Céline

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.

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.

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.

“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.

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.

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.

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.

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 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‘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, 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‘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.

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.

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.

Follow us on our Intagram page @galeriehurtebize.

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.

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.

“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.

1. 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.
2. 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.
3. 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.

Georges Mathieu overturned theories of painting by defining four fundamental criteria for creating his works:

1. 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.
2. 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.
3. 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.
4. 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.

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.

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.

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.

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“.

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.

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.

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.

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.

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.