{"id":1226,"date":"2024-08-29T08:30:00","date_gmt":"2024-08-29T06:30:00","guid":{"rendered":"https:\/\/georgesmathdev.wpenginepowered.com\/?p=1226"},"modified":"2026-07-28T03:13:04","modified_gmt":"2026-07-28T01:13:04","slug":"georges-mathieus-first-retrospective-in-china-at-the-long-museum-in-shanghai","status":"publish","type":"post","link":"https:\/\/georges-mathieu.fr\/en\/2024\/08\/georges-mathieus-first-retrospective-in-china-at-the-long-museum-in-shanghai\/","title":{"rendered":"Georges Mathieu\u2019s first retrospective in China, at the Long Museum in Shanghai"},"content":{"rendered":"

From 29 August to 27 October 2024, the Long Museum (West Bund) in Shanghai presents Georges Mathieu\u2019s first retrospective in China. On a scale never before seen in Asia, it brings together works spanning more than four decades of creation.<\/p>\n

This retrospective owed nothing to chance. Now that mainland China has been taking a close interest in post-war modern painting for some seven years, and today counts Zao Wou-Ki, who trained at the Hangzhou School of Fine Arts before settling in Paris in 1948 under the banner of Lyrical Abstraction, among its greatest painters, it was natural to trace the thread back to the movement\u2019s founder.1<\/a><\/sup>1<\/span>Zao\u2019s centennial retrospective closed in February 2024 in that very Hangzhou school. The two men knew each other: a famous photograph taken by Denise Colomb in 1953 at the Galerie Pierre shows them alongside Jean-Paul Riopelle, Jacques Germain, Maria Helena Vieira da Silva and the gallerist Pierre Loeb.<\/span><\/p>\n

The exhibition unfolds in six sections, presented in these texts by \u00c9douard Lombard: \u201cMonumental Works\u201d2<\/a><\/sup>2<\/span>Monumental works have a significant place in Georges Mathieu\u2019s work from the 1950s through the 1980s. They speak to the artist\u2019s ability to project his language over large surfaces, resulting from an explosive physical energy expressed as improvised choreography and an artistic urge that was intense, liberated, and open to transcendence. Just as importantly, they were often painted in public, which shows that in the early 1950s Mathieu had already anticipated \u201chappenings\u201d and performance art. He was influential in the development of these phenomena, which did not fully emerge until the following decade, and he inspired Gutai<\/em>, Viennese Actionism, and Yves Klein, who in 1960 made his first public presentation of his Anthropom\u00e9tries<\/em> in Mathieu\u2019s presence.<\/span>, \u201c\u2018Zen\u2019 Artworks\u201d3<\/a><\/sup>3<\/span>There is no \u201cZen\u201d period of Georges Mathieu\u2019s work, and the artist did not espouse it as a philosophy, stating that \u201cZen poses the problem of communication by refusing it.\u201d However, he did repeat this term when it was used by others to describe some of his minimalistic works with few signs and a restricted palette, usually using black, red, and white. In the 1950s, Mathieu affirmed the importance of being able to \u201cexpress the maximum with the minimum,\u201d considering the artistic process complete as soon as any addition would become superfluous.<\/span>, \u201cAnticipating Graffiti\u201d4<\/a><\/sup>4<\/span>When a writer stated in 1956 that Mathieu \u201chas come to take his surfaces as a challenge to his imagination, lucidly to betray them with his exuberant \u2018graffiti,\u2019\u201d and another in 1958 mentioned \u201cthe graffiti [that] announce the prelude to a battle,\u201d and a third in 1963 described \u201cthe orientalism that can be perceived in the drips of the brush and the graffiti,\u201d this last word was used in its nineteenth-century sense, referring to inscriptions on ancient walls and monuments and by extension to the calligraphic nature of Mathieu\u2019s works, rather than to street art, which did not yet exist. However, this calligraphic nature, the speed of the painting, the notion of risk, the production of artworks outside, and some elements such as splashes and blunt or inserted shapes, allow us to conclude that he anticipated some forms of urban art. Mathieu\u2019s abstract writing directly inspired many European graffiti artists who acknowledged this, although it was conceived of in a cultural and philosophical world that was different from their own.<\/span>, \u201cThe Stylistic Experiments of 1960-1970\u201d5<\/a><\/sup>5<\/span>In 1965, the large-scale exhibition organized by Galerie Charpentier inaugurated a sudden evolution in Mathieu\u2019s pictorial language, reaffirming the elegance of his stylistic approach. He developed and codified new forms of non-representation as he experimented, describing \u201cforms that are more serene, less aggressive, with more spirituality\u201d and a \u201cmove from a cry to an aesthetic.\u201d Color often played a leading role. Rigid structures now served as a foundation to the artist\u2019s supple, lyrical signs. As he put it, \u201ca new rigor appears at the same time as straight lines, right angles that are of value not in themselves, but as the support for the lines on top of them.\u201d<\/span>, \u201cThe Calligraphic Gesture\u201d6<\/a><\/sup>6<\/span>The notion of calligraphy in Mathieu\u2019s work was emphasized by Andr\u00e9 Malraux, who said, \u201cFinally a Western calligrapher!\u201d It was also theorized by Mathieu in his own writings. In the informal avant-garde movement within East Asian calligraphy in the early 1950s, he saw a discipline that paralleled his gestural language. He felt closer to this Asian art than to his Western colleagues due to the importance of working quickly: \u201cThe use of non-figurative signs is not sufficient to make this \u2018writing\u2019 calligraphy in the Asian sense. The only styles that coincide with my approach are Japanese kyo-so<\/em> and Chinese tsao<\/em>.\u201d Mathieu laid out his analysis of what he called the \u201crelationships of some aspects of lyrical non-figurative painting and Chinese calligraphy\u201d during a dialogue organized in 1956 with Dr. Chou Ling, the Chinese permanent delegate to UNESCO.<\/span>, and \u201cThe Cosmic Turn and the Barbarian Period\u201d7<\/a><\/sup>7<\/span>In the second half of the 1980s, with the cosmic turn and then the barbarian period, Mathieu left behind the aesthetic that was the basis for his style and embraced a freer intuition, thus returning to the foundations of the Lyrical Abstraction of the 1950s in a totally new form. The central composition disappears, allowing the shapes to extend and fill the canvas in a new kind of allover painting. The space of the composition is no longer closed and gains in depth. We see forceful gestures, erupting lines, explosions of paint and drips, and very contrasting colors.<\/span>. Frescoes of four to nine metres, undertaken as early as 1952, made the journey, among them Paris, Capitale des Arts<\/em> (1965), a nine-metre canvas that greets the visitor, La n\u00e9cessit\u00e9 de l\u2019esp\u00e9rance<\/em> (1971), improvised before Fr\u00e9d\u00e9ric Rossif\u2019s cameras, and L\u2019\u00e9cart\u00e8lement de Fran\u00e7ois Ravaillac, assassin du roi de France Henri IV, le 27 mai 1610, \u00e0 Paris en place de Gr\u00e8ve<\/em> (1960). The route also leads from the Zen purity of Hommage \u00e0 Louis IX<\/em> (1957) to the contoured forms of Polybe<\/em> and Zais<\/em> (1970), which herald the aesthetics of graffiti, and on to the vehement gestures and shattered lines of the cosmic turn and then the barbarian period.<\/p>\n

The exhibition is accompanied by a text by the art historian Antje Kramer-Mallordy.<\/p>\n

See the exhibition on the Long Museum\u2019s website<\/a>.<\/p>\n

Notes<\/h2>
  1. 1<\/a> Zao\u2019s centennial retrospective closed in February 2024 in that very Hangzhou school. The two men knew each other: a famous photograph taken by Denise Colomb in 1953 at the Galerie Pierre shows them alongside Jean-Paul Riopelle, Jacques Germain, Maria Helena Vieira da Silva and the gallerist Pierre Loeb.<\/span><\/li>
  2. 2<\/a> Monumental works have a significant place in Georges Mathieu\u2019s work from the 1950s through the 1980s. They speak to the artist\u2019s ability to project his language over large surfaces, resulting from an explosive physical energy expressed as improvised choreography and an artistic urge that was intense, liberated, and open to transcendence. Just as importantly, they were often painted in public, which shows that in the early 1950s Mathieu had already anticipated \u201chappenings\u201d and performance art. He was influential in the development of these phenomena, which did not fully emerge until the following decade, and he inspired Gutai<\/em>, Viennese Actionism, and Yves Klein, who in 1960 made his first public presentation of his Anthropom\u00e9tries<\/em> in Mathieu\u2019s presence.<\/span><\/li>
  3. 3<\/a> There is no \u201cZen\u201d period of Georges Mathieu\u2019s work, and the artist did not espouse it as a philosophy, stating that \u201cZen poses the problem of communication by refusing it.\u201d However, he did repeat this term when it was used by others to describe some of his minimalistic works with few signs and a restricted palette, usually using black, red, and white. In the 1950s, Mathieu affirmed the importance of being able to \u201cexpress the maximum with the minimum,\u201d considering the artistic process complete as soon as any addition would become superfluous.<\/span><\/li>
  4. 4<\/a> When a writer stated in 1956 that Mathieu \u201chas come to take his surfaces as a challenge to his imagination, lucidly to betray them with his exuberant \u2018graffiti,\u2019\u201d and another in 1958 mentioned \u201cthe graffiti [that] announce the prelude to a battle,\u201d and a third in 1963 described \u201cthe orientalism that can be perceived in the drips of the brush and the graffiti,\u201d this last word was used in its nineteenth-century sense, referring to inscriptions on ancient walls and monuments and by extension to the calligraphic nature of Mathieu\u2019s works, rather than to street art, which did not yet exist. However, this calligraphic nature, the speed of the painting, the notion of risk, the production of artworks outside, and some elements such as splashes and blunt or inserted shapes, allow us to conclude that he anticipated some forms of urban art. Mathieu\u2019s abstract writing directly inspired many European graffiti artists who acknowledged this, although it was conceived of in a cultural and philosophical world that was different from their own.<\/span><\/li>
  5. 5<\/a> In 1965, the large-scale exhibition organized by Galerie Charpentier inaugurated a sudden evolution in Mathieu\u2019s pictorial language, reaffirming the elegance of his stylistic approach. He developed and codified new forms of non-representation as he experimented, describing \u201cforms that are more serene, less aggressive, with more spirituality\u201d and a \u201cmove from a cry to an aesthetic.\u201d Color often played a leading role. Rigid structures now served as a foundation to the artist\u2019s supple, lyrical signs. As he put it, \u201ca new rigor appears at the same time as straight lines, right angles that are of value not in themselves, but as the support for the lines on top of them.\u201d<\/span><\/li>
  6. 6<\/a> The notion of calligraphy in Mathieu\u2019s work was emphasized by Andr\u00e9 Malraux, who said, \u201cFinally a Western calligrapher!\u201d It was also theorized by Mathieu in his own writings. In the informal avant-garde movement within East Asian calligraphy in the early 1950s, he saw a discipline that paralleled his gestural language. He felt closer to this Asian art than to his Western colleagues due to the importance of working quickly: \u201cThe use of non-figurative signs is not sufficient to make this \u2018writing\u2019 calligraphy in the Asian sense. The only styles that coincide with my approach are Japanese kyo-so<\/em> and Chinese tsao<\/em>.\u201d Mathieu laid out his analysis of what he called the \u201crelationships of some aspects of lyrical non-figurative painting and Chinese calligraphy\u201d during a dialogue organized in 1956 with Dr. Chou Ling, the Chinese permanent delegate to UNESCO.<\/span><\/li>
  7. 7<\/a> In the second half of the 1980s, with the cosmic turn and then the barbarian period, Mathieu left behind the aesthetic that was the basis for his style and embraced a freer intuition, thus returning to the foundations of the Lyrical Abstraction of the 1950s in a totally new form. The central composition disappears, allowing the shapes to extend and fill the canvas in a new kind of allover painting. The space of the composition is no longer closed and gains in depth. We see forceful gestures, erupting lines, explosions of paint and drips, and very contrasting colors.<\/span><\/li><\/ol><\/div>","protected":false},"excerpt":{"rendered":"

    From 29 August to 27 October 2024, the Long Museum (West Bund) in Shanghai presents Georges Mathieu\u2019s first retrospective in China. On a scale never before seen in Asia, it brings together works spanning more than four decades of creation. This retrospective owed nothing to chance. Now that mainland China has been taking a close […]<\/p>\n","protected":false},"author":3,"featured_media":1229,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[18],"tags":[],"class_list":["post-1226","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-museums-en"],"yoast_head":"\nGeorges Mathieu\u2019s first retrospective in China, at the Long Museum in Shanghai — 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\/2024\/08\/georges-mathieus-first-retrospective-in-china-at-the-long-museum-in-shanghai\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Georges Mathieu\u2019s first retrospective in China, at the Long Museum in Shanghai — Georges Mathieu\" \/>\n<meta property=\"og:description\" content=\"From 29 August to 27 October 2024, the Long Museum (West Bund) in Shanghai presents Georges Mathieu\u2019s first retrospective in China. 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