remains locked in the games of the inner life or those of adventure and free acts. That is to say, it is not beyond the realm of shadows and is doomed to disappear completely" Simone Weil

"Only out of deep meditation is true drama born" G.J. Nathan


"I believe the same is true of painting. The American public, however prefers the flashier and more superficial products of the galvanic impulse. For doubtless they have no time to look properly and no inclination to anything but an immediate flucting stimulant."∑ 27.02.56

"However hopeless the position of the artist today; however fatuous and pointless his work may seem within the framework of modern industrial welfare society, yet his (the artist) activity is the only protest against individualization, against rampant equalitarianism, against the inherent belief in collective salvation. He is the last man who would still rather serve a god than a group, and sometimes indeed rather God than the group. The risk that his work be destroyed or without offspring fruit is well worth taking."

"To rebel is to be unwilling to serve Satan the great nihilist." ∑ 27.02.56











                                                           E 57 Oil on canvas 40 x 39 cm Coll. EH                                                      E 57 Oil on cardboard 100 x 535 cm Coll. FB
                                                            "Σ 57" Oil on canvas 40 x 39 cm Coll. EH                                       "Σ 57" Oil on cardboard 100 x 53,5 cm Coll. FB