(Boulogne-sur-Mer 1921–2012 Paris)
Trélazé, 1969, signed and dated Mathieu 69 on the front, oil on canvas, 100 x 81 cm, framed

Photo certificate:
Comité Georges Mathieu, archive no. GM60019, 26 October 2016

Provenance:
Galleria del Milione, Milan, no. 11362 (label and stamp on the reverse)
Galleria Elleni, Bergamo
Galleria Rossovermiglio, Padua (stamp on the reverse and certificate available)
European Private Collection

Exhibited:
Milan, Georges Mathieu, Galleria del Milione, 1 October-20 October 1969, exh. cat. no. 11
Bergamo, Galleria Elleni, March – April 1990, exh. cat. with ill

Mathieu’s pictorial writing is grounded in a certain number of basic signs and it would be of interest to list and define these in an attempt to shed light on this mysterious artist. These dynamic signs act, either simultaneously or one at a time, as springboard, launch pad and trajectory for the development of his works. Around 1965 the artist began to sense that the distinctive qualities of his calligraphy could represent a risk of excessive automatism.
Clear headed as ever, he therefore decided to neutralise this element, introducing instead a system of straight vertical and horizontal lines and static elements in the form of well-defined areas. These obstacles, which Mathieu had constructed in opposition to his own virtuosity, facilitated the birth of new series [...].
The disciplined restraint that gave birth to numerous successful works appears to have relaxed from one side to the other in an explosive work, in which Mathieu appears to be freer and more inspired than ever.
Paul Seylaz

A photo certificate will be issued by Comité Georges Mathieu which confirmed the authenticity of this work.

Provenance:
Galleria del Milione, Milan, no. 11362 (label and stamp on the reverse)
Galleria Elleni, Bergamo
Galleria Rossovermiglio, Padua (stamp on the reverse and certificate available)
European Private Collection

Exhibited:
Milan, Georges Mathieu, Galleria del Milione, 1 October-20 October 1969, exh. cat. no. 11
Bergamo, Galleria Elleni, March – April 1990, exh. cat. with ill

Mathieu’s pictorial writing is grounded in a certain number of basic signs and it would be of interest to list and define these in an attempt to shed light on this mysterious artist. These dynamic signs act, either simultaneously or one at a time, as springboard, launch pad and trajectory for the development of his works. Around 1965 the artist began to sense that the distinctive qualities of his calligraphy could represent a risk of excessive automatism.
Clear headed as ever, he therefore decided to neutralise this element, introducing instead a system of straight vertical and horizontal lines and static elements in the form of well-defined areas. These obstacles, which Mathieu had constructed in opposition to his own virtuosity, facilitated the birth of new series [...].
The disciplined restraint that gave birth to numerous successful works appears to have relaxed from one side to the other in an explosive work, in which Mathieu appears to be freer and more inspired than ever.
Paul Seylaz