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crisp creases of unpainted canvas spanning the composition, and at other times as a monochrome mass manifesting in the center of an unprimed canvas. His technique of "pliage" (folding): the canvas is first folded in various forms, then painted with a brush, and unfolded, leaving apparent blank sections of the canvas interrupted by vibrant splashes of color. The technique was inspired by the marks left folding on his mother’ apron.
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where the artist lived starting 1966. Hantaï stated: "It was while working on the
Studies that I realized what my true subject was – the resurgence of the ground underneath my painting." In contrast with the Meun (1967–68), the figure, in the Studies (1969), is absorbed and the white detaches from
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Hantaï began creating pliage paintings in 1960, conceiving of the process as a marriage between
Surrealist automatism and the allover gestures of Abstract Expressionism. The technique dominated the work he made during the rest of his career, re-emerging in diverse forms—sometimes as a network of
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A representative collection of Hantaï's works is held at the Musée
National d'Art Moderne, Centre Georges Pompidou, Paris, and at the Musée d'Art Moderne de la Ville de Paris.
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Rodgers, Paul, "Simon Hantaï & Andy Warhol – The Fate of Modern Art in the Post-Second World War Era" 4/1/10.
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on May 22, 2013, with more than 130 works from 1949 to 1990s, and a full color illustrated catalog.
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wrote the preface to his first exhibition catalogue in Paris, but in 1955 Hantaï broke with the
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Cochran, Samuel, "Simon Hantaï's
Abstract Paintings At Paul Kasmin Gallery, Centre Pompidou,"
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From 1967 to 1968 he worked on the Meuns series where he studies the theme of the figure.
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group over Breton's refusal to accept any similarity between the surrealist technique of
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Simon Hantaï in the French public collections of modern and contemporary art.
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Dominique
Fourcade, Isabelle Monod-Fontaine, Alfred Pacquement, Jean Coyner.
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Quote from Hantaï in conversation with Paul
Rodgers, Paris studio, 1994
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Pablo
Picasso | Simon Hantaï: Drama Shared, Cubism and the Fold
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nationality in 1966) is a painter generally associated with
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486:"Books – Simon Hantaï and the Reserves of Painting"
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195:in 1976, and in 1982 he represented France at the
364:Rosenberg, Karen, "Art in Review: Simon Hantaï,"
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435:. Pennsylvania State University Press, 2020.
191:A retrospective of his work was held at the
205:A Simon Hantaï Retrospective opened at the
245:being the background and becomes dynamic.
433:Simon Hantaï and the Reserves of Painting
336:Carter Ratcliff, Hantaï in America, 2006.
109:Learn how and when to remove this message
164:School of Fine Art, he traveled through
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417:Ostrow, Saul, "Reviews: Simon Hantaï,"
359:New York Times Obituary of Simon Hantaï
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125:Simon Hantaï in his studio (Meun, 1974)
240:is the name of a small village in the
168:on foot and moved to France in 1948.
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47:adding citations to reliable sources
379:The Resurgent Ground: Simon Hantaï
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228:Art practice – The folding method
546:21st-century French male artists
531:20th-century French male artists
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452:, Paris: Centre Pompidou, 2013.
34:needs additional citations for
561:Naturalized citizens of France
428:by art historian Molly Warnock
312:Hantai's Challenge to Painting
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556:Hungarian emigrants to France
288:Décès du peintre Simon Hantaï
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526:20th-century French painters
490:Penn State University Press
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242:Forest of Fontainebleau
395:9W Publications, 2020.
160:After studying at the
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457:Archives Simon Hantaï
401:Architectural Digest,
353:Selected bibliography
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536:French male painters
383:The Modern Aesthetic
269:Laissées (Leftovers)
43:improve this article
366:The New York Times,
300:, 15 September 2008
261:Blancs (the Whites)
551:Hungarian painters
439:An essay on Hantaï
426:An essay on Hantaï
410:Time Out New York,
341:2017-04-12 at the
323:2008-03-14 at the
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41:Please help
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521:2008 deaths
516:1922 births
510:Categories
443:Ben Lerner
275:References
263:(1973–74)
255:(1967–68)
251:(1960–62)
174:surrealist
134:Biatorbágy
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298:Le Figaro
156:Biography
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368:5/23/13.
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162:Budapest
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