695:
31:
526:
767:"The most important moments are clearly when I paint in public. In fact, this process, without me being aware of it, works in a mediumistic way to heighten the concentration of the situation. As a result, concentration is the decisive element that separates this type of art from all other art the West has known over the past twenty centuries… It is the joy of communion with the other. A little like what happens in love. What defines love is this tension between two beings with a shared focus. If it were just a simple attraction between two people, it would have none of the grandeur."
1125:
197:. His father, Adolphe Georges Mathieu, was employed as a bank manager at Barclays. His mother, Madeleine Durpé, taught him drawing as a child. The family lived near the ramparts of the city at 38 Boulevard du Prince Albert. In 1933 Mathieu's parents divorced and he was placed in the care of his aunt at
797:. "I did not paint fast by lack of time or to break records, but simply because I did not need more time to do what I had to do and conversely, a longer time would have slowed down gesture, introducing doubts, would have affected the purity of strokes, the cruelty of shapes, the unity of the artwork."
1141:
and
Mathieu because their work seems to embody cries uttered out of matter, pigment and enamel. Their work is about merging with matter using techniques that are particularly reflective of their own individual personalities. More precisely, they put themselves at the service of matter in a powerfully
932:
From 1951 Mathieu studied tachism on monochromic canvases: blobs of painting appeared "because one needs a certain colored area at a certain place, and the most direct way is to lay the brush on the canvas with a varying degree of violence (inducing spatters) without having delimited the space to be
718:
as the latest revolution to happen in the history of arts : freed from realism by
Impressionism, from shapes by Cubism, from representation of perceptible reality by geometric abstraction, art experiences the liberation of the all its past references from nature. From his reflexion he develops
1088:
In 1973 a public contest was launched for the renewal of the ten-francs coin : Mathieu was asked to participate. His project features the depiction of the industrial France on one side, and the
Mathieu hexagonal shaped outline of the country on the other side. On the 31 July 1974, the French
550:
Mathieu positions its work, and more generally lyrical abstraction, as the latest of all cyclical transitions to happen in history of art. Each transition concerns a specific painting characteristic : shape, color, signification of signs, ...). One full transition can be broken down into six
505:
Concurrently, he rose up against the weak presence of arts in national education and defended the introduction of compulsory art courses in French schools, covering history of arts, practice of sensitivity and exercise of arts (drawing, sculpture, music, singing). He finally initiated political
1101:
ordered
Mathieu a series of posters for its future advertising campaign. The series featured paintings evocative of some major destinations (New York, Brazil, Japan, Germany...), all in the style of lyrical abstraction, pointed out for the graphical coherence between the countries and their
1136:
group of
Japanese artists also created a live work inspired from Mathieu's in a similar spirit to his art during the 1950s. In their 1956 manifesto, its members acknowledged their interest in the techniques of two specific painters: “Concerning contemporary art, we respect
967:
From 1984 Mathieu achieved what he calls a "cosmic turning point" in his painting. His compositions did not favor a center anymore: the graphical elements multiplied on the canvas, the painting found its balance by the tension between these elements.
803:
Mathieu rapidly explored giant-sized canvases. "I love to paint excessively large paintings, because the risk is hereby higher". Furthermore, it allowed him to exploit graphical effects of centrifugal forces applied by wide gestures on the paint.
501:
Mathieu advocated for the embellishment of cities, the improvement of the design of everyday objects and the debasement of culture organised by mass medias. He made influential contributions to decorative arts, craftsmanship and architecture.
277:: his function was to welcome and accompany the travelers during their move between Le Havre and Paris. This position was an opportunity for Mathieu to reach a prestigious clientele, and form his first network of potential customers. He meets
506:
workgroups with Pierre Dehaye in 1980 to reform the cultural education at the French ministry of education and submitted a bill presented to the French parliament. The bill was refused in 1980, for lack of proper financial support.
1067:
Some of
Mathieu's work have been adapted as national stamps designs. In 1972 he designed his first featured stamp for the Indian post office of New Delhi. Later in 1974 was emitted a stamp featuring the tapestry
1089:
Minister of
Finance announced that Mathieu's proposal had been chosen among the 342 other submitted projects. The cupronickel aluminium coin was emitted from 1974 to 1987 with a print-run of 100 million copies.
1042:
In 1964 Mathieu carried out architectural plans for the city of
Castellas. In 1966, industrial owner Guy Biraud commissioned him to draw up the plans of the electrical transformer factory of Fontenay-le-Comte.
752:
Mathieu tried to move the artist and the observer closer. He often performed in front of an audience : "Few understood that painting in public represents for me a true communion amongst men". These
738:
as a relapse, because they appeal to representations of visible real. In addition, he criticized them for their so-called nihilist dimension, as their interpretation does not call on human sensibility.
988:(Capetians everywhere). The question of the relation between the canvas names and the act of painting has often been debated, as some critics saw in his painting the renewal of historical painting.
991:
However, the painter always denied any representation of historical events in his works. He nonetheless admitted having chosen titles in relation to the place where the canvas had been painted (
234:). Later during year 1944, he began his reflection on aesthetics held by the following concept: painting does not need to represent to exist. This revelation originates from the readings of
288:. With a print run of 15000 copies, this yearly journal is distributed for free until 1963 : it gave Mathieu the opportunity to interview celebrities of the time, from the artistic (
643:
The signs are fine-tuned : additional elements are added, despite being superficial for their signification : this is the baroque period, exaggerating and distorts the signs.
432:
in 1957. During three weeks, various debates questioned the foundations of western civilisations, the role of the great men and revolutions that shaped the western culture from the
402:
In 1948, he put in place the first confrontation between
American and French avant-garde painters : on this occasion he revealed the importance of the American abstraction of
470:
opened in 1978 and covered the fifteen last years of his production. Seven six meters wide paintings, executed from
January to March 1978, were made especially for the occasion.
533:
From 1947 Mathieu published several manifestos to define his conception of a lyrical abstraction. In particular, he postulates four conditions that characterizes the movement:
1051:
Mathieu considered handcrafts to have experienced little evolution during the 20th century and worked with French national factories. In 1966 he joined the porcelain workshop
976:
Mathieu admitted a deep passion for history, especially for the Middle-Ages. Therefore, many works of the painter were named after historical battles and events :
1350:
1400:
421:
From 1957 he traveled and painted in Japan, USA and in 1959 in Brazil, Argentina and Middle-East. Restropectives of his work started as early as 1959.
1643:
913:
The first abstract works of Mathieu featured organic shapes, "shapes with no possible signification". Some of his techniques anticipated the work of
782:
Mathieu handled brushes, flannels or painted directly out of the tube. He pioneered dripping techniques in some of his early works, as in 1945
1240:
Müller-Yao, Marguerite Hui: Der Einfluß der Kunst der chinesischen Kalligraphie auf die westliche informelle Malerei, Diss. Bonn, Köln 1985.
953:
In the 1960s, his zen period features only a few strokes on monochromatic backgrounds, illuminating the power of the sign. Examples include
1588:
1034:
Throughout his career, Mathieu fought for the introduction of art in the modern society and applied his style to a variety of fields.
1623:
1608:
764:, a 400x1200cm canvas using more than 800 paint tubes. Many of his performances were filmed, as in 1963 for the Canadian television.
395:, exposing at the Galerie Allendy. He promoted an art free from the constraints of figurative paintings and defining the concept of
94:
964:
In 1970 Mathieu focused on the equilibrium between balance and vividness, and showed central shapes on a uniform blocks of color.
800:
He occasionally wore outfits during his performances. He painted most of his major works and wrote most of his essays on Sundays.
1633:
694:
1638:
1618:
1603:
1219:
459:, a giant canvas featuring primary colors on a blue background. Today, Galerie Charpentier's walls house the headquarters of
219:
in the north of France. During the ensuing years he held several jobs, serving as an interpreter for the American Army in
1346:
1056:
1550:
1052:
1653:
1245:
1211:
1296:
1992 : Spectacle son et lumière donné en août 1992 dans la cour du Château de Boulogne-sur-Mer, Th. Choumitzky.
929:
In 1950 his drips became more solid and aggregate around a central kernel. The palette was limited to warm colors.
1404:
1648:
1518:
603:
The recognition of the signs. The signs reach their maximum efficiency, giving birth to their meaning and style.
625:
The signs carry an admitted meaning : they are totally identifyied with their meaning. This is academism.
1613:
723: : "Henceforth in the history of shapes as in the history of the world, the sign precedes its meaning".
537:
Primacy of speed of execution : speed prevails to avoid the interference of consciousness of the artist.
478:
789:
His speed of execution very quickly became his signature style. In 1959 he painted the 2.5x6 metre painting
1228:
551:
different stages, according to the intensity of the alteration of the considered painting characteristic.
30:
1201:
757:
outlined the virtuosity and speed of his gestures. In 1956 was painted in front of 2000 people at the
525:
169:
1628:
758:
546:
Ecstatic state of mind of the artist : isolation and concentration of the artist help release.
793:(The Saint-Bartholomew's Day Massacre) in less than half an hour, accompanied by the jazz drummer
1175:
1973 : De la révolte à la renaissance, Collection « Idées », Ed. Gallimard, Paris.
490:
1055:
and created his series of porcelain plates. He produced many tapestries in partnership with the
168:(27 January 1921 – 10 June 2012) was a French abstract painter, art theorist, and member of the
436:
in 313 up to the contemporary breakthroughs in physics and philosophy. Many scholars like poet
129:
711:
444:
and scientists took a stand at these conferences. The event was named after the philosopher
1598:
1593:
510:
73:
1097:
Mathieu has been commissioned several advertising campaigns. In 1966 the airlines company
8:
1306:
720:
715:
610:
514:
452:
396:
266:
173:
153:
88:
731:
441:
242:
as an abstract literature. Consequently, he executed his first non-figurative painting,
1181:
1976 : Notice sur la vie et les travaux d’Alfred Giess, Institut de France, Paris.
388:
1241:
1215:
1207:
1184:
1984 : L’Abstraction prophétique, Collection « Idées », Ed. Gallimard.
1077:
337:
313:
259:
204:
From 1927 to 1933, he attended a variety of schools in Boulogne-sur-Mer and later in
1109:, broadcast from 1985 to 2001, offered a statue designed by Mathieu to the winners.
1287:
1971 : Georges Mathieu ou la fureur d’être, par Frédéric Rossif, TéléHachette.
1124:
1073:
474:
445:
255:
235:
194:
51:
1573:
278:
1554:
918:
914:
543:
No premeditated moves from the artist : painting is not a cognitive process.
403:
305:
1326:
1321:
1224:
425:
380:
230:
In 1942, he executed figurative paintings of England from postcards as a hobby (
771:
540:
No preexisting shapes : the painter must not rely on any reference at all.
433:
309:
1565:
698:
Mathieu's attempt at positioning artists on a formal/expressivity scale (1951)
205:
1582:
1166:
1960 : From the abstract to the possible, Ed. Cercle d’Art Contemporain.
628:
588:
361:
293:
270:
239:
109:
96:
1547:
1178:
1975 : La Réponse de l’Abstraction lyrique, Ed. La Table Ronde, Paris.
1113:
794:
467:
460:
301:
208:
in Versailles. Thereafter, he studied English and law at the university of
254:
In 1947, he settled in Paris, employed the American Express, and rented a
223:
in 1944, teaching in the American University of Biarritz, and teaching at
215:
Mathieu obtained a position as an English teacher in 1942 at the lycée of
1290:
1979 : A la recherche de Georges Mathieu, Daniel Lecomte, Antenne 2.
735:
707:
407:
177:
430:
Cérémonies commémoratives de la seconde condamnation de Siger de Brabant
1311:
1098:
703:
437:
297:
198:
1559:
1514:
360:, but the title was later changed because of the presence of works of
1163:
1959 : De l’abstrait au possible, Ed. Cercle d’Art Contemporain.
747:
289:
1542:
1187:
1994 : Le Massacre de la sensibilité, Ed. Jean Picollec, Paris.
284:
From 1953 to 1963, he was proposed to be the editor-in-chief of the
1316:
1146:
646:
365:
349:
274:
157:
139:
1281:
1968 : Georges Mathieu, par les Analyses Cinématographiques.
1190:
1998 : Désormais seul en face de Dieu, Ed. l’Age de l’Homme.
1138:
727:
664:
606:
481:. Mathieu's works now appears worldwide in more than 90 museums.
384:
341:
220:
143:
686:
224:
77:
55:
1260:
1956 : Le Couronnement de Charlemagne, Robert Descharnes.
1145:
Some of his works anticipates the revival of the modern-style
496:
1560:
Georges Mathieu interviewed on a 90 minutes dedicated TV show
1133:
682:
493:
and was delivered the seat number 7 of the painting section.
345:
216:
209:
1572:. Video selected and conceived by art critic and curator dr
1116:
created decorated bottles of Champagne designed by Mathieu.
1569:
1272:
1965 : Paris, capitale des arts, O.R.T.F. Productions.
1234:
584:
333:
324:
In 1946, his first abstract paintings were featured at the
1072:. Another stamp commemorating the 40th anniversary of the
661:
Extreme distortion of the signs lead to their destruction.
172:
in Paris. He is considered one of the fathers of European
1543:
Official site and reference for exhibitions and paintings
1172:
1967 : Le Privilège d’être, Ed. Robert Morel, Paris.
328:
exhibition in Paris. He founded the first artistic group
1266:
1959 : Hommage au Connétable de Bourbon, A. Rainer.
1566:
Hommage au Connétable de Bourbon, auteur du sac de Rome
1515:"Video interview and presentation of Fontenay-le-Comte"
1257:
1954 : La Bataille de Bouvines, Robert Descharnes.
1269:
1961 : Georges Mathieu, J. Mousseau et J. Feller.
1263:
1959 : La Saint-Barthélémy, O.R.T.F. Productions.
1227:; Georges Mathieu; Stable Gallery (New York, N.Y.).
917:
to come two years later and announced the movement of
1169:
1963 : Au-delĂ du Tachisme, Ed. Julliard, Paris.
413:
He painted his first large canvases as soon as 1952.
520:
451:
In 1965, Mathieu exposed a hundred paintings at the
777:
1278:1968 : Georges Mathieu, P. Lhoste et G. Roze.
748:Public performance and precursor of the happenings
269:in charge of public relations on the line between
702:Mathieu reacted consistently against greco-Latin
1580:
1401:"Georges Mathieu at the Académie des Beaux Arts"
726:Thus, Mathieu considered later art movements as
1029:
356:on 16 December 1947. The exhibition was called
1293:1986 : Georges Mathieu, Philippe Ducrest.
679:The signs carry no particular meaning anymore.
1200:Georges Mathieu; Dominique Quignon-Fleuret.
448:, who played a key role in the 13th-century.
1347:"Mort du peintre Georges Mathieu - Le Point"
1037:
770:He also worked with sculpture and performed
463:France, rue Faubourg Saint-Honoré in Paris.
1498:
1483:
1468:
1453:
1438:
1384:
1014:Other titles were inspired by mathematics (
509:He died on 10 June 2012 at 91 years old in
497:Commitment for public culture and education
188:
1230:The significant message of Georges Mathieu
529:"Cyclic aspects of sign embryology" (1951)
484:
352:and exposes with fourteen painters at the
29:
1206:(New York : Crown Publishers, 1977)
1046:
903:
1123:
693:
524:
428:held a series of conferences called the
1233:(New York : Stable Gallery, 1952)
581:Pursues the research of signs as signs.
1644:Members of the Académie des beaux-arts
1581:
1284:1971 : Georges Mathieu, L. Thorn.
1275:1967 : Georges Mathieu, F. Warin.
1194:
1157:
948:
249:
238:and his interpretation of the work of
808:Some of Mathieu's largest paintings
319:
281:for the first time on his occasion.
379:The group is later expanded, with
368:. The same year, he exposes at the
13:
1589:Art Informel and Tachisme painters
1568:, Fleischmarkt Theater, 2/4/1959,
1057:Manufacture nationale des Gobelins
999:), the day it had been performed (
864:Hommage aux poètes du monde entier
791:Le Massacre de la Saint-Barthélemy
762:Hommage aux poètes du monde entier
742:
489:In 1976 he became a member of the
14:
1665:
1536:
710:'s legacy and all forms of later
521:Conception of lyrical abstraction
1624:21st-century French male artists
1609:20th-century French male artists
1548:Georges Mathieu's selected works
778:Painting technique and execution
1521:from the original on 2015-02-22
1507:
1492:
1471:L'abstraction prophétique, p.47
1353:from the original on 2012-06-16
1152:
286:United States Lines Paris Revue
1634:Abstract expressionist artists
1501:De la révolte à la renaissance
1486:De la révolte à la renaissance
1477:
1462:
1447:
1432:
1418:
1393:
1378:
1364:
1339:
1251:
1092:
908:
416:
1:
1426:Le massacre de la sensibilité
1372:Le massacre de la sensibilité
1332:
1105:The French television awards
997:Hommage au général San Martin
479:Commander of Arts and Letters
466:A great retrospective at the
455:. He executed for this event
1639:People from Boulogne-sur-Mer
1619:21st-century French painters
1604:20th-century French painters
1349:. Lepoint.fr. 12 June 2012.
1030:Other artistic contributions
1009:La Bataille des Eperons d’Or
993:Hommage au général Hideyoshi
984:(The Victory of Denain) and
370:Salon des Réalités Nouvelles
265:Mathieu then worked for the
193:Mathieu was born in 1921 in
183:
7:
1389:. Les éditions Complicités.
1300:
924:
358:Towards Lyrical Abstraction
10:
1670:
980:(The Battle of Bouvines),
959:Bulle Omnium Datum Optimum
955:La Bataille de Brunkerberg
1456:L'abstraction prophétique
1119:
1070:Hommage Ă Nicolas Fouquet
1062:
1038:Urbanism and architecture
971:
818:
815:
812:
567:
564:
561:
558:
374:Salon des Surindépendants
326:Salon des moins de 30 ans
149:
135:
125:
84:
62:
37:
28:
21:
1654:French abstract painters
1005:La Bataille de Tibériade
719:his own expression of a
457:Paris, Capitale des Arts
410:to the French audience.
304:) and scientific scene (
189:Early life and education
110:48.8877523°N 2.3290011°E
1112:The Champagne producer
1083:
978:La Bataille de Bouvines
943:La Bataille de Bouvines
890:Paris Capitale des Arts
491:Academie des Beaux-Arts
485:Academie des Beaux-Arts
170:Académie des Beaux-Arts
1649:French stamp designers
1129:
1047:Tapestry and porcelain
1024:Grand algorithme blanc
935:Le Maréchal de Turenne
904:Evolution of the style
699:
530:
232:Oxford Street By Night
227:during years 1945–46.
1562:, L'homme en question
1127:
1080:was created in 1980.
1053:Manufacture de Sèvres
1016:Théorème d'Alexandrov
1001:La Victoire de Denain
986:Les Capétiens partout
982:La Victoire de Denain
877:La Victoire de Denain
838:Les Capétiens partout
759:théatre Sarah Bernard
712:geometric abstraction
697:
528:
354:Galerie du Luxembourg
115:48.8877523; 2.3290011
1614:French male painters
1020:Le principe de Pauli
933:so colored.", as in
511:Boulogne-Billancourt
74:Boulogne-Billancourt
1441:Au-delĂ du Tachisme
1387:Le privilège d'être
1307:Lyrical Abstraction
1195:Writings on Mathieu
1158:Writings by Mathieu
949:Lyrical abstraction
851:La Bataille de Goya
809:
721:lyrical abstraction
716:lyrical abstraction
611:Giuseppe Capogrossi
555:
515:Montmartre Cemetery
453:Galerie Charpentier
397:Lyrical Abstraction
267:United States Lines
250:United States Lines
174:lyrical abstraction
154:Lyrical abstraction
106: /
89:Montmartre Cemetery
1553:2020-08-05 at the
1130:
939:Blanche de Turenne
807:
700:
554:
531:
1499:Georges Mathieu.
1484:Georges Mathieu.
1469:Georges Mathieu.
1454:Georges Mathieu.
1439:Georges Mathieu.
1385:Georges Mathieu.
1220:978-0-517-53086-3
1078:Charles de Gaulle
1022:) or philosophy (
901:
900:
692:
691:
338:Jean-Michel Atlan
320:First exhibitions
314:Oskar Morgenstern
260:Luxembourg Palace
163:
162:
1661:
1530:
1529:
1527:
1526:
1511:
1505:
1504:
1496:
1490:
1489:
1481:
1475:
1474:
1466:
1460:
1459:
1451:
1445:
1444:
1436:
1430:
1429:
1422:
1416:
1415:
1413:
1412:
1403:. Archived from
1397:
1391:
1390:
1382:
1376:
1375:
1368:
1362:
1361:
1359:
1358:
1343:
1142:symbiotic way.”
1128:Mathieu's grave.
1102:representation.
1074:Battle of France
1007:), or its tone (
810:
806:
732:Nouveau réalisme
556:
553:
513:and lies in the
475:Legion of Honour
473:He received the
446:Siger de Brabant
442:Stéphane Lupasco
256:chambre de bonne
236:Edward Crankshaw
195:Boulogne-sur-Mer
121:
120:
118:
117:
116:
111:
107:
104:
103:
102:
99:
69:
52:Boulogne-sur-Mer
47:
45:
33:
19:
18:
1669:
1668:
1664:
1663:
1662:
1660:
1659:
1658:
1629:School of Paris
1579:
1578:
1555:Wayback Machine
1539:
1534:
1533:
1524:
1522:
1513:
1512:
1508:
1497:
1493:
1482:
1478:
1467:
1463:
1452:
1448:
1437:
1433:
1428:. Odilon Media.
1424:
1423:
1419:
1410:
1408:
1399:
1398:
1394:
1383:
1379:
1374:. Odilon Media.
1370:
1369:
1365:
1356:
1354:
1345:
1344:
1340:
1335:
1303:
1254:
1197:
1160:
1155:
1122:
1095:
1086:
1076:led by General
1065:
1049:
1040:
1032:
974:
951:
927:
919:Action Painting
915:Jackson Pollock
911:
906:
780:
750:
745:
743:Fine arts works
714:. He considers
523:
499:
487:
419:
404:Jackson Pollock
389:François Stahly
322:
306:Albert Einstein
252:
191:
186:
166:Georges Mathieu
114:
112:
108:
105:
100:
97:
95:
93:
92:
91:
80:
71:
67:
58:
49:
48:27 January 1921
43:
41:
24:
23:Georges Mathieu
17:
12:
11:
5:
1667:
1657:
1656:
1651:
1646:
1641:
1636:
1631:
1626:
1621:
1616:
1611:
1606:
1601:
1596:
1591:
1577:
1576:
1563:
1557:
1545:
1538:
1537:External links
1535:
1532:
1531:
1506:
1491:
1476:
1461:
1446:
1431:
1417:
1392:
1377:
1363:
1337:
1336:
1334:
1331:
1330:
1329:
1324:
1319:
1314:
1309:
1302:
1299:
1298:
1297:
1294:
1291:
1288:
1285:
1282:
1279:
1276:
1273:
1270:
1267:
1264:
1261:
1258:
1253:
1250:
1249:
1248:
1238:
1222:
1196:
1193:
1192:
1191:
1188:
1185:
1182:
1179:
1176:
1173:
1170:
1167:
1164:
1159:
1156:
1154:
1151:
1121:
1118:
1094:
1091:
1085:
1082:
1064:
1061:
1048:
1045:
1039:
1036:
1031:
1028:
973:
970:
950:
947:
926:
923:
910:
907:
905:
902:
899:
898:
895:
892:
886:
885:
882:
879:
873:
872:
869:
866:
860:
859:
856:
853:
847:
846:
843:
840:
834:
833:
830:
827:
825:Flamence rouge
821:
820:
817:
814:
779:
776:
772:light painting
749:
746:
744:
741:
690:
689:
680:
677:
674:
668:
667:
662:
659:
656:
650:
649:
644:
641:
638:
632:
631:
626:
623:
620:
614:
613:
604:
601:
598:
592:
591:
582:
579:
576:
570:
569:
566:
563:
560:
548:
547:
544:
541:
538:
522:
519:
498:
495:
486:
483:
440:, philosopher
434:Edict of Milan
418:
415:
393:H.W.P.S.M.T.B.
321:
318:
310:Norbert Wiener
251:
248:
190:
187:
185:
182:
161:
160:
151:
147:
146:
137:
136:Known for
133:
132:
127:
123:
122:
86:
82:
81:
72:
70:(aged 91)
64:
60:
59:
50:
39:
35:
34:
26:
25:
22:
16:French painter
15:
9:
6:
4:
3:
2:
1666:
1655:
1652:
1650:
1647:
1645:
1642:
1640:
1637:
1635:
1632:
1630:
1627:
1625:
1622:
1620:
1617:
1615:
1612:
1610:
1607:
1605:
1602:
1600:
1597:
1595:
1592:
1590:
1587:
1586:
1584:
1575:
1574:Alain Chivilò
1571:
1567:
1564:
1561:
1558:
1556:
1552:
1549:
1546:
1544:
1541:
1540:
1520:
1516:
1510:
1502:
1495:
1487:
1480:
1472:
1465:
1457:
1450:
1442:
1435:
1427:
1421:
1407:on 2009-12-03
1406:
1402:
1396:
1388:
1381:
1373:
1367:
1352:
1348:
1342:
1338:
1328:
1325:
1323:
1320:
1318:
1315:
1313:
1310:
1308:
1305:
1304:
1295:
1292:
1289:
1286:
1283:
1280:
1277:
1274:
1271:
1268:
1265:
1262:
1259:
1256:
1255:
1247:
1246:3-88375-051-4
1243:
1239:
1236:
1232:
1231:
1226:
1223:
1221:
1217:
1213:
1212:0-517-53086-4
1209:
1205:
1204:
1199:
1198:
1189:
1186:
1183:
1180:
1177:
1174:
1171:
1168:
1165:
1162:
1161:
1150:
1148:
1143:
1140:
1135:
1126:
1117:
1115:
1110:
1108:
1103:
1100:
1090:
1081:
1079:
1075:
1071:
1060:
1058:
1054:
1044:
1035:
1027:
1025:
1021:
1017:
1012:
1010:
1006:
1002:
998:
994:
989:
987:
983:
979:
969:
965:
962:
960:
956:
946:
944:
940:
936:
930:
922:
920:
916:
896:
893:
891:
888:
887:
883:
880:
878:
875:
874:
870:
867:
865:
862:
861:
857:
854:
852:
849:
848:
844:
841:
839:
836:
835:
831:
828:
826:
823:
822:
811:
805:
801:
798:
796:
792:
787:
785:
775:
773:
768:
765:
763:
760:
756:
740:
737:
733:
729:
724:
722:
717:
713:
709:
705:
696:
688:
684:
681:
678:
675:
673:
670:
669:
666:
663:
660:
657:
655:
652:
651:
648:
645:
642:
639:
637:
634:
633:
630:
627:
624:
621:
619:
616:
615:
612:
608:
605:
602:
599:
597:
594:
593:
590:
589:Henri Michaux
586:
583:
580:
577:
575:
572:
571:
557:
552:
545:
542:
539:
536:
535:
534:
527:
518:
516:
512:
507:
503:
494:
492:
482:
480:
476:
471:
469:
464:
462:
458:
454:
449:
447:
443:
439:
435:
431:
427:
422:
414:
411:
409:
405:
400:
398:
394:
390:
386:
382:
377:
375:
371:
367:
363:
362:Pablo Picasso
359:
355:
351:
347:
343:
339:
335:
331:
327:
317:
315:
311:
307:
303:
299:
295:
294:Pierre Boulez
291:
287:
282:
280:
279:Salvador DalĂ
276:
272:
271:New York City
268:
263:
261:
257:
247:
245:
241:
240:Joseph Conrad
237:
233:
228:
226:
222:
218:
213:
211:
207:
202:
200:
196:
181:
179:
176:, a trend of
175:
171:
167:
159:
155:
152:
148:
145:
141:
138:
134:
131:
128:
124:
119:
90:
87:
85:Resting place
83:
79:
75:
65:
61:
57:
53:
40:
36:
32:
27:
20:
1523:. Retrieved
1509:
1503:. Gallimard.
1500:
1494:
1488:. Gallimard.
1485:
1479:
1473:. Gallimard.
1470:
1464:
1458:. Gallimard.
1455:
1449:
1440:
1434:
1425:
1420:
1409:. Retrieved
1405:the original
1395:
1386:
1380:
1371:
1366:
1355:. Retrieved
1341:
1327:Michel Tapié
1322:Groupe GutaĂŻ
1229:
1225:Michel Tapié
1202:
1153:Publications
1144:
1131:
1111:
1106:
1104:
1096:
1087:
1069:
1066:
1050:
1041:
1033:
1023:
1019:
1018:), physics (
1015:
1013:
1008:
1004:
1000:
996:
992:
990:
985:
981:
977:
975:
966:
963:
958:
954:
952:
942:
938:
934:
931:
928:
912:
889:
876:
863:
850:
837:
824:
802:
799:
795:Kenny Clarke
790:
788:
783:
781:
769:
766:
761:
754:
751:
725:
701:
671:
653:
635:
617:
595:
573:
565:Description
549:
532:
508:
504:
500:
488:
472:
468:Grand Palais
465:
456:
450:
429:
426:Simon HantaĂŻ
424:Mathieu and
423:
420:
412:
401:
392:
381:Michel Tapié
378:
373:
369:
357:
353:
330:L’Imaginaire
329:
325:
323:
302:Henry Miller
285:
283:
264:
253:
243:
231:
229:
214:
203:
192:
165:
164:
68:(2012-06-10)
66:10 June 2012
1599:2012 deaths
1594:1921 births
1443:. Julliard.
1252:Filmography
1093:Advertising
909:Informalism
871:400x1200cm
858:150x1500cm
819:Dimensions
784:Evanescence
736:Arte Povera
708:Renaissance
658:Destruction
600:Incarnation
417:Recognition
408:Alton Tobey
372:and at the
206:Lycée Hoche
178:informalism
126:Nationality
113: /
1583:Categories
1525:2015-02-22
1517:. INA.fr.
1411:2014-11-10
1357:2012-06-12
1333:References
1312:French art
1107:Les 7 d'or
1099:Air France
1059:in Paris.
897:300x900cm
884:275x700cm
845:300x600cm
832:250x200cm
755:happenings
704:classicism
517:in Paris.
438:T.S. Eliot
298:Mark Tobey
199:Versailles
98:48°53′16″N
44:1921-01-27
622:Formalism
618:Stage III
461:Sotheby's
290:John Cage
258:near the
244:Inception
184:Biography
101:2°19′44″E
1551:Archived
1519:Archived
1351:Archived
1317:Tachisme
1301:See also
1237:79307225
1147:Graffiti
925:Tachisme
676:Informal
672:Stage VI
647:Dubuffet
636:Stage IV
629:Mondrian
596:Stage II
578:Research
568:Artists
391:to form
366:Jean Arp
350:Riopelle
275:Le Havre
158:Tachisme
150:Movement
140:Painting
1203:Mathieu
1139:Pollock
728:Dadaism
665:Picasso
654:Stage V
640:Baroque
607:Hartung
574:Stage I
477:and is
385:Picabia
342:Hartung
221:Cambrai
144:writing
1244:
1218:
1210:
1120:Legacy
1063:Stamps
972:Titles
813:Title
687:Rothko
559:Stage
225:Istres
130:French
78:France
56:France
1134:Gutai
1114:Deutz
816:Year
683:Tobey
562:Name
346:Bryen
332:with
217:Douai
210:Lille
1570:Wien
1242:ISBN
1235:OCLC
1216:ISBN
1208:ISBN
1132:The
1084:Mint
1011:).
957:and
894:1965
881:1963
868:1956
855:1957
842:1954
829:1950
585:Wols
406:and
387:and
364:and
334:Wols
273:and
63:Died
38:Born
1026:).
316:).
262:.
1585::
1214:;
1149:.
1003:,
995:,
961:.
945:.
941:,
937:,
921:.
786:.
774:.
734:,
730:,
706:,
685:,
609:,
587:,
399:.
383:,
376:.
348:,
344:,
340:,
336:,
312:,
308:,
300:,
296:,
292:,
246:.
212:.
201:.
180:.
156:,
142:,
76:,
54:,
1528:.
1414:.
1360:.
46:)
42:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
