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Georges Mathieu — le site officiel

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    • What we owe Georges Mathieu
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    • Georges Mathieu, the inventor of performance art
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  • Georges Mathieu in brief

    Founder of Lyrical Abstraction, inventor of performance art, pioneer of Action Painting, speed and risk, dripping, early inspirer of street art

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    Georges Mathieu


    A magnificent drawing by Georges Mathieu, dating f
    A magnificent drawing by Georges Mathieu, dating from 1958, currently on view at MoMA until February 6, 2021, in the group exhibition "Degree Zero: Drawing at Midcentury", alongside Hans Hartung, Henri Matisse, Jackson Pollock, Louise Bourgeois, Yayoi Kusama, and many others. (version française en commentaire) Spanning five continents, the exhibition looks across movements, geographies, and generations to highlight connections between artists who shared common materials and ideas between 1948 and 1961. “Zero means ‘nothing,’” wrote the Japanese artist Saburo Murakami in 1953, “start with nothing, completely original, no artificial meaning.” Bringing together approximately 80 works on paper from MoMA’s collection, Degree Zero: Drawing at Midcentury illuminates how artists used drawing to forge a new visual language in the aftermath of World War II. Modest, immediate, and direct, drawing was the ideal medium for this period of renewal. Mimicking the look of language, it appeared as graffiti-like scribbling, or borrowed from traditional calligraphies. Its geometric forms sought to communicate universal ideals, and its accumulations of marks reflected society’s new urge to amass. Follow this account for more artworks! #GeorgesMathieu #Pioneer #LyricalAbstraction #AbstractExpressionism #ActionPainting #ModernArt #ContemporaryArt #AbstractArt #Exhibition #ArtShow #Art #Abstract #Artist #Color #Painting #AvantGarde #Museum #Gallery #ArtDaily #PhotoOfTheDay #ArtCollector #ArtOfTheDay #AbstractPainting #OilPainting #ArtArchive #ArtHistory @themuseumofmodernart #drawing #drawings @galerieperrotin @nahmadcontemporary

    Photo: Portrait of Mathieu by Trémois "in memory
    Photo: Portrait of Mathieu by Trémois "in memory of a meeting on the Eiffel Tower on August 7, 1964". (version française en commentaire) Tribute to Pierre-Yves Trémois, exceptional designer, sculptor and engraver, born in January 1921 as Georges Mathieu his friend and colleague from the Academy of Fine Arts, and died 5 months ago on August 16, 2020. We pass on our best thoughts to his wife Catherine. The art of Pierre-Yves Trémois is "above all that of the line, a line of absolute purity which gives his writing its fabulous singularity", writes the Academy of Fine Arts. Constantly questioning the origins of Man, he draws his inspiration from eroticism, the animal world and the sciences. He had collaborated with Georges Mathieu and Salvador Dalí on the "Apocalypse of Saint John", probably the heaviest and most expensive book in the world, weighing 210 kg in its unique version, decorated with gold and precious stones and containing 21 original works by 7 artists, accompanied by texts by 7 authors including Jean Cocteau, Jean Giono and Cioran. We remember his beautiful tribute speech at the funeral of Georges Mathieu celebrated in the cathedral of Notre-Dame de Paris in 2012. Follow this account for more artworks! #GeorgesMathieu #Portrait #Drawing #Tremois

    Repost from @fondationgandurpourlart
    •

    Georges
    Repost from @fondationgandurpourlart • Georges Mathieu reminds us that art is a language and that signs are the key elements of his vocabulary. He adds that the effectiveness of his gestural painting is now born of the sign and not of the signified. From this postulate, the last barriers that can still resist gestural and informal art in its quest for solutions to paint the real without going through the traditional codes of representation have given way. . Georges Mathieu rappelle que l’art est un langage et le signe l’élément clef de son vocabulaire. Il ajoute que l’efficacité de sa peinture gestuelle naît désormais du signe et non du signifié. À partir de ce postulat cèdent les dernières barrières pouvant encore résister à l’art gestuel et informel dans sa quête de solutions pour peindre le réel sans passer par les codes traditionnels de la représentation. . Georges MATHIEU Obscuration 1952 Huile sur toile 129.8 x 195 cm . Cette œuvre de Georges Mathieu a été présentée à l’exposition “La Libération de la Peinture, 1945-1962” au @memorialcaen . © Fondation Gandur pour l’Art, Genève. Photographe : Sandra Pointet © 2018, ProLitteris, Zurich / Comité Georges Mathieu . #georgesmathieu #georgesmathieupaintings #histoiredelart #artmuseums #artcollector #fondationgandurpourlart #fondationgandur @jeanclaudegandur


    #Repost @galerieperrotin
    ・・・
    Step into a 'Fl
    #Repost @galerieperrotin ・・・ Step into a 'Floating World' at Perrotin Hong Kong ☁ The aptly titled group exhibition 'Floating World,' on view through December 19, seeks to capture the limbo of time through a world of fleeting impressions and subjective realities. The selection of artworks presented depict the personal reality of each individual artist as they oscillate between deliberation and spontaneity. Every work portrays the search for a nebulous intermediary place between the melancholic, transitory nature of existence, and the headiness of living for the moment. Who’s On View at 'Floating World’: #SophieCalle, @Johan_Creten, @BernardFrize, @LaurentGrasso, #ThiloHeizmann, @KimChongHak_Official, #LeeBae, @GeorgesMathieuOfficiel, @Othoniel_Studio, @ParkSeobo, @Maria_Taniguchi, and @Xavier_Veilhan. — #FloatingWorld #PerrotinHongKong #Perrotin — Exhibition views of 'Floating World' at Perrotin Hong Kong, 2020. Photo: Ringo Cheung. Courtesy of the artists and Perrotin.

    Jean-Marie Cusinberche, documentaliste et historie
    Jean-Marie Cusinberche, documentaliste et historien d’art passionné par Georges Mathieu, nous a quittés ce 22 juin. Ayant rencontré l’œuvre de Mathieu en 1965 lors de la fameuse exposition de ce dernier à la Galerie Charpentier, ce spécialiste des arts appliqués avait rassemblé de nombreuses archives sur le Maître et conçu l’exposition-documents « Mathieu, un style pour notre siècle — Pour un art de vivre » présentée en 2003 au Palais Bénédictine à Fécamp où il réunit un vaste ensemble d’œuvres annexes. Une messe sera célébrée ce vendredi 18 septembre à 14h30 en l’église Saint-Ferdinand-des-Ternes, Paris XVII. Nous nous associons à la douleur de son épouse. . Photo (de gauche à droite) : Georges Mathieu, Jean-Marie Cusinberche, Claude Pompidou

    #Repost @applicatprazan
    ・・・
    {🌎Museums aro
    #Repost @applicatprazan ・・・ {🌎Museums around the world} ✈️ Miss traveling? Let’s visit museums around the world with us! Today let's go to The Artizon Museum (Formerly the Bridgestone Museum of Art) in Tokyo (Japan) アーティゾン美術館 • Inaugural Exhibition "Emerging Artscape: The State of Our Collection" @artizonmuseum Tribute to Georges Mathieu ( 1921-2012) • Georges Mathieu "Tenth Avenue", 1957 Oil on canvas 183 x 122 cm • #japan🇯🇵 #tokyo🇯🇵 #kyobashi #artizonmuseum #bridgestonemuseumofart #ishibashifoundation #emergingartscape #inauguralexhibition #georgesmathieu #mathieu #tenthavenue #abstractpainting #tachisme #informalism #artinformel #hotabstraction #france🇫🇷 #painting🎨 #art #museum #石橋財団コレクション #絵画 #美術館 #マチュー #タシスム #叙情的抽象 #アンフォルメル

    #Repost @galerieperrotin
    ・・・
    "I love paintin
    #Repost @galerieperrotin ・・・ "I love painting canvases that are disproportionately large, perhaps because the risk is also greater" — Georges Mathieu Mathieu believed in the primacy of painting and the expressive power of abstraction. The concept of risk, "this celebration of being," of which Mathieu was the first theorist and practitioner, is intimately linked to the concepts of liberty and intuition. Risk offers an opportunity for a totally free creative process. The painting 'La nécessité de l'espérance' ('The necessity of hope') was executed live for the documentary 'Georges Mathieu or The Fury of Being.' Through the magic of cinema, the movement of the cinematograph intimately captures the creative gesture. Discover it in our #ArtBaselOnline viewing room, opening today—🔗 in bio! — #GeorgesMathieu #ArtBaselOVS #LyricalAbstraction #Risk #Perrotin — © Comité Georges Mathieu / ADAGP

    Georges Mathieu, the inventor of performance art (
    Georges Mathieu, the inventor of performance art (2/2) ⠀ (Read part 1/2 before) In 1957, Georges Mathieu went to Japan, he executed in Tokyo 21 canvasses in three days including an 8- and a 15-meter fresco, painted in a very short time in front of a large crowd, then in Osaka, he painted in public on the roof of the Daimaru, dressed in a kimono—he wishes to “reintroduce the notion of play into art and culture.” In 1959, he painted Le Massacre de la Saint-Barthélemy under the eyes of TV cameras in Paris, while jazz drummer Kenny Clarke was soloing next to the canvas. ⠀ But then why this glaring omission? Kristine Stiles has an answer to it (from the same article): “Why was Mathieu's contribution to art history (and in particular to performance history) neglected at the time? Why did his theoretical writings fall into oblivion? The negative reaction of American critics to Mathieu's work seems to me to refer to the old obsession with exhibitionism in the United States, especially the one captured by photography and published in mainstream magazines such as Time. That he was rich, eccentric, and aristocratic in essence, and showed it, did little to help him in the puritan climate of the time. In Europe, some artists linked to the political left rejected Mathieu because of his royalist convictions. This would have been understandable if Yves Klein's royalism had changed the reception he received from the avant-garde.” ⠀ Even though he did not use the word “performance” to describe his art, which is logical as there was no previous reference, in his books Mathieu explained he was placing the work of art “at the crossroads of the object, the act, and the behavior”. According to him there had to be an object, a resulting work of art, for instance a painting, and he would later reject the purely conceptual and more recent versions of performance art. Nonetheless, the act and behavior aspects of this trilogy clearly relate to performance art, therefore he did not only anticipate performance art, he theorized and executed the earliest version of it. ⠀ #GeorgesMathieu #Pioneer #Performance #PerformanceArt

    Georges Mathieu, the inventor of performance art (
    Georges Mathieu, the inventor of performance art (1/2) ⠀ Reading the Wikipedia page on performance art, one can wonder why, while there is a (too) short mention of Japan's Gutai movement, who undeniably anticipated performance art, there is absolutely no mention of Georges Mathieu, the founder of Lyrical Abstraction (the European equivalent of Abstract Expressionism) who inspired Gutai (Mathieu and Pollock are the two artists referred to in Gutai's manifesto of 1956), who inspired Yves Klein (who was a friend of Mathieu and fellow royalist) and who inspired the Viennese Actionists (Mathieu painted a 6 x 2.5 meter artwork at the Fleischmarkt Theater, the avant-garde theatre and home of the Viennese Actionists). ⠀ Art historian Kristine Stiles states, in an article titled “Painting, photography, performance: the case of Georges Mathieu” for the exhibition catalogue of Georges Mathieu's retrospective at the Galerie du Jeu de Paume in Paris in 2002: “Yves Klein saw in him a guide and one of his royalist peers. The famous Saut dans le vide (1960), with which Klein documented through photography a leap into the unique, spontaneous and dangerous space, testifies to his debt to Mathieu. But Klein's debt to his mentor is also conceptual and intellectual. Klein's interest in danger, impulsiveness of gesture, speed and improvisation, which he expressed, among other things, through his lively brushes, echoes Mathieu's approach. The Viennese Actionists also recognized Mathieu, making his performance on April 2, 1959 in Vienna at the Theater am Fleischmarkt an important factor in their decision to devote themselves to action.” ⠀ Mathieu was the first to organize performances and happenings, as early as in 1954 he invites a small crowd of journalists and amateurs to see the live painting of one of his most famous paintings: Les Capétiens partout!, a 6-meter long artwork that he executes in an hour and twenty minutes. In May, 1956, in front of around 2,000 people at the Théâtre de la Ville – Sarah-Bernhardt, on the Night of Poetry, to action paint a huge canvas measuring twelve by four meters, using up to 800 paint tubes. ⠀ #GeorgesMathieu #Pioneer #Performance #PerformanceArt


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