"Sans Titre" (1994) de Karel Appel : Une Œuvre d'Énergie et de Liberté Créative
Karel Appel, a leading figure in the CoBrA movement, has left his mark on art history with his vibrant, instinctive and deeply expressive works. In 1994, he produced “Untitled”, an oil on canvas that illustrates the power of his creativity and the singularity of his style. This canvas, now on show at Galerie Hurtebize, is a dazzling testimony to Karel Appel‘s artistic maturity and his desire to push back the boundaries of conventional art. Let’s take a look at this energetic work.
A whirlwind of colors and textures
“Untitled” (1994) stands out for its bold palette of primary colors: red, yellow and blue dominate the composition, accompanied by touches of black and white. These colors clash and merge in a chaotic harmony that immediately captures our attention. Appel plays with powerful contrasts here, transforming the canvas into a visual explosion that seems on the verge of overflowing its boundaries.
Renowned for his energetic style, Karel Appel uses vivid colors and thick textures to create works of raw expressivity. In this canvas, he applies paint with great spontaneity, giving rise to a rich, dynamic surface. His broad brushstrokes and thick impasto give the canvas an almost sculptural dimension. This material work reflects his experimental approach to art, freeing painting from academic conventions in favor of free, instinctive expression.
His mantra, “I paint like a barbarian in a barbarian age”, reveals his whole philosophy: his works translate visceral emotions and the violent feelings that the world inspires in him. It’s this raw strength and quest for authenticity that makes his art so captivating and timeless.
A reflection of Karel Appel's artistic maturity
By 1994, Karel Appel was already an accomplished artist, internationally recognized for his role in the CoBrA movement and his contributions to abstract and expressionist art. By this stage in his career, he had perfected his style while remaining true to his creative instincts.
Unlike his works of the 1950s, marked by a certain urgency and a search for a break with academicism, “Untitled” bears witness to an artistic maturity. Appel displays technical mastery and absolute confidence in his visual language. He doesn’t hesitate to explore matter, color and gesture in even bolder ways, while retaining the raw energy for which he is renowned.
The CoBrA movement: a pervasive influence
Although “Untitled” was produced several decades after the CoBrA movement dissolved in 1951, the influence of this collective is still perceptible in Appel‘s work. CoBrA, an acronym for Copenhagen, Brussels and Amsterdam, brought together artists who shared a common desire to break with academic rules and rediscover a free, intuitive and spontaneous art form.
The principles of the movement – such as an interest in primitive forms, the childlike imagination and the spontaneity of gesture – are evident in this painting. Appel continues to build on this heritage, while bringing his own vision and experience gained over the years.
An immersive and captivating work
“Untitled” is not just a painting: it’s an experience. Looking at this canvas, the viewer is transported into a whirlwind of emotions and energy. The richness of the textures, the vivacity of the colors and the power of the pictorial gesture create a total immersion in Karel Appel‘s universe.
Each glance at the work reveals new details, new interactions between colors and shapes. This visual complexity is one of the most fascinating aspects of Appel’s work, which manages to capture the viewer’s attention while leaving him free to construct his own interpretation.
Karel Appel's legacy and its relevance today
More than 15 years after his death, Karel Appel‘s art continues to resonate with art lovers and collectors the world over. His unique approach, blending instinct, emotion and daring, remains a source of inspiration for many contemporary artists.
This “Untitled” work from 1994 bears witness to the timeless relevance of his work. It reminds us that art, when sincere and authentic, can touch hearts and minds deeply, whatever the era or context.
Discover “Untitled” at Galerie Hurtebize
Galerie Hurtebize is proud to present this exceptional work by Karel Appel. A true gem of contemporary art, this canvas is an invitation to explore the vibrant and audacious universe of an artist who has left his mark on the history of art.
Come and discover “Untitled” (1994) and let yourself be carried away by the energy and passion that emanate from this unique creation. This is a rare opportunity to admire up close a work that embodies all the strength and vitality of Karel Appel.
Céline FERNANDEZ
With 15 years' experience in marketing and communications, Céline has worked for major companies such as Public Système, Groupe Galerie Lafayette and several communications agencies. For over 4 years, she has been managing the gallery's communications through the website, social networks and traditional media.
Daniel Buren - Visual and Spatial Exploration at Galerie Hurtebize
Galerie Hurtebize is proud to present works by artists who have left their mark on art history. Daniel Buren, with his formal rigor and ability to transform spaces with simple repetitive patterns, is a valuable addition to our collection. Our gallery highlights works that question, transform and inspire. This work by Buren is an invitation to reconsider urban spaces, through the unique vision of a master of abstraction.
The Language of Shapes and Colors by Daniel Buren
Daniel Buren‘s work, presented here by Galerie Hurtebize, perfectly illustrates the radical artistic approach of one of the most influential contemporary artists. This piece is characterized by its emblematic use of geometric lines, notably red and white squares juxtaposed against a background where contrasts are accentuated by a deep black zone. These simple shapes, organized with rigor, create a fascinating play of perspectives that plunges the observer into an optical and spatial exploration.
What makes this work unique
Buren‘s work is immediately recognizable by the symmetry of its motifs and the minimalist use of red, white and black. The choice of a restricted palette highlights the structure of the work, evoking an interaction between the two-dimensional plane and three-dimensional space. The squares, carefully arranged, seem to unfold along two rising walls, amplifying the effect of depth and provoking a sense of visual movement.
The use of color is equally striking: the intense red contrasts with the pure white, creating an effect of light and volume, while the black part gives the impression of solidity and foundation, anchoring the work in space.
The Meaning of Work by Daniel Buren
Daniel Buren is known for his site-specific interventions and public works that play with architectural space. The theme of repeating geometric patterns is central to his practice, and can be seen in this piece exhibited at Galerie Hurtebize. Buren explores the concepts of limit, context, and how the environment influences the perception of art.
This work uses the codes of geometric abstraction and leads viewers to perceive walls as dynamic surfaces.
Why buy a Daniel Buren artwork?
Owning a work by Daniel Buren is first and foremost an immersion in the world of conceptual and minimalist art. His works are thought-provoking pieces that question spaces and the limits of the artistic framework. As a collector, owning a Buren means participating in a living and influential artistic history, where the visual language of abstraction meets spatial experimentation.
Collectors appreciate his works for their ability to transform the space in which they are presented, creating environments that stimulate critical and aesthetic thought. What’s more, Buren is an artist of international renown; his works are present in the world’s leading collections and exhibitions, guaranteeing both artistic and investment value.
The Visual Power of Buren
Daniel Buren‘s mastery of color and repetitive motifs continues to captivate and transform spaces. This work, with its unique combination of red, white and black, is a perfect illustration. At Galerie Hurtebize, we’re delighted to be able to offer our visitors a chance to see and acquire works that push the traditional boundaries of art. Come and explore, experiment and enrich your collection with one of the most iconic names in contemporary art.
Visit the Hurtebize Gallery to discover Daniel Buren
We invite you to discover this fascinating piece by Daniel Buren and many other works by major artists of the 20th and 21st centuries. Please do not hesitate to contact us to find out more about the works available or to arrange a personalized visit.
Céline FERNANDEZ
With 15 years' experience in marketing and communications, Céline has worked for major companies such as Hopscotch, Groupe Galerie Lafayette and several communications agencies. For over 5 years, she has been managing the gallery's communications through the website, social networks and traditional media.
Contemporary Eclecticism at Galerie Hurtebize: Art in Dialogue
Galerie Hurtebize is delighted to share a selection of contemporary works in which we highlight unique artistic universes, where styles, techniques and themes intersect and dialogue. Each artist explores a singular vision, reinventing our relationship to the world, to matter and to emotions.
Discover the vibrant and captivating works of Julien Colombier, Jan Kolata, François Malingrey, Daniel Buren, Salifou Lindou, Jean-Jacques Marie, and Kim Duck Yong. Their diversity of techniques and perspectives offers a veritable panorama of current trends in contemporary art.
Artists in the spotlight
Julien Colombier : Botanical hypnotism
Julien Colombier invites us into an imaginary jungle with his saturated, stylized plant motifs. His works are explosions of color, where shapes overlap to create an almost hypnotic atmosphere. Through these vivid, dynamic contrasts, Colombier transforms nature into an immersive sensory experience. His use of pastel on large surfaces reinforces the visual intensity of his compositions, offering a soft yet vibrant texture. Each plant element, often simplified and stylized, seems to float in controlled harmony.
Jan Kolata : Color and transparency effects
Jan Kolata explores the infinite possibilities of color through superimposed layers of paint that gradually reveal themselves. His abstract works play subtly with transparency, revealing nuances that interact with one another. Each layer of paint becomes a stratum of light, a translucent veil revealing what lies beneath. This interplay of superimposition and transparency lends her works a unique depth, where colors constantly blend and reinvent themselves, capturing the eye and inviting prolonged contemplation.
François Malingrëy : A reflection of humanity
François Malingrëy‘s work explores the light and shadow of human intimacy. His characters, often strange and unsettling, capture our attention and arouse ambivalent emotions. Her canvases plunge us into complex human realities, blending familiarity and strangeness, offering a profound reflection on the human condition. His technique is marked by an almost photographic precision in the rendering of detail, creating a striking realism that amplifies the unsettling character of his works. Malingrey also plays with strong contrasts between light and dark, reinforcing the dramatic intensity of his scenes and heightening the viewer’s sense of unease or fascination.
Salifou Lindou : A social and political exploration
Salifou Lindou, an artist from Cameroon, tackles social and political issues with an energetic, expressive style. His compositions illustrate intense, emotionally rich human interactions, echoing universal issues. His work, deeply rooted in social reality, brings cultures into dialogue and highlights the power of human exchange. Lindou often uses raw, spontaneous lines, creating a visual dynamism that reflects the energy of human interaction. He also works with mixed media, blending drawing, painting and collage to accentuate the texture and depth of his compositions, reinforcing their visual and emotional impact.
Jean-Jacques Marie : Raw abstraction
Jean-Jacques Marie‘s art is characterized by a raw approach to abstraction. Through a mastery of gesture and material, he expresses a powerful, spontaneous energy. His works reflect a tension between chaos and control, creating pure, intense forms that captivate with their expressive power. He favors broad, free gestures, letting the paint unfold with a certain spontaneity, while maintaining precision in composition. His use of material, often thick and textured, adds a tactile dimension to his canvases, inviting the viewer to physically feel the energy contained in each brushstroke.
Kim Duck Yong : Ephemerality and light
An artist from South Korea, Kim Duck Yong explores the ephemeral through luminous, delicate compositions. His works often evoke twilight landscapes, where light and texture merge in mysterious harmony. He is renowned for his unique technique, combining wood marquetry, paint and mother-of-pearl inlays. He harmoniously blends traditional and contemporary materials, creating delicate works where finely worked wood is combined with touches of color and chips of mother-of-pearl. Each piece reflects a subtle balance between Korean tradition and a modern artistic approach, creating a visual universe that is both timeless and captivating.
An encounter between styles and worlds
Through the works of these seven artists, Galerie Hurtebize celebrates the diversity of form and style that characterizes contemporary art. Each artist proposes a personal and singular approach, offering a range of perspectives that enrich our understanding of today’s world and art.
This plurality of artistic expression finds its strength in the way these creators explore universal themes. Whether nature, humanity, light or matter, each artist approaches these subjects with his or her own sensibility, bringing a unique voice to common reflections.
These artists, though different in style and approach, are united by their ability to transform timeless themes into bold contemporary visions. It is this wealth of styles and points of view that makes this selection a captivating panorama of contemporary art. Far from taking a homogeneous or one-dimensional approach, each work contributes a stone to the edifice of a collective reflection on the major artistic, social and spiritual issues of our time.
Galerie Hurtebize invites you not only to discover works of great diversity, but also to explore how contemporary art constantly pushes back the boundaries of our perception and enriches our understanding of the world around us.
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Céline Fernandez
With 15 years' experience in marketing and communications, Céline has worked for major companies such as Hopscotch, Groupe Galerie Lafayette and several communications agencies. For more than 4 years, she has been managing the gallery's communications through the website, social networks and traditional media.
Interview with Michel MOUSSEAU
Discover our exclusive interview with Michel Mousseau, self-taught painter. To coincide with our exhibition “Michel Mousseau, The 60s“, the artist shares with us his unique career path, his artistic influences and his singular vision of painting. From his first aesthetic revelations to the nudes and still lifes that are emblematic of his work in the 60s, discover the thoughts and emotions that have shaped his work. Dive with us into Michel Mousseau‘s captivating universe and explore the themes and techniques that make his work a vibrant celebration of light and colour.
Q1 Can you tell us about your artistic career and what led you to become a painter?
I’m self-taught, with no formal artistic training. When I was a teenager at lycée, I was lucky enough to see some authentic paintings by Soutine and Modigliani at the home of a friend’s mother, who was a painter herself. It was a revelation.
Also at school, the short films on painting from all periods shown to us in art class by our teacher, Mr Jean Couy, a painter, were very formative for me. He introduced me to Cézanne.
I started drawing very early on, making lots of small, very precise drawings, which I unfortunately threw away. After that, I went to evening painting and drawing classes on Boulevard du Montparnasse in Paris. I was very assiduous but never received any advice from the painters or draughtsmen who taught there.
My first aesthetic emotion was discovering the ocean at Pornic. Coming from Paris by bike, I remember the violence of that dazzle, that horizon so far away from the sea.
I must add that what seems to me to have been very formative in my journey as a painter are the worlds of my two grandparents. One was a blacksmith, the other a baker. I have an image of the forge, it was a very dark place. And there was this glint of red iron on the anvil in the middle. These two worlds, one of Black and fire, the other powdery, flour-white, making everything light and silky, including the floor and walls, these two worlds created a chromatic base that I have never stopped developing.
Q2 Which artists or artistic movements have most influenced your work, particularly in the 60s?
I discovered Cézanne, Rembrandt and Gainsborough. Cézanne and Matisse are familiar to me. I discovered Les Ménines by Vélasquez at the Prado in Madrid. It was also a time when I saw major exhibitions devoted to Picasso and Poussin, whose The Seasons touched me deeply. But what really struck me first in painting was De Staël. Klee, Mondrian and Joan Mitchell are among the painters whose work particularly interests me. Jean Hélion was also one of my discoveries at the time.
Q3 What inspired you to create the nudes and still lifes presented in this exhibition?
I was struck by the work of Richard Lindner, for example. He’s an American painter. The fundamental problem with his work is the relationship between things and the flesh, the flesh being a particular element of what surrounds us. I loved painting nudes, with their design and movement.
I see my work as a painter as a quest, a search, to which I associate the notion of pleasure. For me, research and pleasure are two words that define my attitude to painting. I left the Sorbonne and the wonderful Jankélévitch to live painting.
Q4 Can you explain your choice of colours and textures in your 60s paintings?
I come back to the image of the forge. This question of origin, in many ways including the reference to Courbet, is at the heart of my research. Courbet and the Origin of the World rather than the Impressionists. Perhaps that’s where my taste for black comes from, because black generates light, receives light, whereas yellow reflects it. Yellow is brilliant, it’s like gold. Soulages only worked with black, but his blacks are often coloured.
Over a long period of time, I’ve been interested in the “Fabrique du Noir”, or the Black as internal light. In other words, black is either red or blue, hot or cold, it is itself a varied colour, whereas lemon yellow is always lemon yellow, it’s a bit silly, it only reflects lemon yellow.
I insist on the continuous nature of my work. If there are periods, they are periods of continuity, the continuity being light and therefore light from what I call “The true colour of things“. It’s a title given to me by the poet Georges Schehadé. The true colour of things, that’s what I’m looking for.
But let’s not forget the fundamental pleasure of spreading colour, of receiving colour in the eye – it’s mysterious, it’s magnificent.
Q5 How do you approach the theme of intimacy in your nudes?
My subject is painting. For me, it’s not about reproducing or representing “things”, an object, a body or a landscape, but about capturing what catches the light.
My Nudes have been described as “pensive”. Thoughtful, yes, in the sense that I don’t tell stories. I’d say more detached, with a certain contemplative distance. It’s completely sensual, in the sense that a human body is not an object but a receptor of light.
Painting is first and foremost about seeing and making others see. Revealing without getting bogged down in anecdote. Painting expresses reality in all its transience and strangeness. It gives to see, it is to be seen. My painting is neither descriptive, narrative nor explanatory. I don’t paint objects or nudes, but I paint the light on objects and bodies in relation to the space in which they are.
So there is no question of intimacy, even when the subject is a human body. The human body, along with its surroundings, is a place that is taken over by painting, which searches for and through itself.
I see continuity in my work, I repeat. Continuity in the search for light, for matter, for that which resists the superficial gaze.
To paint nudes is not to try to capture or provoke desire or eroticism; it’s to investigate the enigma of reality that the painter’s gesture attempts to define through form, texture and colour. It is up to the viewer, if they so wish, to interpret the motif, the subject if that is what interests them.
Q6 How did the 60s influence your art?
During the period when I painted the canvases you are exhibiting, I wasn’t at all on the lookout for political or other events. At that time I lived in an artistic and intellectual milieu that included Roland Topor, Olivier O. Olivier and the regulars at Castel. In the theatre, I worked with Georges Wilson, Georges Vitaly and Daniel M. Maréchal, saw Pierre Arditti, Claude Brasseur and Sylvia Montfort, and was in contact with gallery owners Margueritte Motte and Robert de Bolli. I met a lot of poets, including André Salmon and Georges Schehadé. I live between Paris, Brittany and the Var.
My annual visits to the Cotentin region began in 1964. There I rediscovered the immensity of the skies and the sea. This was to give a new direction to my work.
Q7 What message or emotion would you like to convey through your work?
Open your eyes. To look. Seeing, that’s my project. I’m an optical glutton. The viewer is free.
How can we not hope that art remains at the heart of our lives?
Q8 What do you think is the place of art in today’s society?
Today’s art is more oriented towards representation and illustration than towards exploration. Contemporary art is more about DIY. I would say that Picasso was a genius at tinkering.
I ask the question, what does it mean to ‘see’? Because if you can’t see any more, what’s left? There’s nothing left. What is dying, if not no longer seeing? In short, painting is like a touchstone for existence.
Painting is a gesture of recognition, a form of homage to Creation. It is also a privileged meeting place with oneself and with those who have contributed to making the world a living place.
Céline Fernandez
Forte d’une expérience de 15 ans dans le marketing et la communication, Céline a travaillé pour de grandes sociétés telles que le Public Système, le Groupe Galerie Lafayette et plusieurs agences de communications. Depuis plus de 4 ans, elle gère la communication de la galerie à travers le site internet, les réseaux sociaux et les médias traditionnels.
Bosse (1971) by Georges Mathieu: A Calligraphic Work at Galerie Hurtebize in Cannes
Galerie Hurtebize in Cannes presents “Bosse” (1971) by Georges Mathieu, a pioneer of lyrical abstraction. Created using a mixed technique on paper, this work perfectly embodies the artist’s innovative spirit and technical mastery.
Georges Mathieu: A Master of Lyrical Abstraction
Born in 1921, Georges Mathieu has become a leading figure in lyrical abstraction, an artistic movement that favors spontaneity and emotional expression. In contrast to geometric abstraction, Mathieu favors immediacy and improvisation, creating works in which every stroke reflects pure, immediate emotion. His bold approach not only marked his era, but continues to inspire contemporary artists. His public performances, in which he painted gigantic works in a matter of minutes, captured worldwide attention and set new standards in the world of abstract art.
Description of work "Bosse" (1971)
“Bosse” is a perfect illustration of Georges Mathieu‘s lyrical abstraction. The work is composed of a set of very fine gold, black and white signs, arranged in such a way as to create a calligraphic harmony. Positioned in the center of a deep black background, this minimalist arrangement of lines and shapes induces an intense energy. The contrast of colors and the finesse of the strokes underline the artist’s dexterity and the depth of his artistic vision.
- Color Palette: The work uses a restricted palette of three colors – gold, black and white – which reinforces the visual and emotional impact of the composition. This deliberate limitation of colors highlights the brilliance of the golds and the sobriety of the blacks and whites, creating a captivating visual tension.
- Techniques used: Finely worked in gouache, every line and sign testifies to the artist’s speed of execution and freedom of gesture. This technique captures the immediacy of gesture and the fluidity of movement, making each work unique and spontaneous.
- Harmonious Layout: Signs are arranged to create a harmonious, balanced whole, evoking abstract calligraphy. This arrangement reveals a meticulously considered composition, where each element finds its place to form a coherent, expressive whole.
The Principles of Lyrical Abstraction
Georges Mathieu overturned theories of painting by defining four fundamental criteria for creating his works:
- Primacy of Speed of Execution: Speed captures the essence of the moment and expresses raw energy. This approach favors spontaneity, eliminating any form of calculation or rigid planning.
- No Pre-existence of Forms: Shapes are not predefined, allowing total creative freedom. This absence of prior structure gives rise to pure authenticity of artistic expression.
- No premeditation of gestures: Every gesture is spontaneous, reflecting the artist’s authenticity and sincerity. This method values instinct and raw emotion, as opposed to intellectualization and rigid technique.
- Necessity of a Second State of Concentration: The artist must achieve a state of intense, almost meditative concentration to create works of such intensity. This state enables the artist to transcend ordinary consciousness and access a deeper, truer form of expression.
The Calligraphic Period of Georges Mathieu
Prior to his flamboyant 80s period, often referred to as the “fireworks” period, Georges Mathieu explored a significant calligraphic phase. It was during this early period that Mathieu defined the foundations of his distinctive style. Influenced by oriental calligraphy, he developed a technique that blends speed and precision of gesture.
The influence of the Far East
In 1957, during a stay in Japan, Georges Mathieu came into contact with Japanese calligraphy and tradition, which considerably enriched his artistic approach. André Malraux had already described Mathieu as a “Western calligrapher” in 1950, establishing a link between his work and Far Eastern calligraphy. Mathieu was inspired by the calligraphy techniques used by Buddhist monks, where writing and ink painting are often inseparable.
The Calligraphic Nature of the Work
In the Far East, calligraphy is often imbued with a philosophical and spiritual aspect, in contrast to Western calligraphy, which is more focused on the aesthetics of beautiful writing. Mathieu has transcended this dichotomy by integrating the speed and spontaneity of Eastern calligraphy into his own work. In this sense, his works are not limited to mere aesthetics, but become a pure expression of emotion and energy.
Speed and Sign
Georges Mathieu bases his research on the abstraction of his signs. For him, the abstract sign denies any meaning prior to its creation, in contrast to traditional calligraphy where each sign has a precise meaning. In 1963, in his book “Au-delà du tachisme”, Mathieu explains that the background of his canvases takes on more uniform tones, making the signs more independent and precise. This rapidity of execution and spontaneity of gesture translates raw, immediate emotion, a principle that is repeated in “Bosse“.
Discover "Bosse" at Galerie Hurtebize
Galerie Hurtebize in Cannes invites you to discover “Bosse” and plunge into the expressive, dynamic world of Georges Mathieu. This unique piece is a true testament to his innovative artistic approach. “Bosse” is an invitation to feel Mathieu’s creative energy and appreciate the beauty of lyrical abstraction in all its splendor.
Céline Fernandez
With 15 years' experience in marketing and communications, Céline has worked for major companies such as Public Système, Groupe Galerie Lafayette and several communications agencies. For over 4 years, she has been managing the gallery's communications through the website, social networks and traditional media.
Hans Hartung : Exploring his Lyrical Abstraction
Hans Hartung, born in Germany in 1904, is a central figure in 20th-century abstract art. His work, marked by a relentless search for new forms of expression, bears witness to his creative genius and lasting influence on modern art. Through his works, Hartung explored a variety of techniques and styles, constantly evolving and pushing back the boundaries of abstraction. This article explores three key works by Hartung, produced in 1939, 1976 and 1988, illustrating his artistic journey and the evolution of his technique.
A Work of 1939: Geometric Inspiration
In 1939, the year of his marriage to Roberta Gonzalez, Hans Hartung created a landmark body of work that testifies to his brief exploration of geometrically inspired abstraction. This period of his work is characterized by a move away from his usual abstract representations, concentrating instead on shapes, lines and structures.
This 1939 piece is emblematic of this experimental phase. It presents a balanced composition of geometric shapes and lines drawn with great precision and delicacy, reflecting Hartung’s meticulous search for a new aesthetic. Shades of gray and beige dominate the palette, creating a sober, elegant ambience that emphasizes the purity of form.
The work also shows the influence of modern European art, notably Cubism and Constructivism, movements that had a profound impact on Hartung’s quest for artistic innovation. Although it is not certain whether this piece was a wedding gift, it represents an intimate link between his personal life and his artistic evolution.
To fully appreciate this work, one must consider not only its visual beauty but also its historical context. It marks a milestone in Hartung‘s career, characterized by a constant quest for innovation and artistic expression.
Abstraction in the 70s: a period of change
In the 1970s, Hans Hartung found himself in a transitional period marked by the transition from the scratch techniques of the 1960s. This period is characterized by a style of abstraction in which he uses energetic, spontaneous brushstrokes to express a new intensity and freedom compared to his early geometric explorations.
This 1976 work, characterized by swirling black lines and bursts of vibrant color, is a good illustration of this period. Here, Hartung adopts a gestural approach, where each brushstroke seems a direct extension of his state of mind. The bright blue running through the work adds a depth and vitality that contrasts magnificently with the darker tones.
Blue is not chosen at random; it demonstrates Hartung‘s ability to use color to evoke different atmospheres. A symbol of calm and serenity, blue blends with the turbulence of black lines, creating a captivating visual tension.
This work also illustrates Hart’s move away from the scratching technique typical of the 60s, and a new approach to abstraction.
Hartung‘s lyrical abstraction reflects a quest for freedom and pure expression. By freeing himself from formal constraints, he succeeds in conveying feelings and sensations with a rare immediacy. His 1976 work embodies this quest for direct, instinctive artistic communication.
A Work from 1988: Hartung's Ultimate Achievement in Abstraction
The 1980s marked the last period of his career, the ultimate culmination of his abstraction, which was very different from his earlier paintings. From 1986 onwards, Hartung was very weak and could no longer manipulate the instruments he usually used to paint. He then turned to innovative techniques, working on the projection of paint streams using zip-lines, airless spray guns and garden sulfate machines.
This 1988 work, created just after the death of his wife Anna-Eva Bergman in 1987 and the year before his own death, is typical of his work during this period. Hartung emancipated himself from traditional forms, articulating his work around two recurring vocabularies: interlacing and zone-by-zone color. He creates a background with a gun that sprays color in a nebulous manner, then draws over it with a garden sprayer. The colors, dominated by shades of blue and white, show a technical mastery and increased sophistication in his use of materials. The contrast between bursts of blue and white textures creates a rich visual composition, illustrating the evolution of his lyrical abstraction. Subtle fluorescent yellow speckling also appears in the work, adding a touch of luminosity and depth, and demonstrating once again Hartung‘s ability to exploit every nuance to enrich his compositions.
Hartung approaches the new tools with the same curiosity and rigor he had for the more traditional techniques. He experimented, moving from discovery to mastery, physically memorizing the possibilities offered by these new tools.
The 1988 work reflects this technical exploration, with the rapid, controlled execution that characterizes his style. Speed of execution is an essential feature of this work. The tools used demand a double mastery: that of gesture and that of time. Hartung, who has always experimented with the temporal dimension of his techniques, knows perfectly well how to play with these elements to create dynamic, moving compositions.
Hans Hartung left an indelible mark on abstract art, constantly exploring new forms of expression. His works from 1939, 1976 and 1988 bear witness to his stylistic evolution and his capacity for constant innovation. Through his various periods, Hartung always sought to capture the essence of emotion and movement, leaving a rich and varied artistic legacy.
Céline FERNANDEZ
With 15 years' experience in marketing and communications, Céline has worked for major companies such as Public Système, Groupe Galerie Lafayette and several communications agencies. For over 5 years, she has been managing the gallery's communications through the website, social networks and traditional media.
French Landscapes: Impressionist and Postimpressionist
Rediscovering French horizons: a journey from Impressionism to Postimpressionism.
Galerie Hurtebize is proud to present its exhibition, “French Landscapes : Impressionnism and Postimpressionnism“, offering a fascinating immersion in French landscapes as interpreted by the emblematic figures of these artistic movements. As we celebrate the 150th anniversary of Impressionism, our exhibition takes on a special resonance. A century and a half ago, a group of daring painters broke with convention to explore new ways of capturing the moment on canvas, giving birth to what would come to be recognized as one of the greatest artistic revolutions in history.
This exhibition is a vibrant tribute to a movement that changed the course of art forever. It invites visitors to contemplate works that continue to embody the spirit of innovation and freedom of expression that animated these revolutionary artists. As you browse through the exhibition, you’ll feel the effervescence of that seething period, when every brushstroke testified to a passionate quest to capture the ephemeral.
Our collection is a celebration of the diversity and richness of the French landscape, and a recognition of its central role in the development of these two movements that had a lasting impact on the world art scene.
Works by Pierre-Auguste Renoir, Alfred Sisley, Albert Marquet, Henri Manguin, Henri Martin and others interact within the exhibition, offering a rich and diverse representation of the French landscape. They celebrate land, water and sky, capturing with a personal touch the beauty of France that continues to fascinate and inspire.
It is with great pleasure that we open our doors to reveal canvases where nature is sometimes gentle and soothing, sometimes lively and tumultuous. The works selected for this exhibition celebrate the splendor of the countryside, the poetry of villages and the wildness of the French coastline.
Lumières Fugitives: When the Impressionists Painted the Moment
Pierre-Auguste Renoir the master of light
The masters of Impressionism, such as Pierre-Auguste Renoir with his famous “Maison Blanche”, revolutionized the perception of light and color, opting for rapid, colorful strokes that capture the essence of the moment. The work presented here, “Paysage“, depicts a view of the olive groves of Cagnes-sur-Mer, a vibrant testimony to the last years of the artist’s life. Renoir, in search of light and warmth for his old age, had settled in the south of France, and it was here, in the heart of luminous Provence, that he captured the immortal beauty of his olive groves at the Domaine des Collettes. The work is a whirlwind of vivid color and movement, where the brush dances and plays with light, evoking the warm breeze of a Mediterranean afternoon. The palpable texture of the paint and the spontaneity of the brushstrokes suggest an artist in full communion with his environment, capturing the vibrant essence of twisted trees and the generous earth that nourishes them. Through these almost abstract forms, we can feel the deep and lasting impact that nature and this particular corner of France have had on the artist.
Alfred Sisley, the pure Impressionist
Alfred Sisley‘s “Matinée d’Octobre près du Port-Marly” is a gentle, melancholy view of a river landscape, with trees leaning gracefully over the water, bathed in the morning mist of early autumn. His work captures the transient essence of light and atmosphere with a subtlety that is the hallmark of the great Impressionist masters. This work by Alfred Sisley is interesting for its location, the town of Port-Marly, at the heart of the artist’s creation. Its counterpart is on show at the Städel Museum in Frankfurt am Main, Germany.
Albert Marquet and the beginnings of Post-Impressionism
Albert Marquet, known for his views of the port of Saint-Tropez, captures the reflections and changing nuances of the water with finesse. “La Route de l’Estaque” and his “Jardin du Luxembourg” scene bring a more structured, colorful perspective, typical of the evolution towards Post-Impressionism. He balances form and color, creating scenes that are both immediate and timeless. Marquet gives us urban and coastal landscapes tinged with a poetic tranquility, a distinct luminous quality that reflects the serenity of a scene from everyday life.
Colors and contours: The vibrant legacy of the Postimpressionists.
Henri Martin and his free pointillist style
Alongside them are the postimpressionists, whose work, at the heart of Henri Martin‘s “Printemps à la Bastide du Vert” exhibition, shimmers with timeless grace, inviting contemplation. This artist, less popular than his Impressionist counterparts but just as captivating, brought Post-Impressionism to a lyrical and intimate scale. The painting presented here, a depiction of the Bastide du Vert, captures with poetic delicacy the church and poplars that stand like sentinels around the village, under a light that seems to pulsate with the rhythm of rural life. Martin’s technique, with its pointillist strokes and rich palette, transports us into an atmosphere imbued with tranquility. It’s not just technical skill that reveals itself before our eyes, but a deep understanding and love of the French countryside that manifests itself in every part of the canvas. Martin, with his unique ability to translate the peaceful majesty of the landscapes of south-western France, offers us an almost ethereal vision of nature. His work is a call to feel the harmony that emanates from the fields, trees and old stone walls of these places he so cherished.
Henri Manguin and the colorful exuberance of Fauvism
The exhibition would not be complete without the work of Henri Manguin, an outstanding colorist who followed in the footsteps of the Fauvists with his own sensibility. The year 1921 saw the birth of his work “Paysage autour de Gassin“, a vibrant summer canvas, where warm hues and deep shadows tell the story of a Provence both wild and domesticated. A few years later, in 1925, Manguin paid tribute to the beauty of the Côte d’Azur with “Vue sur le Golfe de Saint-Tropez“. This piece captures the essence of a region bathed in light, where sky and sea embrace in a harmony of blues and greens, punctuated by the reds and yellows of the trees and flowers that adorn this coastal landscape. These two paintings testify to Manguin‘s talent for immortalizing the subtle nuances of southern light. Contemplating them, you can almost feel the warmth of the Mediterranean sun and the scent of pine trees. Their presence in the exhibition offers a fluid transition between the softness of Impressionism and the colorful exuberance of Fauvism, showing how French landscapes continued to inspire and transform art, even after the Impressionist era.
We invite you to let yourself be carried away by this pictorial odyssey. Observe how landscape transcends its simple representation to become a vehicle of emotion and expression. It is a universal language, an adventure in perception where the canvas becomes a meeting place between the viewer and the artist’s inner vision.
Franch Landscape: Impressionnism and Postimpressionnism opens up a silent but powerful dialogue between works and visitors. The gallery awaits you for a unique experience that promises to enrich your understanding of art and make you see France in a new light.
The Galerie Hurtebize team looks forward to seeing you.
Céline Fernandez
With 15 years' experience in marketing and communications, Céline has worked for major companies such as Public Système, Groupe Galerie Lafayette and several communications agencies. For over 4 years, she has been managing the gallery's communications through the website, social networks and traditional media.
Francis GUERRIER, the Nature-Sculpture
From a line of artists, from his grandfather to his two daughters, Francis Guerrier was born in 1964 in Marseille and lives today in his childhood home in Eygalières, which he has decorated with a huge studio bathed in light.
More than the mastery of artistic techniques, his family environment transmitted to him a strong sensitivity to art. But he waited until the death of his painter father Raymond Guerrier to be able to call himself an artist and he chose sculpture, turning his back on the painting practiced by the Guerrier family for two generations.
He left for Paris at the age of 19 and, the following year, began his creative activity with the architect-scenographer Pierre-Henri Magnin, who introduced him to the world of decor and scenography and whom Francis considered his master.
He got married and became a father at a very young age, which led him to create his own company for the creation of sets and scenography for events at the age of 25 in order to provide for his family’s needs more serenely. For ten years, in order to meet his clients’ wishes, he had to master many tools and media: video, laser, sound and light installations, but also construction materials, wood and steel. A rich experience but restrictive because it is time-consuming and limiting: he wants to expand his field of creation, give free rein to his imagination and no longer simply honor orders.
In 2000, at the age of 36, he sold his company and sailed for 4 months in the Mediterranean to discover the sites listed as World Heritage by UNESCO, from Italy to Egypt through Syria. On his return, he knew he wanted to be a sculptor. He then made a break in his professional career, which was nevertheless flourishing, in order to feel in phase with his deepest values and to respond to the imperative need to return to his roots. At first, he settled in Paris in his grandfather’s studio, which was also André Derain‘s studio. He then discovered the painted work of his grandfather and this universe became his main inspiration. In 2002, he held his first exhibition of his sculptural work around the sky, dreams and memory, where he integrated light into the steel, wood, glass and copper that make up his creations.
But Francis Guerrier has a need for grandeur and dreams of creating a monumental work “that puts man in his place”. He also feels that nature and the light of the south are necessary for him. In 2015, he moved with his second wife to Eygalières and rediscovered his roots. While still working as a set designer to satisfy his passion for theater, he further developed his know-how and his own technique and could finally tackle the realization of sculptures of impressive dimensions, such as his 12-meter high Feather. In 2005, the Galerie Guigon in Paris allows him to present his new work of steel based on the folding and the curve.
"I don't model my sculptures, I work from a sheet of metal that I cut and shape. By honoring the material, by respecting its energy, its spring, its possible curvature, I reach balance, harmony, I find nature... And it is nature, in its purity but also its complexity, which is my first inspiration. Curves, moons, trajectories and spirals so often present in nature, from shells to galaxies, are my writing. I do not seek abstraction, but on the contrary, to get closer to the original forms."
The black steel sheet becomes his medium of choice. He developed a technique of incising the metal and cold bending of flat plates by which he seeks to honor the material and find balance and harmony after the struggle. His Euclidean forms are inspired by nature, the cosmos and the stars, and volume is created through folding.
"It is with the black steel sheet, hard and springy, that my exchange with the material is the strongest. My main work with steel consists of cutting it, but above all, bending it into a curve. If I draw, it is the steel that takes shape and creates its volumes by its energy."
Monumental and yet light, black and yet luminous, soft and angular, his sculptures with pure, sober and elegant lines are the result of a manufacturing process very personal to the artist who lets himself be guided by the resistance of the material in order to find a true synergy between the work and its environment and offer new perspectives in the landscape.
"From this struggle with metal, I win if I tame, if I honor the material, I reach balance, harmony, I find nature..."
Strong and energetic while being pure and sober, Francis Guerrier’s sculptures seduce us with the voluptuousness of their curves and the momentum of their lines. A true link between earth, sky and sea, they reflect the personality of their creator: “Head in the stars and feet on the ground”.
Maud Barral
After 15 years spent as the assistant of the famous gallerist Jean Ferrero, whose gallery has been the main center of creation for the artists of the School of Nice and the Nouveaux-Réalistes movements, Maud has then opened for 5 years her own gallery, supporting contemporary young artists. Then, she has decided to enter the Galerie Hurtebize, in 2015.
Raoul Dufy, Mon Docteur le Vin, 1936
In 1822, Nicolas revolutionized the world of wine by bottling precious nectars for home consumption.
Since 1930, in order to thank its most loyal customers, Etienne Nicolas publishes every year for Christmas a catalog illustrated by an artist. Today, this long series of 35 books is a real treasure for art and wine collectors. Over the years, Kees Van Dongen, Jean Hugo, Bernard Buffet, André Derain, Bernard Lorjou, Raymond Guerrier and Raoul Dufy, among others, have collaborated in the creation of these brochures.
We recently had the opportunity to acquire an exceptional set of 7 original drawings by Raoul Dufy reproduced in the 1936 catalog published by Nicolas & Draëger Establishment, a famous printer and engraver in Montrouge, entitled “Mon Docteur le Vin“. The 20 watercolors created for the occasion were the subject of an exhibition that same year at the Galerie Bernheim-Jeune in Paris. We also found an original edition of the book, signed by Dufy.
From the first page, the tone is given: “My Doctor the Wine? Yes, because his precepts, as old as the world, are justified more and more each day by science. After the First World War, Marshal Pétain, in his introduction “Homage to Wine”, indicates that “wine has been, for the combatants, the beneficial stimulant of the moral forces as well as the physical forces – thus it has largely contributed, in its own way, to the Victory”. And the benefits of wine are listed in the summary: vitamins and radioactivity of wine; wine against typhoid fever, depression, anemia, diabetes or obesity; wine for the kidneys, the maintenance of youth and aesthetics, character and morale; indispensable to writers, artists and athletes. And finally, wine makes men handsome and promotes longevity! The quotation of Professor P. PIERRET will serve as a conclusion: “Wine carries with it cheerfulness, strength, youth and health. It is sunshine in a bottle”. So, who better than Raoul Dufy to illustrate such a book?
« If I could express all the joy that is in me » Raoul Dufy
Painter of optimism, festivity and worldliness, Raoul Dufy has a marvelous look at the world and transmits through his colorful and poetic painting, a joyful feeling of well-being and life. As Pierre Camo says so well in “Dufy, l’Enchanteur” (ed. Marguerat, 1947) “Everything is fresh, lively, clear, joyful like spring in nature or youth in life”. The titles given to exhibitions and various tributes dedicated to the artist testify to this: “Raoul Dufy. Le Plaisir” (Museum of Modern Art, Paris, 2008); “Raoul Dufy. A Spectacle of Society” (Connaught Brown Gallery, London, 2016); “The Colors of Happiness” (Jean Cocteau Museum, Menton, 2017); “The Lightness of Raoul Dufy” (Angladon Museum, Avignon, 2017).
His style corresponds exactly to the spirit of “Mon Docteur le Vin“, a work linking humor, finesse and precision.
At the age of 13, the young Raoul imposed his choice to become a painter on his family of musicians and left his native Normandy to train at the Ecole des Beaux-Arts in Paris. Influenced at first by the Impressionists and then by the brilliance of color in the Fauves, he admired Cézanne more than anyone else and it was in the Provençal lands dear to Cézanne that he found his own language and developed his principle of “light-color”.
"In 1919 Dufy suddenly became Dufy. The hand is freed, his line gains in flexibility and strength. Above all, he devoted himself to watercolor, which allowed him to render the beauty of the landscapes of Provence, their transparencies and their lights. (...) His painting acquires a new dynamism. The forms gain in lightness and balance. His drawing is faster, more exalted. He feels a desire to create which reflects all his joy of artist conscious to have reached maturity and all the happiness of a world henceforth liberated ".
Fanny Guillon Laffaille
The essential characteristics of Raoul Dufy’s style were born and would never leave him: dissociation of line and color; sketched but dynamic and lively figures; chubby and voluptuous curves; simple, supple and expressive lines; flamboyance of color that becomes light. In 1936, the year of the publication of “Mon Docteur le Vin”, Dufy was already known worldwide and had personal exhibitions in New York, Brussels, Prague…
Endowed with an exceptional gift of drawing and coloring, it is through drawing and more precisely through watercolor that he reveals his true talent and releases his lively and graceful gesture. From the 1930s, Dufy gave more and more space to his graphic work and worked on the possibilities offered by the use of his “puddles of color” that precede his line.
"Any drawing by Raoul Dufy is in some way his signature
and what is agreed to call inimitable signature."Jean Cocteau
Raoul Dufy does not seek to represent materiality but offers a very free and subjective interpretation of his subject where reality and imagination intersect. If one finds recurring themes and motifs in his work (orchestras, landscapes, portraits, horse races…), the artist is eclectic and expresses himself through various media, multiplying experiences: drawing, painting, sculpture but also decorative arts, illustration, tapestry, sets and costumes. His calligraphic surety, the simplicity and purity of his subject, his extraordinary sense of composition, the suppleness of his lines and the brightness of the colors dissociated from the line will remain recognizable among all, whatever the chosen support.
A relentless worker, he produced no less than 4,000 drawings and 2,000 paintings, among other ceramics, fabrics, tapestries… a fruitful career if ever there was one, and success and international recognition were at hand! One year before his death, in 1952, the XXVIth Venice Biennale awarded him the Grand Prize for Painting to crown his work.
Hoping to have given you the desire to discover the serie, we are waiting for you at the gallery to present you this magnificent set of original watercolors that have not taken a wrinkle and make your heart happy!
Discover an extract of the book “Mon Docteur le Vin”.
Maud Barral
Après une expérience de 15 ans passés aux côtés de Jean Ferrero, directeur de la galerie historique de l’École de Nice et des Nouveaux Réalistes, Maud a ensuite défendu la jeune création contemporaine durant 5 ans, au sein de sa propre galerie, avant de rejoindre l’équipe de la Galerie Hurtebize en 2015.
Venet's drawing
Bernar VENET, a French artist born in 1941 and living between France and the United States since the 1960s, is today known worldwide for his sculptures and recognised for his monumental installations in the public domain.
We would like to focus here on another part of his compositions: his graphic work. We will base this article on two works on paper recently acquired by the gallery, which perfectly illustrate the importance of drawing in the sculptor’s creative process.
Bernar VENET – Two Undetermined Lines, 1989 – Oil pastels on paper – 76.2 x 76.2 cm
“First, I have a vision. Then I make a small drawing with the main precaution being the question of proportions “.
From his first artistic experiences, Bernar VENET gives the drawing a predominant and omnipresent place. From mathematical formulas written with ink on large papers, to industrial technical diagrams presenting the physical characteristics of an object produced and shown at the same time in volume, Venet’s graphic works are inseparable from his sculptures.
Like many artists, drawing is the first stage in Bernar Venet’s work and he will build his sculptural project through it. Moreover, the sculptor can be felt behind each of the artist’s sketches: the relief and perspectives make each drawing a wall sculpture. The flat work seems to be already present in volume, it seems to come out of its frame. Here, the preparatory drawing is not a sketch but a fully-fledged, finished work that stands on its own and presents us with the essence of the subject to which Venet will give life. The movement, relief, texture and colours of the pastel give us the grainy, rusty aspect of the Corten steel that will constitute the material of the sculpture to be born. The attention is already entirely concentrated on the form, no superfluous detail disturbs the eye. Ingres gave this advice to his students: “Have the figure you want to represent entirely in your eyes and in your mind, and let the execution be nothing more than the accomplishment of this already possessed and preconceived image”. With a lively, sober, powerful and elegant gesture, Venet goes straight to his goal, follows his Line, a central element of his work since the 1960s, the volume of which he already feels, and remains faithful to what he calls the principle of equivalence, which makes it possible to transmit the same content through different channels.
The second stage is the casting of the sculpture in black or Corten steel according to the drawing. Then, in a third step, the artist will try to give yet another vision of his work, this time from a photographic view of his sculpture.
In Venet’s case, there is an absolute circularity between drawing, sculpture and photography. The form and its metaphors are contiguous and reflect the artist’s desire to achieve the absolute object, one whose aspect refers only to itself without expressiveness, totally neutral, depersonalised. This was already the aim of Bernar Venet during his first artistic experiments based on the use of diagrams and mathematical formulas, or also through his performance around the “coal pile”: “The charcoal, placed freely in a heap, freed the sculpture from the apriorities of the composition imposed by the artist. The material, always poor (coal, tar, steel…), used for its own capacities, decides on its own form which will be different with each use, thus allowing the artist’s personality to disappear behind his work. Through the raw and industrial materials he chooses, Venet further emphasises the radical and self-referential nature of his research: the work must speak only of itself and not of the artist. It is on this monosemia principle that he has based his thinking since the beginning.
Bernar VENET – Indeterminate Line, 2016 – Photograph and charcoal on paper – 220 x 153 cm
This Indeterminate Line, created in 2016, is entirely representative of the style and strength of Venet’s work: at once minimal and monumental, even colossal, the line takes over the space with its presence and movement. Here we are faced with what could be described as the third stage of his work: after the preparatory drawing and the making of the sculpture, the artist seeks to give another vision of this volume. He then chooses an angle of view which he fixes photographically and reworks into a flat. The photo is then cut out following the contours of the sculptural form, pasted onto a large white paper and reworked with charcoal. This tool, made from charcoal (well, look at that…), used since prehistoric times in cave art, which is as raw as it gets, is generally associated with preliminary work because it is very easily erased. Here again, Venet goes against the grain. He glorifies charcoal through its use in the final work. The specific characteristics of charcoal allow him to add depth to his work and to play with light by varying the value of the black, more or less blurred. The rough and raw texture of charcoal can also recall the feel of steel. And the circle is complete!
«Expanding the field of the visual world»
Bernar Venet became an artist at a time when lyrical abstraction was exploding in France and conceptual art in the United States. He did not adhere to these movements and sought something else to broaden the field of creation. He therefore found his inspiration elsewhere, in disciplines outside the art world such as mathematics, geometry and physics.
His work will develop around a theme: the Line, which will become straight, curved, indeterminate before being transformed into Arcs and Angles. From the outset, his work was radical, even austere, compared to the generally lyrical and colourful abstract art of the 1960s. Using black and industrial materials, with a minimal and deliberately inexpressive gesture, he wanted to achieve the absolute object, one whose form would refer only to itself and not to the artist’s “style”. He remained faithful to the initial principles of his creation (principle of equivalence, refusal of aesthetics and monosemia principle) on which he based a protean work: paintings, sculptures, drawings, photographs, architecture, poetry, sound works, films…
A major artist of conceptual and minimal art, the father of informal art born with his “coal pile “, Bernar VENET is today present in some sixty museums throughout the world and receives numerous public and private commissions for permanent and often monumental installations.
Maud Barral
After 15 years spent as the assistant of the famous gallerist Jean Ferrero, whose gallery has been the main center of creation for the artists of the School of Nice and the Nouveaux-Réalistes movements, Maud has then opened for 5 years her own gallery, supporting contemporary young artists. Then, she has decided to enter the Galerie Hurtebize, in 2015.
