Exhibitions


Fondation Marguerite et Aimé Maeght, Saint-Paul de Vence (FR)    2 July 2022 - 23 October 2022

At the Heart of Abstraction
Collection Fondation Gandur pour l’Art

From July 2 to November 20, Fondation Maeght is unveiling 100 works from the Fondation Gandur pour l’Art offering a fascinating immersion into abstraction from the 1950s to the 1980s. Conceived chronologically by Yan Schubert, curator of the fine arts collection at the Fondation Gandur pour l’Art, the exhibition path offers insights into four decades of creativity during which artists revisited the very foundations of painting in the wake of the war and envisioned new forms of expression. Divided into nine thematic sections, the exhibition charts the evolution of non-figurative art and its various trends from the 1950s to the late 1980s.

Curator : Yan Schubert

In the wake of Second World War, as many European artists exiled in the United States headed back to France, Paris regained its status as a global cultural capital. Driven by a thirst for freedom and a craving to rethink painting in the post-war years, artists from all over the world returned to their studios and engaged in an era of creative effervescence, be it in the arts, literature or cinema. While the breakthroughs by the vanguards of the first half of the 20th century were an invaluable post-war stimulus, abstract art renewed itself from the most gestural expression to the interrogation of materials, mediums and techniques.

The works displayed at the Fondation Maeght highlight the variety of forms embraced by abstraction during these creative years. The constantly renewed pictorial research led by Hans Hartung, Martin Barré, Simon Hantaï or Pierre Soulages, to name only a few, trace the evolution of non-figurative art over four decades. In a thematic and chronological path, the exhibition invites the viewer to discover lyrical and gestural abstraction by Georges Mathieu, abstract expressionism by Sam Francis and Joan Mitchell, geometric abstraction by Victor Vasarely, kinetic works by Alexander Calder and Jean Tinguely, through to the rethinking of painting by the Supports/Surfaces group. The 1980s ushered in an era of revitalized abstract art, building on the hectic experimentation of earlier years.

FONDATION MAEGHT
623 Chemin des Gardettes
06570 Saint-Paul de Vence, France

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ADMISSION
Adults: 16€
Concessions: 11€ (children aged 10-18, students with ID, press, unemployed)
Free: children under 10, disabled visitors, Friends’ Society members

More details on the Fondation Maeght website

Opening Hours
Monday – Sunday:
10:00AM – 7:00PM (July – August)
10:00AM – 6:00PM (rest of the year)

Publication

See publication

Press kit

Presentation

Dialogues

Ernest Briggs, Hans Hartung, Georges Mathieu, Jean Paul Riopelle, Gérard Schneider
In response to the trauma inflicted by Second World War, artists reconsidered their style of painting and depicting the world when peace returned. As Paris regained its status as art capital of the world, two major trends took centre stage: geometric abstraction, the legacy of Piet Mondrian and Kasimir Malevich, on the one hand, and lyrical abstraction, led by the painter Georges Mathieu, on the other. In 1951, together with the art critic Michel Tapié, he organised the “Véhémences confrontées” exhibition, one of the earliest dialogues between European and North American non-figurative artists.

Peintures

Pierre Soulages
Often identified with gestural painters, Pierre Soulages nonetheless distanced himself from them and shifted his interest more to the “pictorial embodiment” of the gesture rather than to the gesture itself. From the mid-1940s onwards, he relentlessly experimented with and probed black colour and its inherent luminosity, playing with contrasts and bursts of luminosity. He developed tools and methods for working with materials that imparted a distinctive rhythm and profundity into his work.

Échanges (Exchanges)

Arman, Martin Barré, Sam Francis, Joan Mitchell, Judit Reigl, Alfons Schilling, Jack Youngerman
Following the war, many North American painters stayed or settled in Paris, thus partaking in a period of artistic effervescence attended by the opening of countless galleries. Artists from across Europe also moved to the capital and took part in the emulation and dialogue fostered by the fairs and exhibitions, occasionally tearing down silos between genres.

Tendances géométriques (Geometric tendencies)

Pol Bury, Alexander Calder, Jo Delahaut, Auguste Herbin, Ray Parker, Serge Poliakoff, Jean Tinguely, Victor Vasarely
If for many artists lyrical or gestural abstraction is a means of escaping from reality, for others geometry is an even more radical way of approaching it. Materials, shapes and colours are all ingredients of this language. However, angles or curves divide the various schools of thought.

Expérimentations (Experimentations)

Alberto Burri, Pol Bury, César, Lucio Fontana, Raymond Hains, Piero Manzoni, Henri Michaux, Manuel Rivera, Mimmo Rotella, Salvatore Scarpitta, Jean Tinguely, Emilio Vedova
For some, resorting to abstraction was not enough. They sought to transcend traditional painting. Besides gestures, they also interrogated the forms of expression and the techniques used. To achieve this, they used recycled materials and diverted all kinds of tools from their intended use.

Matérialités (Materiality)

Arman, Christo, Jean Dubuffet, Francisco Farreras, Luis Feito, Simon Hantaï, Conrad Marca-Relli, Georges Noël, Antoni Tàpies, Léon Zack
For some artists, experimentation with materials was a predominant theme in their work. Rejecting noble materials, they turned to poor materials - be they plant, mineral or industrial. They mixed them, aggregated them, diverted them, and via their approach, interrogated the expressive capacities of the material.

Épurements (Refinements)

Martin Barré, Pol Bury, Jean Degottex, Gottfried Honegger, François Morellet, Aurelie Nemours, Jules Olitski, Joel Shapiro
Seeking to minimize the traces of their actions, some artists used spray paint or spraying tools, thereby eliminating any contact with the canvas, while proponents of concrete art advocated a plastic language devoid of any reference to the reality of the outside world.

Supports/Surfaces

André-Pierre Arnal, Vincent Bioulès, Marc Devade, Daniel Dezeuze, Noël Dolla, Simon Hantaï, Bernard Pagès, Jean-Pierre Pincemin, Patrick Saytour, André Valensi, Claude Viallat
At the turn of the 1970s, the artists of the Supports/Surfaces group also interrogated painting and its methods by deconstructing the very notion of the tableau. Emphasis was placed on the work’s materiality, as well as on its composition, format, serial reproduction and even its integration into a space free of the constraints of a museum. Often detached from its frame, the canvas is at times folded, crumpled, and even sometimes sewn or burned.

Renouvellements (Renewals)

Jean Degottex, Hans Hartung, Pierre Soulages
For some artists whose work spans several decades, pictorial research continued into the 1970s and 1980s with the introduction of new techniques and the invention of new methods. Thus, Hans Hartung, Pierre Soulages and Jean Degottex constantly renewed their work and opened up new means of expression.

Oeuvres à la loupe

February 2022 Fine Arts

Going beyond the static form: Jean Tinguely’s Méta-Herbin

The first work by Jean Tinguely to join the collections of the Fondation Gandur pour l’Art in 2010, Méta-Herbin from 1955 (ill. 1) is a piece representative of the artist’s pioneering work. Presented at the Galerie Denise René as part of Le Mouvement exhibition held in April 1955, the work sheds light on the genesis of the “metamechanical” creations conceived by the Swiss artist. Through its composition, the work pays tribute to the abstract avant-garde of the early 20th century. The artist employs forms characteristic of the pictorial vocabulary of Auguste Herbin (ill. 2), a pioneer of geometric abstraction. The latter sought to go beyond the static condition of painting and explore movement, a theme dear to Tinguely and one that he would develop throughout his life.

With his kinetic works, Tinguely, who joined the Nouveau Réalisme movement in 1960, became a major figure in the art of the second half of the 20th century. At once an inventor and a handyman, he skilfully developed a mechanical and poetic universe assembled from recycled materials, which were brought to life thanks to mobility of his pieces.

March 2019 Fine Arts

Untitled by Joan Mitchell

To admire Untitled by Joan Mitchell, art lovers will have to travel to Landerneau, in Finistère. A long trip for some perhaps, but rewarded with a chance to view an additional important loan from the Fondation Gandur pour l’Art: Hommage à Robert le diabolique (Tribute to Robert the Demon) by Jean-Paul Riopelle. Both works are currently on display at the Fonds Hélène & Édouard Leclerc pour la culture, which is hosting, until 22 April, an ambitious exhibition entitled Mitchell - Riopelle, un couple dans la démesure (Mitchell - Riopelle, Nothing in Moderation).

March 2017 Fine Arts

57-50-B by Martin Barré

Highlighted by the Centre Pompidou which will devote to his work a retrospective starting November 2018, Martin Barré (Nantes, 1924 – Paris, 1993) is one of the most remarkable French artists of abstract art from the post-war period. He never ceased in his examination of a painting and its limitations by progressively developing a very personal style which aimed, according to his own terms, for "reduction-concentration". His art tends to reach the fundamental elements of painting through reduction of the object, material, colour, form and gesture. This earned him a posteriori to be designated as one of the precursors of Minimal Art in France.

Works on loan

Bernard PAGÈS
Arrangement branchage et bouteilles
Novembre 1968
Gottfried HONEGGER
Biseautage P. 496
1968
Gottfried HONEGGER
Biseautage B. P. 173
1966
Gottfried HONEGGER
Biseautage P. 520
1968
André-Pierre ARNAL
Froissage
1969
Simon HANTAÏ
Étude
1969
François MORELLET
3 doubles trames 0° 30° 60°
1971
Hans HARTUNG
T 1951-4
1951
Georges MATHIEU
Hommage à la mort
1950
Georges MATHIEU
Obscuration
1952
Georges MATHIEU
[Sans titre]
1951
Jean-Paul RIOPELLE
Peinture n° 3
1950
Jean-Paul RIOPELLE
Composition
1950
Gérard SCHNEIDER
Opus 49 B
Octobre 1953
Jean-Paul RIOPELLE
Hommage à Robert le Diabolique
1953
Ernest BRIGGS
Untitled [Sans titre]
1953
Pierre SOULAGES
Peinture 130 x 89 cm, 24 août 1958
24 août 1958
Pierre SOULAGES
Peinture 81 x 60 cm, 28 novembre 1955
28 novembre 1955
Pierre SOULAGES
Peinture 195 x 130 cm, 1er septembre 1957
1er septembre 1957
Pierre SOULAGES
Encre sur papier 65 x 50 cm, 1955
1955
Joan MITCHELL
Untitled [Sans titre]
1952-1953
Sam FRANCIS
Tokyo
1957
Martin BARRÉ
57-50-B
1957
Martin BARRÉ
56-80-P
1956
Martin BARRÉ
57-58-30-F4
1957-1958
ARMAN
Allure d'objets
1958
Judit REIGL
[Sans titre]
1958
Alfons SCHILLING
Ohne Titel [Sans titre]
1960-1961
Jack YOUNGERMAN
Tiger [Tigre]
1961
Judit REIGL
Les Huns
1964
Victor VASARELY
Altaï-pos
1955-1959
Victor VASARELY
OB-Bleu
1956-1963
Victor VASARELY
R-Cassiopée
1958-1960
Victor VASARELY
Maragnon-R
1957-1961
Victor VASARELY
Ivia
1954-1957
DELAHAUT Jo
Clostra
1950
Pol BURY
Composition
1952
Auguste HERBIN
Bien
1952
Serge POLIAKOFF
Composition abstraite
1952
Nicolas de STAËL
Composition
1946
Georges MATHIEU
Açone
1948
Hans HARTUNG
T 1950-22
1950
Serge POLIAKOFF
Composition en rose
1954
Jean TINGUELY
Méta-Herbin
1955
Aurelie NEMOURS
Composition
1961
Alexander CALDER
[Untitled] [Sans titre]
1963
Alberto BURRI
Umbria Vera [Ombrie véritable]
1952
Lucio FONTANA
Concetto spaziale [Concept spatial]
1956
Jean TINGUELY
Relief SYN n° VII
1956
Manuel RIVERA
Estructura espacial [Sructure spatiale]
1958
Salvatore SCARPITTA
Trapped Canvas [Toile piégée]
1958
Piero MANZONI
Achrome
1958-1959
Emilio VEDOVA
Scontro di Situazioni [Conflit de situations]
1959
CÉSAR
Agrafage
1961
CÉSAR
Compression « Sunbeam »
1961
Pol BURY
Ponctuation blanche
1961
Raymond HAINS
La Grande Palissade
1964
Jean DUBUFFET
Savonarole
Avril 1954
Jean DUBUFFET
Paysage hermétique
Septembre 1959
Simon HANTAÏ
Peinture
1958
CHRISTO
Untitled [Sans titre]
Juin-juillet 1959
Léon ZACK
Sans titre
1959
Conrad MARCA-RELLI
N-M-1-59
8 octobre 1959
Georges NOËL
Sans titre
1961
Antoni TÀPIES
Relief ocre sur rose
1965
Martin BARRÉ
67-Z-7-70x65
1967
Martin BARRÉ
65-S-9-80x74
1965
Martin BARRÉ
Sans titre
1964
Martin BARRÉ
Sans titre
1964
Martin BARRÉ
Sans titre
1964
Martin BARRÉ
Sans titre
1964
Martin BARRÉ
67-Z-12-80x72
1967
Jean DEGOTTEX
Horsphère 30
30 mars 1967
François MORELLET
Œuvre unique et pas chère 1 (6)
1970
François MORELLET
Sans titre
1970
François MORELLET
Œuvre unique et pas chère 1ter
1970
François MORELLET
Sphère-trames
1962
Pol BURY
Mélangeur
1970
Pol BURY
Mélangeur
1970
Pol BURY
Mélangeur
1970
Pol BURY
Mélangeur
1970
François MORELLET
2 trames de grillage -4° +4° (# 19 mm)
1972
Jules OLITSKI
Larro Two
1972
Joel SHAPIRO
Untitled [Sans titre]
1977
Daniel DEZEUZE
Toile ajourée
1967
Claude VIALLAT
1968/025
1968
Bernard PAGÈS
L'Étendoir
1968
Bernard PAGÈS
Arrangement branches et cadre grillagé
1969
Jean-Pierre PINCEMIN
Sans titre
1969
Patrick SAYTOUR
Tension
1970
Vincent BIOULÈS
Peinture
1970
André-Pierre ARNAL
Pliage
1971
Claude VIALLAT
Sans titre
1972
Noël DOLLA
Croix
Mai 1976
Marc DEVADE
Sans titre
1976
Marc DEVADE
Sans titre
Février 1978
Jean DEGOTTEX
Grille Collor Blanc (II)
6 juin 1983
Jean DEGOTTEX
Lignes-Report Noir (III)
30 décembre 1977
Hans HARTUNG
T 1987-H3, T 1987-H4
10 mars 1987
Pierre SOULAGES
Peinture 202 x 255 cm, 18 octobre 1984
18 octobre 1984