Hans HARTUNG Modern Painters

PRESSBOOK

January 2018

1/1 DATEBOOKThe season’s top picks from all the art capitals

new york Hans Hartung at Perrotin

Hans Hartung’s striking visual language prefigured developments in Post-War Western painting: abstraction, action painting, and color-field painting. His oeuvre is the focus of an exhibition in the New York space of Galerie Perrotin—which now represents the Hartung Estate—offering the broadest solo presentation since his exhibition at the Metropolitan Museum in 1975. “Hans Hartung: A Constant Storm. Works from 1922 to 1989,” on view January 12-February 18, showcases his experimental paintings across 70 works. Two tandem exhibitions are on view at Simon Lee Gallery in London and Nahmad Contemporary in

New York. Later in 2018, the Kunstmuseum n in i t t o Bonn will organize a solo exhibition of o r Hartung’s work. r rr

The artist was born in Leipzig, Germany sy Pe e esy Pe t in 1904 into a bourgeois Protestant milieu. In r rt the 1920s, he studied at the Kunstakademie /Cou n n/Cou

in Leipzig, and the Kunstakademie in r r Dresden. Having encountered French o e D e Do Impressionism, Fauvism, and Cubism, he r r headed for Paris and enrolled in the atelier of lai o: C o: Clai André Lhote. In 1935, Hartung fled theN azi t t o o regime and moved to France definitively. h h During World War II, he joined the Foreign s 2018 P s 2018 Legion; he lost a leg in battle,and was i P is 2018 r r awarded the Croix de la Guerre. He was then , Pa P Pa P,

naturalized as a French citizen. G A AG D D

Chronologically examining the artist’s A evolution across seven decades, the exhibition ng/ ng/ u ung/ A t r rt

T1962-R13, 1962 Vinylic paint on canvas

180 × 111 cm/ 70 7/8 × 43 11/16 in ©Hans Ha ©Hans Ha

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01_MP_Datebook.indd 126 04/01/18 3:28 PM ©Hans Hartung/ ADAGP, Paris 2018 Photo: Claire Dorn/Courtesy Perrotin 01_MP_Datebook.indd 127

©Hans Hartung/ ADAGP, Paris 2018 Photo: Claire Dorn/Courtesy Perrotin 1 1988 T1988-R46, A 54 x 250cm/ 60 5/8 60 7/16in x98 x 250cm/ 54 c rylic on canvas/ canvas/ on rylic

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january-february 2018 n Paint Mod e r e r 04/01/18 3:28PM s

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U p u ntil ntil described—in an interview with art historian historian art with interview an described—in foreboding.” of “delight and amix and of chance,” courting the gestures, S “ in approach his Mundy described Jennifer act. creative aturbulent reveal blotches style. of his none exuberance of the convey they but because meanings, potential infuse to titles allusive use to tendency artistic the to relative only choice—not number) and were adistinctive by year f titles, composed of classifying markers (“ markers of classifying composed titles, (“ dystopias sci-fi atmospheric canvas) to orcanvases, “P” for on works paper, followed “P” orcanvases, T o T at ulages, who was friends with Hartung, Hartung, with who friends was ulages, His vivid palette and tempestuous tempestuous and palette vivid His 1 971- e Papers no.9” Papers e R 3 0,“ 1971, in acrylic on canvas).0,“ His 1971, acrylic in as “the free cursive cursive free “the as A r tist Pierre Pierre tist T ” means of “translating something inside.” something of “translating means a as outbursts gestural Encrevé—his Pierre t potent. raw and still is posthumously, fury his of Even something.” expression always the is you make sign vigorous the for painting: goes Well, same face. the the someone in smack the airy quality of its colored grounds.” of its colored quality airy the and lines of power its graphic expressive the between it established dialogue inner the and dimension “existential on the but remarked and non-narrative,” non-figurative rigorously world is pictorial “Hartung’s noted: show, Perrotin the Poirier, who curated he text “ he text Hartung Hartung A Constant Constant once said once 185 × 300cm/ 72 13/16185 × 300cm/ ×118 1/8 in S : “ t orm,”Matthieu orm,”Matthieu I f yo u’re furious, you u’re furious, rah Moroz — A c S rylic onrylic canvas a T1980-K5, 1980 1980 T1980-K5, I n 04/01/18 3:28PM

Courtesy of the artist, Hollybush Gardens, London and David Kordansky Gallery, Los Angeles. © Andrea Büttner / VG Bild-Kunst, Bonn 2016