Simon Hantaï

Acquis directement auprès de l'artiste et transmis par descendance au propriétaire actuel

The colours are fairly accurate in the catalogue illustration, although the background of the canvas tends to be creamy white. Additionally, the catalogue illustration does not convey the texture - especially folding and creases - typical of the artist's technique. The work is executed on its original canvas, not relined and is mounted on its original stretcher. As it is visible in the catalogue illustration, a light humidity stain is located on the upper right corner. A very thin scratch, compatible with the artist's technique, is located on the lower left quadrant and it is visible in the catalogue illustration. Under UV light, there is no evidence of any retouching. This work is in very good condition.
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Avec les Mariales, les Meuns (1967-1968) sont parmi les œuvres les plus importantes de l’œuvre d’Hantaï. Tout se passe et se déploie tout à coup, comme si pendant un an (la durée de l’emménagement dans le nouvel atelier à Meun, près de Fontainebleau), Hantaï n’avait cessé de penser à la manière de donner un nouvel ordre au pliage et de faire simultanément s’épanouir la couleur. Meun a la beauté de ces œuvres capitales et rares où un artiste parvient à formuler corps et  âme ce qu’il pressentait ; comme une première respiration. Autour d’un centre à nu qui correspond à la réserve du nœud central (la toile est par ailleurs nouée aux quatre coins), les pans de la toile peinte en bleu rayonnent en formes aléatoires et souveraines. En 1968 (du 15 mai au 30 juin) à la Galerie Jean Fournier, l’exposition d’un ensemble de Meuns (avec une grande Mariale) devait être aussi stupéfiante que la réunion des quatre grands Nus bleus de Matisse au Musée des Arts Décoratifs sept ans plus tôt. Hantaï verra l’exposition (c’est son ami François Mathey qui en est le commissaire).  Avec Meun et son bleu outremer, à travers une toile et méthode différente, Hantaï va là où Matisse n’était pas allé : l’abstraction.

With the Mariales, the Meuns (1967-1968) are among the most important works by Hantaï. Everything takes place and unfurls suddenly, as if for a year (the time it took to move to the new studio in Meun, near Fontainebleau), Hantaï had continually thought about a way of giving a new order to the technique of folding and simultaneously make color blossom. Meun has the beauty if those rare, major works where an artist succeeds in giving body and soul to what he feels; like a first breath. Around the naked centre that corresponds to area of the central knot (the canvas is also knotted at the four corners), the painted blue sections of the work radiate outwards into random, sovereign forms. In 1968 (from May 15 to June 30) at the Galerie Jean Fournier, the exhibition of a group of Meuns (with one large Mariale) must have been as remarkable as the presentation of Matisse’s four Nus bleus together at the Musée des Arts Décoratifs seven years earlier. Hantaï saw the exhibition (his friend François Mathey was the curator). With Meun and its ultramarine blue, with a different canvas and method, Hantaï went where Matisse never did : to abstraction.