Georges Mathieu — le site officiel
“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 […]
The Paris-Charles-de-Gaulle airport includes a Museum Space where until September 10, 2018, 21 abstract works from the Pompidou Center collection are on display. Christian Briend (photo above), the curator of this exhibition and the Pompidou Center, displays here the two contrasting movements in the 1950s, geometric abstraction and lyric abstractions, particularly through the works of […]
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 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 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 […]
Les Abattoirs, a cultural institution in Toulouse that incorporates a museum of modern art, a contemporary arts center, and a regional contemporary arts collection (FRAC in French), is showing a selection of works donated by Mr. Anthony Denney (photographer and decorator), including the famous Battle of Hastings. The exhibition, initially set to run from January 30 […]
![𝗦𝘄𝗼𝗿𝗱 𝗙𝗶𝗴𝗵𝘁𝘀 𝗼𝗻 𝗖𝗮𝗻𝘃𝗮𝘀: 𝗚𝗲𝗼𝗿𝗴𝗲𝘀 𝗠𝗮𝘁𝗵𝗶𝗲𝘂
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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#GeorgesMathieu #LyricalAbstraction](https://georges-mathieu.fr/wp-content/plugins/instagram-feed-pro/img/placeholder.png)
