Georges Mathieu

Kootz Gallery, New York
Acquis auprès de celle-ci par le propriétaire actuel

New York, Kootz Gallery, Lyrical Abstraction in new paintings by Mathieu, 1957

The colours are fairly accurate in the catalogue illustration although they are more vivid in the original. The work is in very good condition. One tiny paint loss (approx. 5 mm) is visible upon close inspection in the lower right quadrant, along the edge overlapping the stretcher. The work is not relined. An area of approx. 10 cm fluoresces under UV light in the upper left corner of the work but none restoration is visible.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

signed, titled and dated on the back; oil on canvas (chrisochrome). Executed in 1957.

" En 1957 et 1958, Mathieu utilisera le chrisochrome, peinture qui sort presque liquide du tube et par conséquent renvoie à la technique du "dripping". Il s'agit d'un défi : faire exprimer à la liquidité ce qui lui est le plus opposé, le signe maîtrisé et individualisé. Paradoxalement Georges Mathieu se trouve pris à son propre jeu : il est obligé de peindre encore plus vite pour ne pas se laisser déborder par l'inertie naturelle des couleurs."
(Dominique Quignon-Fleuret, Mathieu, Flammarion 1977, in Le dripping, p.45)

Georges Mathieu, août 1958. © Pierre Descargues/ ADAGP, Paris 2009