T 1971, R5
Acrylic on canvas, signed and dated 1971 lower left
60 x 92 cm
- Peter Althaus, Hans Hartung Peintures récentes, Galerie Maeght, Zürich, 1973
- Marco Valsecchi, Hans Hartung, Centro Arte Internazionale, Milan, 1973
- Hans Hartung, Recent Paintings, Maeght Gallery, Zürich, 1973
- Hans Hartung Opere scelte, Centro Arte Internationale, Milan, 1973
We thank Mr Hervé Coste de Champeron of the Hartung Bergman Foundation for confirming that this work was referenced in their archives and that it will be included in the Catalogue Raisonné of Hans Hartung's work in preparation.
Extract from the interview between Jean Crozier and Hans Hartung in 1985:
- What happens when you go to paint?
- Or that I finish...At the moment when two strokes are successful, or one stroke is successful, I stop. Look at the Sophia Antipolis poster, there is only one stroke.
- At what point is the canvas finished? When is the line good?
- Oh, that! Successful? When it expresses enough. When its expression is complete. Or a departure for complications, for other things that mix, that contradict each other, that fight.
- Do you think there is a connection between your painting and geometry or mathematics?
- Geometry in the sense that it has an aesthetic value. For example the "goldene schnitt", the golden section, which interested me a lot at one point because I wanted to see if there wasn't a law somewhere, something positive, strict. The only thing I found was that I developed for myself, for the color, for this, for that.
My father wanted to send me to the Bauhaus. I said: I don't want to. I saw Kandinsky's painting. It's very good. But it's not at all what I want. There it was geometry with Kandinsky: he did geometry, then geometry again.