Simon Hantaï

Galerie Jean Fournier, Paris
René Rasmussen, Paris
Acquis auprès de celui-ci par le propriétaire actuel circa 1977

The colours are fairly accurate in the catalogue illustration although the overall tonality is warmer in the original work. The work is executed on its original canvas and is not relined. Slight wear marks are located at each of the four corners and there are light creases throughout the canvas, inherent to the artist's technique. A wear mark located 30 cm from the lower edge and 102 cm from the right edge has resulted in few tiny paint losses. One tiny paint loss is located 19 cm from the left edge and 75 cm from the lower edge. Under Ultra Violet light inspection, the rim of the right and left edges presents some very minor restorations. Two dots of restoration fluoresce, one located 67 cm from the right corner along the lower edge and 32 cm from the right edge and the other 110 cm from the lower edge. This work is in very good original condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Avec les Mariales, les Meuns (1967-1968) sont parmi les œuvres les plus importantes de l’œuvre d’Hantaï. Tout se passe et se déploie tout à coup, comme si pendant un an (la durée de l’emménagement dans le nouvel atelier à Meun, près de Fontainebleau), Hantaï n’avait cessé de penser à la manière de donner un nouvel ordre au pliage et de faire simultanément s’épanouir la couleur. Meun a la beauté de ces œuvres capitales et rares où un artiste parvient à formuler corps et  âme ce qu’il pressentait ; comme une première respiration. Autour d’un centre quasi nu qui correspond à la réserve du nœud central (la toile est par ailleurs nouée aux quatre coins), les pans de la toile peinte rayonnent en formes aléatoires et souveraines. En 1968 (du 15 mai au 30 juin) à la Galerie Jean Fournier, l’exposition d’un ensemble de Meuns (avec une grande Mariale) devait être aussi stupéfiante que la réunion des quatre grands Nus de Matisse au Musée des Arts Décoratifs sept ans plus tôt. Hantaï verra l’exposition (c’est son ami François Mathey qui en est le commissaire).  Avec Meun, à travers une toile et méthode différente, Hantaï va là où Matisse n’était pas allé : l’abstraction.

With the Mariales, the Meuns (1967-1968) are among the most important works by Hantaï. Everything takes place and unfurls suddenly, as if for a year (the time it took to move to the new studio in Meun, near Fontainebleau), Hantaï had continually thought about a way of giving a new order to the technique of folding and simultaneously make color blossom. Meun has the beauty if those rare, major works where an artist succeeds in giving body and soul to what he feels; like a first breath. Around the almost naked centre that corresponds to area of the central knot (the canvas is also knotted at the four corners), the painted sections of the work radiate outwards into random, sovereign forms. In 1968 (from May 15 to June 30) at the Galerie Jean Fournier, the exhibition of a group of Meuns (with one large Mariale) must have been as remarkable as the presentation of Matisse’s four Nus together at the Musée des Arts Décoratifs seven years earlier. Hantaï saw the exhibition (his friend François Mathey was the curator). With Meun, with a different canvas and method, Hantaï went where Matisse never did : to abstraction.