Georges Mathieu — le site officiel
Following their successful collaboration with Hans Hartung, Perrotin & Nahmad Contemporary are pleased to announce that they now exclusively represent the estate of French artist Georges Mathieu worldwide. “We are honored to work with the Estate of Georges Mathieu, who has entrusted us with the legacy of this visionary artist. Bold and experimental, Mathieu was […]
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 […]
Three paintings of Georges Mathieu are shown at the PAD Paris art and design fair that is open from the 23rd to the 26th of March: Le ciel fermé (Closed Sky, 1990) at Galerie Protée (Paris), is a shining example of the fiery and powerful gesture, and of the depth of field that are specific to the so-called barbaric […]
The Applicat-Prazan Gallery presents two works that were entrusted to it by the MoMA, the most well-known American modern art museum: an abstract painting by Jean Dubuffet, Topographie châtaine (1959) and a painting by Georges Mathieu, Théorème d’Alexandroff (1955). The Georges Mathieu Committee has written for the gallery’s catalogue a text on the artwork that puts it in the […]
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 […]
Three paintings of Georges Mathieu are exhibited this year at the Biennale des Antiquaires at the Grand Palais in Paris: Sucy (1965) at Daniel Templon’s stand, heraldic and colorful artwork, with an original structure that is typical of the orthogonal period that started the same year; Machiavel I (1952) at Applicat-Prazan’s stand, painted at the Studio Paul Facchetti as well as three other […]
Eleven works of Georges Mathieu are being exhibited in the art fairs currently taking place in Paris. These works are on display: at PAD Paris, in the Tuileries gardens until Sunday April 3rd, 2016, by Galerie Protée (a nice alkyd on canvas representative of 1987, whose background goes from cold to warm), the Repetto Gallery (a refined 1959 painting and a […]
People often ask us where to view Georges Mathieu artworks live. The exhibition “L’abstraction de 1920 à nos jours” (Abstraction from 1920 to the present day) staged at Galerie Hélène Bailly (25 quai Voltaire, Paris 7th district) from October 15th to December 19th, 2015, shows ten artworks including the stunning Entéléchie carolingienne V (1956). Invalid Displayed Gallery […]
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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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