Simon Hantai – the Artist with Brilliant Hands! French-Hungarian Conceptual Artist and Painter

Simon Hantai paintings

In the 1960s, the Hungarian-born French concept Simon Hantai artist developed his signature technique for creating braid patterns (which in French means “folding”, “bending”). According to his method, the canvas is first folded or curled, then painted over and unfolded, leaving a random arrangement of colored polygons.

Hentai Simon’s proprietary technique has allowed him to automate the process of creating vibrant and luxurious abstract paintings. Instead of painting a composition, carefully constructing a pictorial space, Hantai painted his paintings in a completely new way. The six-foot, seven-foot, and eight-foot canvases in this series depict colored polygons, emphasizing the author’s dependence and pleasure in the magic of colors and the process of creation itself.

Shards of vibrant tropical hues are scattered across the expanse of Blancs canvas, created in 1973. Fragments of intense colors are layered on layers of cream and cream, reflecting the depth of ambiguity and versatility of life that many seek to assimilate through Simon Hantai étude.

Interesting Information about Simon Hantai Art

Simon Hantai artist

Working in a similar “falsification” technique, Simon Hantai poster develops it in a more systematic direction, however: the artist crumples the paper before applying paint, and then unfolds it, obtaining a network of nodes that are more regular and reminiscent of Duchamp’s standards. To produce randomness. If Breton wrote the foreword to the catalog of his first exhibition, then Hantai subsequently broke with the Surrealists due to their monopolistic inability to recognize any similarity between automatic writing and action painting, thus remaining on the side of American gesture technique and non-French method practice.

A French artist of Hungarian descent, Antay studied at the School of Fine Arts in Budapest, then in 1949, fascinated primarily by surrealism, moved to Paris. At that time, he painted strange animal people and tried many techniques, to one degree or another borrowed from surrealism, and to which he would later return.

His first exhibition, which cataloged a preface by André Breton, was held in Paris, at Etuale. In this surreal period of creativity, the Hantai Simon signature is characterized by strange anatomical paintings, painted in vivid colors, combining transparency and moire, and featuring braided patterns, large swinging shapes that resemble animals.

In 1954-1955 Les meuns Simon Hantai broke with surrealism, his painting developed towards more abstract and dark compositions. The artist discovers Pollock; now the main thing for him is the gesture and the moment. In 1956, the Sexe-Prime – Hommage a Jean-Pierre Brisset exhibition was held at Klébert in Paris.

Simon Hantai etude

In the large painting of the same name by Antay (Paris, National Museum of Modern Art, Center Pompidou), painted in a complex technique (paint is removed in places, revealing the painted background), a moment of erotic madness materializes in a fantastic interweaving of signs.

Later, Antay, together with Georges Mathieu, organized the Commemorative Ceremonies of the Condemnation of Sieger Brabant (1957, Paris, Kleber), in 1958 he exhibited religious paintings, accompanying them with a vivid manifesto, and in 1959 he held his retrospective exhibition. (Kleber).

Soon, Antay leaves noisy Paris and retires not far from Fontainebleau. Around 1960, he creates the Marial series – giant paintings associated with stained-glass; In two or three years, in such compositions, he will replace many prismatic facets that occupy the entire plane of the picture with simpler forms that stand out against a light background and resemble Matisse’s decoupage

In this spirit, he will execute several walls, in the Trapps and the House of France in Jerusalem. He creates irregular compositions resembling foliage, in which painted, and unpainted surfaces are equivalent (Etudes for Pierre Reverdy, 1968-1969) and which consist of multi-colored cut and crushed forms (1973-1974), and since 1974 (Tabula series) paintings divided into squares that will gradually increase in size.

Simon Hantai art

These repetitive and, so to speak, mechanical techniques had a huge impact on a whole generation of young artists in the 1970s. In 1976, a retrospective exhibition of Anta’s works was held at the Pompidou Center. In 1982, he represented France at the Venice Biennale. His works are in many museums around the world (in Buffalo, Brussels, Vatican, Paris, Grenoble, Marseille, Saint-Etienne) and private collections (collection of Peter Stuyvesant).

Now you have learned everything about this artist and the Simon Hantai paintings, thanks to our article.

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