Hans Hartung

1904 (Leipzig) / 1989 (Antibes)

Hartung's spaces are constituted by a movement whose automatic origin presides over the emergence of a writing composed of crosses, bars, initials, skeins, stripes and diagonal scratches. Marks and spots associated or dissociated are sometimes so invasive that they occupy the entire surface of the support: broken lines, instantaneous, stripes, compact mass often circular or oval, endless background, indistinct and moving agree to create the light that envelops and radiates at the same time, poetically bathing all the elements of the painting in a clarity where the blacks are essential to the tone! About the meditative aspect of his works, he declares: "I do not exclude the fact of seeing, on the contrary, but the sight is not our only mode of knowledge. We have many other ways of knowing, the painter wants to account for everything that constitutes the experience of life, our surroundings, ourselves, everything that contributes to form our knowledge of the world, all our emotions. He explains however that his painting is not a direct psychic projection and declares: "A cry, not example, it is not art. A cry, it is still nothing... "



Artist's issues


Issue 75








artist_books


Hans Hartung : les Aléas d’une réception


Annie Claustres Éditions Les Presses du réel De Hans Hartung (1904-1989), on savait jusqu'alors qu'il était l'un des peintres emblématiques de la deuxième génération de l'abstraction. Représentant de l'expressionnisme gestuel, il avait eu une reconnaissance paradoxale, souvent cité comme un artiste incontournable de l'après-guerre mais oublié quant aux études approfondies. Il man ...

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