HANS HARTUNG Abstraction: A Human Language
HANS HARTUNG ( 1904 - 1989 ) Abstraction: A Human Language
DE SARTHE GALLERY
Hans Hartung with Antonio Sapone, 1979
To Antonio Sapone ( 1940 - 2017 )
Balancing the spontaneous gesture: Some remarks on Hans Hartung by Peter Iden
I first met Hans Hartung in his home and studio in Paris early in 1960. A friend, much my elder, had invited me to accompany him to make Hartung’s acquaintance — an artist much talked about then, not only in France but also in Germany. The two had been close during their years in Dresden, where Hartung grew up, and my friend had become an editor responsible for the cultural pages of a newspaper of some renown in Germany after World War II. Our visit happened at a time when Hartung was actually experiencing some success not only being acknowledged by critics, namely in Paris, but also economically. This after extended periods of hardship during the forties and well into the fifties of the past century. He had first come to Paris in 1932 and decided to stay. After his joining the Foreign Legion seven years later he returned to Paris severely injured—he had lost a leg—and took up his artistic work. The times were hard to endure then and continued to be difficult even after the end of the war. Life was precarious for him, although Hartung nonetheless became acquainted with many of the most
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在1960年，我在漢斯·哈同位於巴黎的工作室和家中第一次與 他見面。當時我受邀跟隨一位比我年長許多的朋友一起去認識 哈同——這位不僅在法國及德國都備受矚目的藝術家。他和我 朋友早年相識於德累斯頓——哈同成長的地方，而我朋友在二 戰後成為了德國一家頗有聲望的報社的文化版編輯。 我們的拜訪發生在哈同正名利雙收的時期，他在巴黎尤其受評 論家愛戴。然而，成功前的他在上個世紀四十年代到五十年代 之間經歷了一段長期的困境。哈同在1932年第一次來到巴黎， 並決定留下來。七年後，他加入了法國外籍兵團，而且回到 巴黎時身受重傷——他失去了一條腿，從此他重新投入創作。 當時不僅戰爭期間，直至戰後，生活都十分艱苦，哈同過得非 常不安，甚至在身無分文時需要讓·保羅·薩特（Jean-Paul Sartre）幫他支付酒店賬單。哈同後來認識了許多存在主義時 代文學界最臭名昭著的人物，並在此期間普遍對世界有了新的 看法。 9
notorious personalities in art and literature in the era of existentialism and in general gained a new outlook on the world during this time. It was Jean-Paul Sartre who once picked up Hartung’s hotel bill when the artist was all too short on means. This had already changed considerably when we came to see him in a house he had just recently moved to. I remember the occasion one late autumn afternoon as having been somewhat strange. Talking with his visitors in German, Hartung was sitting in a big armchair while we were baffled by the fact that a car was parked on one side of the living-room with the head-lights pointing right at us. When it got darker the lights of the car suddenly turned themselves on and lit up the room. Only much later it came to me what significance this odd situation might have implied. The conversation with his friend from Dresden that day dealt with a past now lost forever, burdened by
當我們來到他剛剛搬去的一所房子裡看他時，情況已經發生了 很大的變化。我記得有一個發生在深秋下午的場合有點奇怪： 哈同正坐在一張大扶手椅上與他的訪客用德語交談，而客廳一 側停著一輛汽車的事實讓我們感到震驚困惑。後來天色變暗 了，車前的燈突然開了，照亮了房間。 很久之後，我才意識到這種奇怪的情況可能意味著什麼。那天 和德累斯頓朋友的交談涉及到一個因沈重而永久失去的過去， 當中包含著德國發起一場毀滅性戰爭的負罪感；還有一個絕對 想像不到在客廳炫耀汽車的中產階級的過去。但是，現在，一
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Hans Hartung, 1948
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Hans Hartung at work, 1975
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all that had happened since, including Germany’s guilt in starting a war of devastating consequences, as well as a bourgeois past where to show off a car in your living-room was absolutely unthinkable. Now, however, everything had to be changed to make way for a new beginning, a new and hopefully very different era, a new environment as well as a new social behavior. Aside from the fact that the mere appearance of an automobile in itself insinuates certain dynamics— which one definitely finds in Hartung’s art—the car was a surprising element in a private, if not an intimate surrounding. Thus for Hartung it was almost a metaphor for what in his art he considered to be just as new and never thought of before. Of course there was also a trace of pride involved, “see there, I can well afford this extravagance.” (Many years later upon an encounter with Dennis Hopper in Venice, California he also had a Mercedes parked inside his house, but then it meant quite something else: Look, we are all nuts in California, this is normal with us.) 切都要改變了，一個新的開始，一個全新的、最好還是完全不 同的時代，其中包含新的環境以及新的社會行為。除了汽車本 身的外觀暗含著一定的動力（這在哈同的作品中不難被發現） ，汽車在一個私人，更甚親密的環境裡出現亦是一個驚人的元 素。因此，對於哈同來說，這幾乎是他的藝術中的一種隱喻。 他認為這種藝術是創新的，是從未被想過的。當然，這當中還 有一絲「看那裡，我可以負擔得起這種奢侈」的驕傲。（多年 以後，在加州威尼斯與丹尼斯·霍珀（Dennis Hopper）的相 遇中，他也有一輛梅賽德斯停在他的房子裡，可是意思相差甚 遠：「看，我們這幫在加州的人都是瘋子，這對我們來說很正 常。」）
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New indeed was what Hartung developed in his drawings and his paintings—yet not new in the sense that non-figurative contents had never been the theme of paintings before: Kandinsky, Mondrian, Malevich had conceived abstract compositions already at the beginning of the 20th century, each one of the three starting from different positions with different motives. We call this the first modern revolution in the visual arts. It became a style. For Hartung, however, it signified much more. In his words, “abstract painting or drawing is by no means a style but a genre,” that is he believed abstraction was self-sufficient as an independent medium by its own right, just as music or poetry or drama maintain themselves to be specific types of expression, each self-reliant and of an individual value. The exhibition in 2017 at de Sarthe Gallery covers a time-span from the forties up to 1989, the year Hartung died. The different periods of his oeuvre are among themselves connected by certain 哈同在他的素描和繪畫中的探索的確創新，但是這裡並非指非 具象化的內容從未成為繪畫的主題。康定斯基、蒙德里安及馬 雷維奇三人在二十世紀初已經各從不同的動機出發構思抽象的 作品。我們稱之為視覺藝術的第一次現代革命；它成了一種風 格。然而，對於哈同來說，它意味著更多，用他的話來概括： 「抽象繪畫絕不是一種風格，而是自成一派的體系。」他認為 抽像足以作為一種獨立的媒介，就像音樂、詩歌或戲劇自成一 類表達，每種都能自力更生及體現個人價值。 2017年在德薩爾特畫廊舉行的展覽涵蓋了從四十年代直到1989 年哈同去世的時間跨度。關於隨機性和肢體控制之間的張力，
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Hans Hartung at work, 1975
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Self-portrait of Hans Hartung, 1977
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methods of their coming to life and the solution of questions in reference to tensions between spontaneity and control of the gesture. For Hartung this tension plays a most important part in the process of creating an image, be it in his paintings on canvas or in his works on paper. In 1927 already, only four years after having finished school, he had created a series of totally abstract drawings using Chinese Ink. Along with pencil and pastel, Chinese Ink (also known as India Ink) remained his favourite means when drawing. They were ideal for what he called, “improvising without any preparation” (“unvorbereitete Improvisation”). While oil painting he felt was much more complex and slower to realize, therefore better for perfection. Consequently, Hartung created hundreds of drawings and then chose some to be redone in oil. To make easier the selection of the drawings he wanted to use as images to be transposed in oil, he at one point exchanged normal titles of his work on paper into an intricate system of new titles, which now combined a single letter marking 他的作品在不同時期通過對這個問題的探討以及呈現方式被串 連起來。對於哈同來說，這種張力在創作過程中扮演著非常重 要的角色，無論是在畫布上還是在紙上的作品。1927年，畢業 四年後，他用中國墨水創作了一系列完全抽象的繪畫。中國墨 水（也被稱為印度墨水），還有鉛筆和粉彩，一直是他繪畫時 最喜歡的媒介。他們非常適合他所謂的「沒有任何準備的即興 創作」。而他覺得油畫要複雜得多，而且呈現過程更慢，所以 更好用於追求完美。 因此，哈同創造了數以百計的畫作，然後選擇了一些重做成油 畫。為了更容易地選出他希望用作油畫的圖像，他一度把紙上
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the technique, numbers for the year of origin, and a specific code. By far of greater importance, however, was the problem of balancing the spontaneous impulse and the contrasting idea of a rational order. While in France after 1946 he was considered an artist belonging to the “Ecole de Paris,” which at the time dominated the art-scene in Paris. Particularly in Germany however, Hartung was rather seen as belonging to a movement called “Informal.” This by now can doubtless be evaluated as an error—simply because Hartung, with the exception of his final period, had always been intent to stabilize and balance his compositions. Often using his drawings as sketches for his paintings was quite contrary to what the “Informal” artists celebrated as the triumph of the spontaneous gesture over rational control. The drawings and the paintings in this exhibition give proof of Hartung’s masterly manner in resolving one of the oldest problems in art: combining intuition and an emotional drive with rational survey to achieve a result which makes us aware of how much we are all influenced by reactions often very much opposing each other, organizingour lives between chaos and order. In the drawings of the sixties, in this show an excellent series, the idea of dynamic movement and balanced harmony is ever present. A strong individual trait is prevalent in Hartung’s latest images created during the eighties of the 20th century. He had always been interested in the instruments of drawing and painting. As a schoolboy he had already discovered per chance that of a brush not only, as usual, the front-part could be used to put colour on paper or canvas, but the handle just as well. In his late paintings he instrumentalized brooms and broom-sticks, also hoses, as are used to water garden-lawns, to literally splash colour on his canvases. This equalled an explosion. No more harmony now. No more balance. Much rather the radical exposure of an inner self. It was as though the painter—like the old 18
作品的正常名稱換成了一個複雜的標題系統，便是如今我們看 到的結合了一個標記技術的字母，標記來源年份的數字和一個 特定的代碼。然而，更為重要的問題是要平衡隨機性和合理秩 序的對比概念。雖然他在1946年以後的法國被歸類為“巴黎高 等學院”派別的藝術家——一個當時在巴黎藝術界占主導地位 的派別。但是，尤其是在德國，哈同被認為屬於一種叫做“非 正式”的運動。這個說法現在無疑可以被看作為一種錯誤，因 為哈同除了在他的最後一個階段以外，一直都想穩定和平衡他 作品的構圖。他經常以素描作為繪畫草稿的行為，與因衝動姿 態勝過理性控制而聞名的“非正式”藝術家完全相反的。 本次展覽中的素描和繪畫作品證明了哈同通過大師級姿態解決 藝術中最古老的問題之一：將直覺這種情感驅動與理性探索結 合，取得一種特定的結果，使我們意識到，我們往往受相互對 立的反應影響，並在混亂和秩序之間組織我們的生活。本次展 出的一個精彩的六十年代繪畫系列中，動態和平衡和諧的理念 一直存在。 哈同在二十世紀八十年代創作的最後一批畫作中明顯充滿強烈 的個人特質，而且他一直對繪畫工具感興趣。早在學生時代， 他已經發現或許畫筆不僅可以像往常一樣以筆頭來把顏料塗在 紙上或畫布上，而筆桿也可如此。在他後期的繪畫中，他透過 工具化掃把和掃把棍，還有用來澆灌花園草坪的軟管，在他的 畫布上潑灑顏料。這等於一場爆炸，沒有和諧，沒有平衡，而 是激烈的內心世界的展現。彷彿這位畫家——就像晚年的提香 （Titian ）一樣——在漫長的一生中願意冒險重新開始，使出 如此強大而迷人的終極力量去對抗短暫無常的時間。 19
Titian in his final years—was willing after a long life to risk starting anew, waging an ultimate effort, as powerful and fascinating as ever, against time being as transitory as it is. Hans Hartung’s art has emphatically inspired many of the younger generations in Western Europe for new ways to reply to the questions posed to them after a disastrous war. Hartung with Jean Fautrier, six years older, and Wols, nine years younger — who like Hartung was French, but German-born— played a major part in conveying an idea of the importance of the arts in our lives, still valid today.
Peter Iden is an art-critic based in Frankfurt, Germany and the founding director of Museum für Moderne Kunst (MMK) in Frankfurt. He has also been a Professor of theater and art-history in Frankfurt since 1982 and is a boardmember of the Foundation for Art and Culture in Bonn, Germany.
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漢斯·哈同的藝術的確在西歐激勵了他之後的許多代人，以新 的方式回應災難性戰爭留給他們的問題。哈同與大六歲的讓· 福特里埃（Jean Fautrier）和小九歲的Wols（和哈特一樣是德 國出生的法國人 ）在傳達藝術於我們生活之重要性方面作出了 重大貢獻，而且至今依然確鑿。
彼得·伊登（Peter Iden）是德國法蘭克福的藝術評論家，也是法 蘭克福現代藝術博物館（MMK）的創始總監。他自1982年以來一直是 法蘭克福的戲劇和藝術史教授，也是德國波恩藝術和文化基金會 的董事會成員。
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1940s
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Hans Hartung, 1948 25
T1949-4 1949 Oil on canvas 89 x 116 cm Provenance Madeleine Rousseau, Paris Private Collection, Switzerland Galerie Mony Calatchi, Paris Private Collection Christie’s, Paris Private Collection Exhibitions Les Réalités Nouvelles, Chapelle du Lycée Ampère, Lyon, 1949 Linien 1949, Galerie Arne Bruun Rasmussen in collaboration with Galerie Denise René, Copenhagen, 1949 Anglo-French Exhibits, New Burlington Galleries, London, 1950 Hans Hartung, Kunsthalle Basel, Basel, Switzerland, 1952
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1960s
Hans Hartung with his wife Anna-Eva Bergman, 1961 32
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Hans Hartung at work, 1962 35
T1962-H2 1962 Vinilyque on canvas 100 x 162 cm
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T1962-L48 1962 Vinilyque on canvas 100 x 162 cm Exhibitions Hans Hartung, Hans Hartung, Hans Hartung, Hans Hartung, Hans Hartung,
Palais des Beaux-Arts, Brussels, 1963 Stedelijk Museum, Amsterdam, 1963 Museum des 20. Jahrhunderts, Vienna, 1963 Kunsthaus, Zurich, 1963 Kunstverein fĂźr die Rheinlande und Westfalen, Dusseldorf, 1963
Literature E. HĂœttinger, H. Hartung, Hans Hartung, Kunsthaus, Zurich, 1963
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T1962-R9 1962 Vinilyque on canvas 180 x 142 cm Exhibitions XXXI Biennale, Biennale di Venice, Venice, 1962 Hans Hartung, Palais des Beaux-Arts, Brussels, 1963 Hans Hartung, Stedelijk Museum, Amsterdam, 1963 Hans Hartung, Museum des 20. Jahrhunderts, Vienna, 1963 Hans Hartung, Kunsthaus, Zurich, 1963 Hans Hartung, Kunstverein, Dusseldorf, 1963 Hans Hartung, Taiwan Museum of Art, Taichung, 1997 Literature G. Marchiori, La XXXI Biennale di Venezia, XX siècle, Paris, December 1962 E. HĂœttinger, H. Hartung, Hans Hartung, Kunsthaus, Zurich, 1963 G. Marchiori, Action Painting, Iterarte, Bologna, May 1977 G. Huang, R. Fleck, C.-H. Chen, Hans Hartung, Taiwan Museum of Art, Taichung, Taiwan, 1997 T. Schlesser, M. Pierini, E. Hougue, M. Vallora, Hans Hartung. Polittici, Magonza, Arezzo, 2017
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T1963-H47 1963 Vinilyque on canvas 100 x 81 cm
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T1964-H47 1964 Vinilyque on canvas 180 x 111 cm
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1970s
Hans Hartung at work, 1975 52
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Hans Hartung in his studio with his wife Anna-Eva Bergman, 1975 55
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Hans Hartung at work, 1976 57
T1970-H40 1970 Acrylic on canvas 102 x 130 cm Exhibitions Hans Hartung, Taiwan Museum of Art, Taichung, 1997 Hans Hartung: Le Champ des Oliviers, Salle d’exposition du Quai Antoine 1er, Monte Carlo, 1999 Hans Hartung: Spontanes Kalkül, Museum der Bildenten Künste, Leipzig, 2007 Hans Hartung, Le Geste et la Méthode, Fondation Maeght, Saint-Paul de Vence, 2008 Literature Hans Hartung: 1971-1974, Arts et Métiers, Paris, 1974 J.R. Delahaut, Le Peintre Hans Hartung, Terre d’Europe, Paris, 1974 K. Vanbelleghem, Hans Hartung: Opere dal 1947 al 1989, Galleria Tega, Milan, 1995 G. Huang, R. Fleck, C. Cheng-Hsiung, Hans Hartung, Taiwan Museum of Art, Taichung, 1997 M. Fresia, Hartung: Le Champ des Oliviers, Fondation Hartung-Bergman, Antibes, 1999 H. W. Schmidt, D. Luckow, J. Nicolaisen, Hans Hartung: Spontanes Kalkül, VG Bildkunst, Bonn, 2007 M. Enrici, D. Abadie, J. Clair, D. Vallier, Hans Hartung, Le Geste et la Méthode, Fondation Maeght, Saint-Paul de Vence, 2008
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T1973-E41 1973 Acrylic on canvas 142 x 180 cm Exhibitions Hans Hartung: 1971-1974, Galerie de France, Paris, 1974 Hans Hartung: Le Champ des Oliviers, Salle d’Exposition du Quai Antoine 1er, Monte Carlo, 1999 Hans Hartung, Le Geste et la Méthode, Fondation Maeght, Saint-Paul de Vence, 2008 Literature Hans Hartung: 1971-1974, Arts et Métiers, Paris, 1974 J. R. Delahaut, Le Peintre Hans Hartung, Terre d’Europe, Paris, 1974 M. Fresia, Hartung: Le Champ des Oliviers, Fondation Hartung-Bergman, Antibes, 1999 M. Enrici, D. Abadie, J. Clair, D. Vallier, Hans Hartung, Le Geste et la Méthode, Fondation Maeght, Saint-Paul de Vence, 2008
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T1974-E45 1974 Acrylic on canvas 97 x 130 cm Exhibition Hartung in China, NAMOC, Beijing, 2005 Literature Q. Zhu, J.-Ch. Agboton, Hartung in Chine, NAMOC / Fondation Hartung, Beijing, 2005
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1980s
Hans Hartung, 1983
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Hans Hartung at work, 1981 73
T1981-E46 1981 Acrylic on canvas 180 x 250 cm
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T1981-E21 1981 Acrylic on canvas 114 x 146 cm
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T1981-H28 1981 Acrylic on canvas 100 x 162 cm
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T1983-E7 1983 Acrylic on canvas 100 x 162 cm Exhibition Hartung in China, NAMOC, Beijing, 2005 Literature Q. Zhu, J.-Ch. Agboton, Hartung in China, NAMOC / Fondation Hartung, Beijing, 2005
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T1983-E31 1983 Acrylic on panel 100 x 162 cm Exhibition Hans Hartung N 째 2, Setareh Gallery, D체sseldorf, 2016 Literature Hans Hartung N 째 2, Setareh Gallery, D체sseldorf, 2016
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T1983-E34 1983 Acrylic on canvas 100 x 162 cm
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T1985-E9 1985 Acrylic on canvas 154 x 195 cm Exhibition Hartung et la Musique, Centre d’Arts Plastiques, Royan, 1993 Literature D. Abadie, Hartung et la Musique, Centre d’Arts Plastiques, Royan, 1993
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Hans Hartung at work, circa 1988 95
T1988-R29 1988 Acrylic on canvas 142 x 180 cm
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T1988-R47 1988 Acrylic on canvas 180 x 142 cm Exhibition Hans Hartung, Opere Scelte 1950-1988, Mazzoleni Galleria d’Arte, Turin, 2004 Literature N. Orengo, Hans Hartung, Opere Scelte 1950-1988, Mazzoleni Galleria d’Arte, Turin, 2004
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T1989-R5 1989 Acrylic on canvas 114 x 146 cm
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Exhibitions
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Hans Hartung (1904-1989) Abstraction: A Human Language de Sarthe Gallery, 25 November - 13 January, Hong Kong, China Hans Hartung - Polittici Galleria Nazionale dell’Umbria, Perugia, Italy Beau Geste: Hans Hartung, Painter and Legionnaire Museum of the Foreign Legion and Art Center Les Pénitents Noirs, Aubagne, France Hans Hartung et les Peintres Lyriques Fonds Hélène & Michel Edouard Leclerc, Landerneau, France Hartung et la Photographie Museum fur Gegenwartskkunst, Siegen, Germany Hans Hartung N° 2, Setareh Gallery, Düsseldorf, catalog by Setareh Gallery, Germany Hans Hartung - Oficina do Gesto Centro Cultural Banco do Brasil, Sao Paulo, Brazil Art Informel in Paris Lee Ungno Museum, Daejon, South Korea Hans Hartung, l’ Opera Grafica Istituto Nazionale per la Grafica, Rome, Italy Hans Hartung Paintings 1960’s – 1970’s de Sarthe Gallery, February 16 – March 30, Hong Kong, China Les Sujets de l’Abstraction : Simon Hantaï, Gérard Schneider, Georges Mathieu, Pierre Soulages, Hans Hartung... Musée Rath, 6 May - 4 August, Geneva, Switzerland The Art of Writing: Cy Twombly, André Masson, Georges Mathieu, Hans Hartung... Artforum - Wiesbaden, 23 May, Wiesbaden, Germany Hans Hartung, The Final Years 1980-1989 Timothy Taylor Gallery, 10 March - 9 April, London, text by Odile Burluraux, England La Guerra ha Terminado? Arte en un Mundo Divido (1945-1968) Museo Nacional Centro de Arte Reina Sofía, 23 November, Madrid, Spain Hans Hartung, The Last Painting 1989 Cheim & Read, 29 October - 30 December, New York, text by Joe Fyfe, USA Deadline: Martin Kippenberger, Absalon, Hans Hartung, James Lee Byars, Felix GonzalezTorres, Joan Mitchell, Robert Mapplethorpe, Chen Zhen, Gilles Aillaud, Willem de Kooning, Hannah Villiger, Jiirg lmmendorff Musée d’Art Moderne de la Ville de Paris, 16 October - 10 January, Paris, France Hans Hartung, Le Geste et la Méthode Fondation Marguerite et Aimé Maeght, 3 July - 16 November, Saint-Paul de Vence, text by Michel ENRICI, Daniel ABADIE, Jean CLAIR and Dora VALLIER, France Hans Hartung: Esencial Circula de Bellas Artes, 12 February - 21 May, Madrid, organised by Bernard Derdérian, Franz-W. Kaiser, Nicolas Morales, text by Franz-W. KAISER, Juan Manuel BONET, Spain Hans Hartung: Spontanes Kalkül Museum der Bildenden Künste, 4 November - 10 February, Leipzig; Kunsthalle zu Kiel, 15 March - 18 May, Kiel; catalog by Hans - W. SCHMIDT and Dirk LUCKOW, with the contributions of Annie CLAUSTRES, Robert FLECK and Jan NICOLAISEN, Germany 107
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2000 1999
1998 1997 1996 1993 1991 - 1992 1989 1988 1987 1984 108
Hartung in China NAMOC, 29 July - 18 August, Beijing; National Museum, 29 August - 18 September, Nanjing; organized by Feng Yuan, Xu Huping and François Hers, curated by André Kneib, Lao Zhu, Jean-C. Agboton-Jumeau, catalog with the contribution of FENG Yuan, Jean-C. AGBOTON-JUMEAU, LAOZHU (ZHU Qingsheng), XU Huping, Fondation Hartung-Bergman (Antibes, France), China Hans Hartung: Conceptualisme Avant la Lettre Gemeentemuseum, 18 September - 21 November, The Hague, Holland Hans Hartung: So Beschwor ich den Blitz. Arbeiten auf Papier, 1922-1938; Greformatige Bilder, 1980-1989. Werkschau im Kleinen Format, 1922-1989 Museum Ludwig, 26 June - 19 September, Cologne, Germany Hans Hartung, Opere Scelte 1950-1988 Mazzoleni Galleria d’Arte, Turin, catalog by N. Orengo, Italy Hans Hartung Tour 46, Musée d’Art et d’Histoire, 17 May - 28 September, Belfort; Musée du Château des ducs de Wurtemberg, 17 May - 28 September, Montbéliard; catalog by Christophe COUSIN, Bernard FAUCHILLE, Bernard LAFARGUE, France Hans Hartung Galleria d’Arte Moderna, 28 January - 2 April, Turin, Italy Gesten, Flecken, Lineaturen... Hans Hartungs Erforschung... in Seinen Arbeiten auf Papier 19221985 und in Seinen Sechs Letzten Bildern, Kunstforum in der Grundkreditbank, 29 January 25 April, Berlin, text by Jârn MERKERT, Germany Hans Hartung: Le Champ des Oliviers Salle D’exposition du Quai Antoine 1er, Monte Carlo, text by M. Fresia, catalog by Fondation Hartung-Bergman (Antibes, France), Monaco Hans Hartung Aichi Prefectural Museum of Art, 9 October - 13 December, Nagoya, Japan Hans Hartung Taiwan Museum of Art, Taichung, catalog by G. Huang, R. Fleck, C.-H. Chen, Taiwan Hans Hartung: Works on paper, 1922-1956 Tate Gallery, 16 July - 27 October, London, catalog by Jennifer MUNDY, England Hartung et la Musique Centre d’Arts Plastiques, Royan, catalog by D. Abadie, France Hans Hartung: Oeuvres Extrêmes, 1922 et 1989 Musée de Montbéliard, 15 June - 28 October, Montbéliard, France; Villa Franck, 12 January - 29 February, Ludwigsburg, Germany Hans Hartung: Premières Recherches Abstraites, 1922-1938 Musée d’Unterlinden, 24 June - 15 October, Colmar, France Hartung: Peintures 1988 Galerie Sapone, February - April, Nice, France Hans Hartung Galleria Civica d’Arte Moderna, 28 May - 4 September, Ferrara, Italy Hans Hartung: Premières Peintures, 1922-1949 Musée Picasso, July - September, Antibes, catalog by Danièle GIRAUDY, France
1983
1981 - 1982 1980 1979
1978 1977 1975 - 1976
1974 - 1975
1974 1971 - 1972 1971 1969 - 1970 1969 1969
Hans Hartung zum 80. Geburtstag: Gemâlde und Lithographien, 1964 - 1984 Galerie Wolfgang Ketterer, 5 October - 26 October, Munich, text by Jörn MERKERT, Germany Hartung: Peintures 1980-1983 Galerie Sapone, July - September, Nice, France Hans Hartung: Malerei Zeichnung, Photographie, Städtische Kunsthalle, 12 September - 11 October, Düsseldorf, Germany; Staatsgalerie Moderner Kunst, 16 December - 28 February, Munich, Germany Hans Hartung: a Vision into Abstraction (1923-1964) A 75th birthday tribute, Fischer Fine Art Limited, January - February, London, England Hartung: Oeuvres de 1922 à 1939 Musée d’Art Moderne de la Ville de Paris, 31 March - 21 September, Paris, catalog by Bernadette CONTENSOU, André BERNE - JOFFROY and Daniel ABADIE, France Hans Hartung Musée Picasso, 5 July - 16 September, Antibes, France Hans Hartung: Peintures et Oeuvres sur Papier 1976-1977 Galerie de France, 27 March - 28 April, Paris, catalog by Gildo CAPUTO, France Hans Hartung Fondation Veronneman, 3 October - 25 November, Kruishoutem, Belgium Hartung Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France Hans Hartung: Paintings, 1971-1975 The Metropolitan Museum of Art, 16 October - 4 January, New York, text by Henry GELDZAHLER, USA Hans Hartung: Werke aus Fünf Jahrzehnten Wallraf-Richortz-Museum, 21 September - 3 November, Cologne; Nationalgalerie Berlin, Stiftung Preußischer Kulturbesitz, 25 January - 16 March, Berlin; Stâdtische Galerie im Lenbachhaus, 16 May - 29 June 1975, Munich, Germany Hans Hartung: 1971 - 1974 Galerie de France, 11 June - 12 October, Paris, catalog by François LE TARGAT, France Hans Hartung: 1971 Galerie de France, 19 November - 12 February, Paris, France Hartung: Grands Formats 1961 - 1971 Fondation Marguerite et Aimé Maeght, 6 June - 6 July, Saint-Paul de Vence, France Hans Hartung: Bilder, Pastelle, Graphik, for the Artist’s 65th Birthday Kunstverein Braunschweig, 2 December - 4 January, Braunschweig, catalog by Rolf SCHMÜCKING, Germany Hartung, Tàpies, Johns, Hozo: Z VIII. Mezinàrodni gra cké vYstavy v Lublani Galerie Nationale, October - December, Praha, texts by Raymond COGNIAT, Werner HOFMANN and William S. LIEBERMAN, Czechoslovakia (Czech Republic) Hans Hartung Musée d’Art Contemporain, 14 October - 7 December, Montréal, preface by Bernard DORIVAL, Québec, Canada
109
1969 1968
1967 1966 1965 1963 - 1964 1963
1962
1961 1960
1959
110
Hans Hartung Museum of Fine Arts, 24 April - 6 July, Houston, USA; Musée du Québec, 10 September - 6 October, Montréal, Québec, Canada Hartung Musée National d’Art Moderne, 11 June - 15 September, Paris, text by Bernard DORIVAL, France Hans Hartung: a Retrospective Exhibition of Paintings and Drawings City of Birmingham Museum and Art Gallery, 13 March - 21 April, Birmingham, England Hartung Galleria d’Arte Narciso, 26 May - 26 June, Turin, Italy Hans Hartung Galleria Civica d’Arte Moderna, May - June, Turin, introduction by Giuseppe MARCHIORI, catalog by Luigi MALLÉ, Italy Hans Hartung: Kleine Druckgraphik Galerie Günther Franke, Munich, Germany Hartung Stedelijk Museum, 12 December - 26 January, Amsterdam, text by Hans HARTUNG, Werner HOFMANN, Holland Hans Hartung Kunsthaus Zürich, 9 February - 17 March, Zurich, catalog by Eduard HÜTTINGER, Switzerland Hans Hartung Museum des 20. Jahrhunderts, 11 April - 12 May, Vienna, catalog by Werner HOFMANN, Austria Hans Hartung Galerie Günther Franke, November - 21 December, Munich, Germany Hans Hartung Kunstverein für die Rheinlande und Westfalen, Düsseldorf, catalog by Karl-Heinz HERING, Germany Hans Hartung Palais des Beaux-Arts, Brussels, Belgium XXXI Biennale Biennale di Venezia, Venice, Italy Cinquante Oeuvres Nouvelles de Hans Hartung Galerie de France, 26 October - 24 December, Paris, France Hans Hartung, Works from 1920 à 1939 Galerie de France, July - September, Paris, France XXX Biennale Biennale di Venezia, Venice, Italy Hans Hartung Galerie de France, Paris, France Hans Hartung Gimpel Fils, November, London, England Hans Hartung: Pastels 1958 Kleemann Galleries, March, New York, USA
Hans Hartung, May Choo, Zao Wou-Ki, Anna-Eva Bergman in France, 1962
111
Hans Hartung, 1947
112
1958
1957 1956
1954
1953 1952
1950 1949
1947 1938 1937 1936 1931
Léger - Matisse - Picasso - Miro - Laurens - Magnelli - Arp - Hartung – Jacobsen Musée de l’Art Wallon, June - September, Liège, Belgium Hans Hartung: Rubenspreis der Stadt Siegen Rathaus, 28 June - 27 July, Siegen, Germany Hans Hartung: Ausstellung, 35 Pastelle und Pinselzeichnungen Moderne Galerie Otto Stangl, 10 April - 30 May, Munich, Germany Hans Hartung, Paintings Kleemann Galeries, 11 March - 20 April, New York, USA Hans Hartung, Kestner-Gesellschaft Germanisches Nationalmuseum, 26 January - 3 March, catalog by Werner SCHMALENBACH Nürnberg; Württembergische Staatsgalerie, Stuttgart; Haus am Waldsee, Berlin; Kunsthalle, Hamburg; Koinischer Kunstverein, Cologne, Germany Abstrakte Maler, Bazaine, Bertholle, Bissière, Eble, Estève, Hartung, Jan, Lanskoy, Louttre, Manessier, Le Moal, Nallar, Palazuelo, Vieira da Silva, Singier, Spiller, de Staël, Ubac Galerie Beyeler, June - July, Basel, Switzerland Tendances Actuelles de l ’école de Paris, France Hartung et al. Kunsthalle Bern, 6 February - 7 March, Bern, Switzerland Hartung Palais des Beaux-Arts, 3 - 21 April, Brussels, Belgium Paintings by Hans Hartung Lefevre Gallery, January - February, London, England Hans Hartung Kunsthalle Basel, 23 February - 23 March, Basel, Switzerland Hans Hartung, Fritz Winter Das Amerika-Haus, Erlangen, Germany Anglo-French Exhibits New Burlington Galleries, London, England Les Réalités Nouvelles Chapelle du Lycée Ampère, Lyon, France Hans Hartung. Abstractions The Hanover Gallery, 25 January - 19 February, London, essay by Denys Sutton, England Linien 1949 Galerie Arne Bruun Rasmussen in collaboration with la Galerie Denise René, Copenhagen, Denmark Hans Hartung Galerie Lydia Conti, 14 February - 8 March, Paris, text by Madeleine Rousseau, France 20th Century German Art New Burlington Galleries, July, London, text by Herbert READ, England Origines et Développement de l’Art International Indépendant Musée du Jeu de Paume, 30 July - 31 October, Paris, France Des Oeuvres Récentes de: Arp, Ferren, Giacometti, Hartung, Hélion, Kandinsky, Nelson, Paalen, Taeuber-Arp La Galerie Pierre, 2 – 14 May, Paris, France Hans Hartung Kunstausstellung Kühl, 25 November - 20 December, Dresden, Germany 113
Museums and Public Collections Australia Australian National Gallery, Canberra Austria Museum des 20. Jahrhunderts, Vienna Museum Moderner Kunst, Vienna Belgium Musées Royaux des Beaux-Arts, Antwerpen Musées Royaux des Beaux-Arts, Brussels Brazil Museu da Universidade, Sâo Paulo Museu de Arte Moderna, Rio de Janeiro England City Museum and Art Gallery, Birmingham Tate Collection, London France Centre National d’Art et de Culture Georges Pompidou, Paris Fondation Maeght, Saint-Paul-de-Vence Fonds Départemental d’Art Contemporain du Val-de-Marne, Créteil Fonds Régional d’Art Contemporain Provence-Alpes-Côte d’Azur, Marseille Musée Cantini, Marseille Musée d’Art Contemporain, Dunkerque Musée d’Art et d’Industrie, Saint-Étienne Musée d’Art Moderne de la Ville de Paris, Paris Musée d’Art Moderne, Strasbourg Musée de Châteauroux, Châteauroux Musée de Peinture et de Sculpture, Grenoble Musée des Augustins,Toulouse Musée des Beaux-Arts, Lyon Musée Fabre, Montpellier Musée des Beaux-Arts, Nantes Musée des Beaux-Arts, Rouen Musée Granet, Aix-en-Provence Musée Municipal, Saint-Paul-de Vence Musée Nicéphore Niépce, Chalon-sur-Saône Musée Picasso, Antibes Musée Princeteau, Libourne Musée des Beaux-Arts, Lille
114
Germany Akademie der Künste, Berlin Foundation Domnick, Nürtingen Hamburger Kunsthalle, Hamburg Heimatmuseum der Stadt Witten, Witten Hessisches Landesmuseum, Darmstadt Kaiser Wilhelm Museum, Krefeld Kunstmuseum, Düsseldorf Kunstsammlung Nordrhein-Westfalen, Düsseldorf Kunsthalle, Bremen Museum Folkwang, Essen Museum Ludwig, Cologne Neue Nationalgalerie, Berlin Pfalzgalerie, Kaiserslautern Schleswig-Holsteinisches Landesmuseum, Schleswig Sprengel Museum, Hannover Staatliche Kunstsammlungen, Gemâldegalerie Neue Meister, Dresden Staatliche Kunstsammlungen, Kupferstichkabinet, Dresden Staatsgalerie Moderner Kunst, Munich Staatsgalerie, Stuttgart Stâdtisches Kunsthalle, Mannheim Stâdtisches Kunstmuseum, Bonn Stâdtisches Museum Simonstift,Trier Suermondt-Ludwig Museum, Aachen Wallraf-Richartz Museum, Kôln Wilhelm-Hack Museum, Ludwigshafen Wilhelm-Lehmbruck Museum, Duisburg Iceland Listasafn íslands (National Gallery of Iceland), Reykjavík Israel The Israel Museum,Yerushalayim The Municipal Museum of Modem Art, Haifa Italy Collezione Vaticana d’Arte Religiosa Moderna, Roma Galleria Civica d’Arte Moderna,Turin Galleria Comunale d’Arte Moderna e Contemporanea, Roma Galleria Nazionale d’Arte Moderna, Roma Japan The Museum of Modem Art, Kamakura The Museum of Modem Art,Toyama The Ohara Museum of Art, Kurashiki
115
Kenya Kenya National Museum, Nairobi Macedonia Musée d’Art Contemporain, Skopje Norway Sonja Henie-Niels Onstad Foundations, Hôvikkoden Netherlands Stedelijk Museum, Amsterdam Stedelijk van Abbemuseum, Eindhoven Sweden Moderna Museet, Stockholm Switzerland Kunsthaus, Zürich. Kunstmuseum, Basel United States of America Albright-Knox Art Gallery, Buffalo Baltimore Museum of Art, Baltimore Metropolitan Museum of Art, New York Museum of Modern Art, New York Philadelphia Museum of Art, Philadelphia Fogg Art Museum, Harvard University, Harvard Phoenix Art Museum, Phoenix Solomon R. Guggenheim Museum, New York
Awards Awarded the distinction of Grand Officier de la Légion d’Honneur by President Mitterrand Awarded Bundesverdienstkreuz (Cross of Merit) by the Federal Republic of Germany, with a star Awarded first Oskar Kokoschka Prize established by the Austrian government Awarded membership in the Maximiliansorden für Wissenschaft und Kunst (Maximilian Order for Science and Art), Bonn, Germany Nominated to the Académie des Beaux-Arts, Paris, France Awarded Citoyen d’Honneur by the city of Antibes, France Prix d’Honneur at the VII International Print Exhibition in Ljubljana (Yugoslavia [Slovenia]). Nominated to France’s International Order of Arts and Letters (Commandeur des Arts et des Lettres) Awarded the International Grand Prize in Painting at the Venice Biennale by Jury unanimously Awarded the Prix Guggenheim (for Europe and Africa) Awarded the Croix de Guerre 116
Published on the occasion of the exhibition:
HANS HARTUNG (1904 - 1989) Abstraction: A Human Language
November 25, 2017 - January 13, 2018 de Sarthe Gallery
20/F, Global Trade Square, No.21 Wong Chuk Hang Rd, Hong Kong T. +852 21678896 | F. +852 21678893 | E. hongkong@desarthe.com www.desarthe.com Publication © 2017 de Sarthe Gallery Balancing the spontaneous gesture: Some remarks on Hans Hartung © Peter Iden Photograph Credits Archives Fondation Hartung Walch (p 11, p 12, p 15, p 52, p 54-55, p 56-57), Mark Vaux (p 112), Alkis Voiliotis (p 72-73), Andre Villers (p 94-95) Design by de Sarthe Gallery (Mario Bobbio) Printed by Asia One Communications Group
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