Amour Infini

Georges Mathieu, a pivotal figure in post-World War II art, stands as a founder of Lyrical Abstraction, a significant movement within the broader context of Art Informel. His artistic approach was characterized by a dynamic and spontaneous expression, prioritizing speed and intuition over traditional representation. Mathieu’s work is instantly recognizable by its calligraphic and energetic qualities, often executed with a sense of urgency.

Beyond his paintings, Mathieu was a theorist and a fervent advocate for his artistic vision. He challenged the prevailing artistic norms, pushing for a liberation of art from established constraints. His performances, where he would create large-scale paintings in front of audiences, became a hallmark of his career, blurring the lines between painting and performance art. These events were not mere displays of skill but rather expressions of his belief in the immediacy and emotional power of artistic creation.

Mathieu’s influence extended beyond the canvas. He engaged with various aspects of design, including tapestry, porcelain, and even coin design, demonstrating his commitment to integrating art into everyday life. His contributions to graphic design, such as his work for Air France, further illustrate his diverse creative output.

His impact on the art world is undeniable. He helped to introduce abstract expressionism to Europe, and was a very large force in the european art scene. His works are held in many prestigious collections around the world. Georges Mathieu’s legacy is one of artistic innovation and a relentless pursuit of expressive freedom.

In the 1980s, Georges Mathieu continued his exploration of Lyrical Abstraction, a movement he pioneered. His paintings from this period often showcased a renewed energy and a shift in focus. While his signature calligraphic gestures and dynamic compositions remained central, the 1980s saw Mathieu experimenting with new materials and a different approach to his canvases.

After a period where his titles referenced historical events, Mathieu began to use titles linked to emotions or eschatology, reflecting his background in philosophy and existentialism. Works from this time, such as “Haine d’orgueil” (Hatred of Pride) from 1988, are considered highly expressive examples of his lyrical abstraction.

Technically, Mathieu adapted his methods, notably turning to alkyd paint, a mixture of water and resin. This new medium offered greater stability when dry and allowed for more vivid colors, as seen in the striking reds he applied directly from the tube onto black backgrounds, preserving the paint’s thickness and intensity.