Florence Monnier

François Fiedler, Sans titre, 1960, huile sur toile, 145,5 x 96 cm No Title The work of François Fiedler is made from the contradiction between the roughness and fluidity of the drips. It bears the mark of the metamorphosis between matter and light. Fiedler questions a radiant “light-matter”. Through light, Fiedler links visible and invisible. […]

Sam Francis, Ariel Coral Free III, 1970, huile sur toile, 138 x 183 cm Ariel Coral Free III From the 1960s, Sam Francis created white paintings simply edged in colours. He dedicated his paintings to his angels, alluding to infinity in what he can produce in terms of illuminations. The void surges forth, like a

Jean Dubuffet, Faits et raisons, 1976, acrylique sur papier entoilé, 183 x 213 cm Faits et raisons This painting is divided into several registers that are not in keeping with a narration. In contrast, “facts” and “reason”, which according to Dubuffet imposed a knowledgeable and constrictive representation method on artists, the figures, things, the world,

Bram van Velde, Composition abstraite, 1954, gouache sur papier marouflé sur toile, 187 x 149 cm Composition abstraite Whereas a number of post-war abstract painters put the accent on gestures and limited their palettes to ranges of browns, blacks and greyish-browns, Bram Van Velde’s painting was an assertion of unquestionably colourful jubilation. Bram van Velde

Jacques Monory, Pompéi, 1971, huile sur toile, 195 x 390 cm Pompéi The formats of Jacques Monory’s paintings are often related to the “big screen” ambition of cinemascope, with a major appetite for panoramic shots which captivate the spectator with their dizziness. In the emblematic painting called Pompéi, the private memory takes on the dimensions

Simon Hantaï, MC 6, 1962, huile sur toile, 223 x 212 cm MC 6 From 1960, and following a stay in Chartres where he studied the cathedral’s stained glass windows, Hantaï reconnected with a technique he had tried when he was young, folding. The canvas, folded up several times, is evenly painted. The colour therefore

Christo, Mastaba, 2016 Mastaba In the summer of 2016, Christo created a buzz by installing a monumental mastaba in the Giacometti Courtyard of the Maeght Foundation. With this construction using 1106 oil barrels, 9 metres high, 17m long and 9m wide, the spectator experienced a spectacular confrontation between the object, form and colours first of

Pierre Soulages, Peinture, 1971, oil on canvas Painting This work stands out for its monumental scale and its solid, sweeping strokes, in the form of broad black bands on the canvas. Here, the line asserts its architectural power and establishes a subtle dialogue with the white of the canvas behind. Far from any simplistic symbolism,

Joan Mitchell, Mon paysage, 1967, huile sur toile, 260 x 180 cm Mon paysage (My Landscape) This large painting, whose dense, subtle oil allows the white of the canvas to show through, invites us to plunge into a landscape that is reduced to a symphony of blues, greens and reds. The title suggests the landscape

Alberto Giacometti, Femmes de Venise, 1956, bronze (photo prise en 1964) The Women of Venice, 1956 In 1956 France invited Alberto Giacometti to the Venice Biennale. He accepted, and exhibited a feminine figure. This was cast by his brother Diego at different moments of the creation process: ten women of Venice came into being. Five