Georges Mathieu — le site officiel
Nahmad Contemporary and Perrotin are offering, from November 21st to December 21st, 2019, an exhibition by the late French artist Georges Mathieu (1921–2012), the founder of Lyrical Abstraction and a pioneer of performance art who foregrounded the techniques of tubism and dripping. This exhibition explores a specific period of Mathieu’s rich and varied work. The […]
Nahmad Contemporary and Perrotin are delighted to present a booth dedicated to lyrical abstraction’s founder Georges Mathieu. Considered one of the most influential postwar French artists, this presentation will bring together a selection of rare works from the ’60s/’70s and marks the return of the artist in the United Kingdom after a long time. Amongst […]
“Artistic License. Six takes on the Guggenheim Collection.” is an exhibition organized by the Guggenheim Museum in New York from May 24, 2019, through January 12, 2020, curated by six artists. Richard Prince offers a section entitled “Four Paintings Looking Right,” in which he has included two major works by Georges Mathieu from the museum’s […]
Georges Mathieu makes big news in New York where four monumental paintings of 6 metres, painted in 1978 for his retrospective at the Grand Palais, are exhibited starting today at Nahmad Contemporary. “Undervalued for some time, the French star of the 1950-1970s is about to take his revenge. Featuring four major canvases from the artist’s best […]
In its publication from September 24, Le Figaro, one of France’s newspapers of record, dedicated a full page to this article: “The Georges Mathieu renaissance has begun”. Renowned the world over from the 1950s to the 1970s, this giant of lyrical abstraction then endured a long purgatory until his death. The artist is finally getting […]
Galerie Templon offers for the first time a solo exhibition of Georges Mathieu. The exhibition features around thirty paintings created between 1960 and 1979, demonstrating the significance and inventiveness of a body of work that left a lasting impression on French art and imagination. In 1971, Pierre Dehaye said: “In the twenty years since lyrical abstraction […]
Micromégas (1973, 65 x 130 cm) is currently shown at the “Georges Pompidou & Art” exhibition at the Chambord castle (800,000 visitors per year) from June 18th to November 19th, 2017. This oil on canvas is part of the collection of Centre Pompidou, this year celebrating its 40 years. Georges Mathieu started in 1963 a regular correspondence […]
The Dellupi Arte gallery is holding a solo exhibition of Georges Mathieu in Milan from October 20th to November 20th, featuring more than fifteen artworks. Some of these will be previewed at the ArtVerona modern and contemporary art fair in Verona from October 14th to 17th. Gallery director Luigi Dellupi explains the reasons for this exhibition […]
The Juan March Foundation in Madrid currently has on display two beautiful works by Georges Mathieu in its exhibition entitled Lo Nunca Visto. De la pintura informalista al fotolibro de postguerra (1945-1965) [Never Before Seen: from informalist painting to the postwar photobook (1945-1965)]. Those two works are a 1951 painting (128.5 x 196 cm) in black and red […]
The Unterlinden Museum in Colmar, the setting for the famous Issenheim altarpiece and many Renaissance masterpieces, has just reopened its doors in December, 2015, after three years of construction work to enlarge the facility and hopefully double the number of visitors. Set in a former Dominican convent since its creation in 1853, the museum has […]
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Great review by @DavidEbony in @ArtInAmerica / @ArtNews
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“A precursor to Happenings and performance art, and an intriguing example of asemic writing—which resembles language but does not carry meaning—the work of French painter Georges Mathieu (1921–2012) was both influential and prescient. Yet Mathieu’s achievements have largely faded from view, at least within the United States. This remarkable New York survey, featuring some thirty-six major works filling two venues [@galerieperrotin & @nahmadcontemporary], marks the artist’s centenary. […]
Mathieu often titled his works after medieval or pre–French Revolution battles, as with The Victory of Denain (1963), one of several stunning examples at Perrotin. Here, against a hazy, stained, coffee-hued background—modulated from deep umber on the lower right to muted beige on the upper left—thick, slashing brushstrokes of red, white, and blue thrust from left to right, traversing the central portion of the twenty-three-foot-wide canvas. In palette and composition, the work recalls Jean Alaux’s 1839 painting of the same subject, which depicts a 1712 French victory in the War of the Spanish Succession. In Mathieu’s painting, and in many of his other epic-scale compositions, he abstracts and critiques the tradition of grandiose history painting. The intensity of Mathieu’s gestures, and the resultant complex, layered cursive, also evokes wildstyle graffiti and certain works that Futura and Rammellzee produced in the 1980s. […]
In a stark composition like First Avenue (1957, at Perrotin), featuring only a few convulsive splashes and drips of white tossed at the center of a pitch-black background, with several poignant red slashing lines at upper right, Mathieu directly responds to the New York School of Pollock and Franz Kline, as a representative of Paris’s own brand of testosterone-driven, postwar angst.”
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