{"id":1018,"date":"2018-10-18T23:52:24","date_gmt":"2018-10-18T21:52:24","guid":{"rendered":"https:\/\/georges-mathieu.fr\/?page_id=1018"},"modified":"2021-10-13T06:49:20","modified_gmt":"2021-10-13T04:49:20","slug":"hommage-a-adam-du-petit-pont","status":"publish","type":"page","link":"https:\/\/georges-mathieu.fr\/en\/artworks\/hommage-a-adam-du-petit-pont\/","title":{"rendered":"Hommage \u00e0 Adam du Petit Pont (1954)"},"content":{"rendered":"

Hommage \u00e0 Adam du Petit Pont (1954)<\/h1>\n
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Hommage \u00e0 Adam du Petit Pont<\/em>, 1954<\/div>\n<\/div>\n
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Signed and dated at the bottom right \u2018Mathieu 54\u2019<\/span><\/div>\n<\/div>\n
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Oil on canvas<\/span><\/div>\n<\/div>\n
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38 1\/4 x 76 3\/4 in.<\/span><\/div>\n<\/div>\n
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In 1958, Georges Mathieu was interviewed by Alain Bosquet in Cent questions discr\u00e8tes et moins discr\u00e8tes<\/em> (One Hundred Discreet and Less Discreet Questions), published in 1960 in the first issue of the journal Ring des Arts<\/em>. In the article, Mathieu declared that:<\/span><\/div>\n<\/div>\n
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\u201cWorking on a previously prepared background, I execute a movement that, being at its maximum efficiency, requires nothing more to be added; I would go so far as to say that, for me, the paintings where I have managed to express the maximum with the minimum are the strongest, the most important.\u201d<\/span><\/div>\n<\/div>\n
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To illustrate his point, Mathieu declared that his painting Hommage \u00e0 Adam du Petit Pont<\/em>, \u201cwhich is nothing more than a single sign, forms a work far rarer and more extraordinary [than Bataille de Bouvines<\/em>, if it] manages to express everything with so little.\u201d<\/span><\/div>\n<\/div>\n
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In the words of Marie-Claude Dane, curator at the City of Paris Museum of Modern Art:<\/span><\/div>\n<\/div>\n
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\u201cMathieu was to find confirmation of his intuitive techniques in Chan – or Zen – art, in terms of his speed of execution. (\u2026) A new art will emerge more easily from a new technique; the pure Tachisme of Blanche de Turenne<\/em> (1951) reveals the essential and the invisible. The subtle paring away of Adam du Petit Pont<\/em> is more hieratic with the expressive autonomy of its single white brushstroke, as much relief as paint, squeezed straight from the tube in a handful of seconds.\u201d<\/span><\/div>\n<\/div>\n
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Georges Mathieu painted a very small number of the \u2018Zen\u2019 works during his career, works that deploy minimum signs for maximum force. The first of these, Blanche de Turenne<\/em> (1951), Hommage \u00e0 Godefroy de Bouillon<\/em> (1952) and Hommage \u00e0 Adam du Petit Pont<\/em> (1954), resume in a few signs the birth of the Tachisme instigated by Mathieu. They allow us to imagine that state of ecstatic trance Mathieu sometimes attained after occasionally lengthy periods of intense concentration. His paintings, behind what at first appears as intense sobriety, are in fact the result of tremendously focused energy, deployed in a rapid and intuitive manner across canvases assailed by \u201cbrushstrokes and paint deposits imbued with maximum efficiency\u201d, to the point where any addition becomes superfluous, leaving us to discover a small number of powerful ideograms written in the language of Mathieu, where \u201csign precedes meaning.\u201d Looking again at Hommage \u00e0 Adam du Petit Pont<\/em>, one is inevitably reminded of the words of art critic Michel Tapi\u00e9, writing in 1952 in the catalogue for the exhibition Le message signifiant de Georges Mathieu<\/em>: \u201cMathieu\u2019s visuals, far from approximation born of reflex […] appear as traces of gigantic orthopteran movements, traces not simply left<\/em> – as the phrase goes – but carefully crafted<\/em> in unequivocal witness to a paroxysmal creative moment.\u201d<\/span><\/div>\n<\/div>\n
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Exhibited:<\/span><\/div>\n<\/div>\n
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Galerie Rive Droite, Paris, Les Cap\u00e9tiens partout !, nov. 1954, no. 1 (illustrated in the catalogue).<\/span><\/div>\n<\/div>\n
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Kunstverein, Cologne, 1959, no. 9 (illustrated in the catalogue).<\/span><\/div>\n<\/div>\n
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Mus\u00e9e d\u2019Art Moderne de la Ville de Paris, Paris, Mathieu, 1963, no. 45 (illustrated in the catalogue).<\/span><\/div>\n<\/div>\n
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Galerie Albert Verbeke, Paris, Situation \u2013 De Kooning, Mathieu, Pollock, 1973, no. 4 (illustrated in the catalogue).<\/span><\/div>\n<\/div>\n
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Galerie Nationale du Jeu de Paume, Paris, Georges Mathieu, 2002 (illustrated in the catalogue, pp. 140-141). This exhibition later travelled to Salle Saint-Georges, Li\u00e8ge ; Galleria Gruppo Credito Valtellenise, Refettorio delle Stelline, Milan.<\/span><\/div>\n<\/div>\n
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Literature:<\/span><\/div>\n<\/div>\n
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M.-C. Dane, Mathieu, coll. Les peintres c\u00e9l\u00e8bres, Mazenod, Paris, 1964, p. 239.<\/span><\/div>\n<\/div>\n
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F. Mathey, Georges Mathieu, Hachette-Fabbri, Paris-Milan, 1969, no. 73 (illustrated).<\/span><\/div>\n<\/div>\n
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D. Quignon-Fleuret, Mathieu, Flammarion, Paris, 1977, p. 45.<\/span><\/div>\n<\/div>\n
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G. Mathieu, Mathieu, 50 ans de cr\u00e9ation, Hervas, Paris, 2003, p. 44 (illustrated, p. 799).<\/span><\/div>\n<\/div>\n
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L. Harambourg, Georges Mathieu, Ides et Calendes, 2013, p. 48.<\/span><\/div>\n<\/div>\n<\/div>\n
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On 17 October 2018, on Galerie Templon’s booth at FIAC Paris, Daniel Templon shows Hommage \u00e0 Adam du Petit Pont<\/em> to <\/span>Franck Riester<\/span><\/span>, France’s Minister of Culture and to <\/span>Anne Hidalgo<\/span><\/span>, Mayor of Paris.<\/span><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Hommage \u00e0 Adam du Petit Pont (1954) Hommage \u00e0 Adam du Petit Pont, 1954 Signed and dated at the bottom right \u2018Mathieu 54\u2019 Oil on canvas 38 1\/4 x 76 3\/4 in.   In 1958, Georges Mathieu was interviewed by Alain Bosquet in Cent questions discr\u00e8tes et moins discr\u00e8tes (One Hundred Discreet and Less Discreet […]<\/p>\n","protected":false},"author":3,"featured_media":1010,"parent":518,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1018","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nHommage \u00e0 Adam du Petit Pont (1954) — Georges Mathieu<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/georges-mathieu.fr\/en\/artworks\/hommage-a-adam-du-petit-pont\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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