Beschreibung:

Georges Mathieu (1921-2012)Chemins Dépossédés
1990
signed on the lower left; titled on the stretcher
oil on canvas
97 x 130 cm (38 3/16 x 51 3/16 in)
This work is accompanied by a certificate of authenticity issued by Le Comité Georges Mathieu.FootnotesProvenance
Galerie Bellecour, Lyon
Private Collection, Lyon
Sale: Ader Paris Auction 13 December 2019, Lot 108
Acquired from above by the present owner
喬治．馬修
擴張之路
油彩 畫布
1990年作
簽名：Mathieu（左下）；CHEMINS DEPOSSEDES（畫框）
此作附喬治．馬修委員會開立之作品保證書
來源
里昂貝勒庫爾畫廊
里昂私人收藏
拍賣：巴黎艾德拍賣，2019年12月13日，拍品編號108
現藏家得自上述來源
As a self-taught artist, Georges Mathieu began his artistic career as a representational painter. When World War II broke out in Europe in the 1940s, he turned to abstraction for inspiration. This leads to the development of Lyrical Abstraction in the late 1940s for which Mathieu is best known.
Mathieu entered his Barbaric period in 1989—it is considered the pinnacle of his lyrical abstraction oeuvre. Completed in 1990, Chemins Dépossédés is a prime example of Mathieu's iconic radiating composition. Mathieu fervently applied colours and brushstrokes as a series of simultaneous explosions—sometimes he even smeared oil paint directly from the tube to enrich the layering and tension of the work. Like a conflagration, red and orange paint spreads across the darkness on the upper half of the canvas in Chemins Dépossédés. The criss-crossing white lines fill the picture with movements, and by tracing them, viewers can experience the way Mathieu executed the brushworks with his entire body. At the centre of the painting, a massive wash in green, white, and brown cascades downwards like the afterglow of fireworks falling into the sea. These elements are particularly expressive when juxtaposed with the dark background—the surging emotional tension is palpable.
In the essay "What We Owe Georges Mathieu" published in 2016 by Édouard Lombard, Director of the Georges Mathieu Committee, he wrote, "The 1980s witnessed the beginning of the 'cosmic shift', which was then followed by the 'barbaric period'; therefore, one sees appearing in the canvasses, which correspond even more than ever to the letter of Lyrical Abstraction, more violent spurts, multiple flows and explosions, unprecedented choices of colour, often highly contrasting, sometimes cavernous backgrounds that can then achieve a three-dimensional quality in the composition". Created precisely during this critical period, Chemins Dépossédés a master work that combines Western abstract painting with Eastern calligraphy—it is the spiritual amalgamation of the two artistic cultures.
喬治．馬修是一位自學成才的藝術家，他的創作生涯始於具象繪畫，直到一九四零年代的歐洲戰亂，使他轉向了抽象創作，並於一九四零年代末期發展出最廣為人知的「抒情抽象」。
一九八九年，喬治．馬修進入「狂野時期」，為其抒情抽象的鼎盛階段。創作於1990年的《擴張之路》呈現了馬修此時經典的放射性構圖，畫布就是藝術家的表演舞台，他的色彩與筆觸如絢麗煙火般迸發，許多時候甚至直接以軟管將顏料擠壓到畫布上，為作品增添了層次與張力。《擴張之路》中紅色與橘色的顏料，如同夜裡湧現的火光，平均地於畫布上半部綻開。穿插其中交錯縱橫的白色線條，跟著它彷彿能體驗藝術家當時使用全身運筆作畫的軌跡。從畫面中間向下延伸，融合綠、白、棕色顏料大範圍的潑彩，則像是煙火發射至高點後，順勢向下流動的光軌。這些元素在暗色背景的襯托下顯得更具表現性， 展現奔騰澎湃的情緒張力。
喬治．馬修委員會總監林伯特於2016年發表文章《先鋒者喬治．馬修》時曾提到：「隨著藝術家進入『狂野時期』，他的八〇年代作品開始出現一種宇宙運動，畫面比起任何時期都更能呼應抒情抽象之真義－更加豪邁的力量，噴薄的潑灑，強烈的色彩與深邃的背景，使之成為淵博的三度空間。」創作於此時期的《擴張之路》，即為喬治．馬修結合西方抽象繪畫與東方書法技法，融會中西藝術精神之作。