Affiche poster plakat manifesto Air France Georges Mathieu INDE J.Dupont 1967

Très colorée et belle  Affiche originale Air France INDE par Georges Mathieu 1967

Quelques petites ou micro déchirures d'usure (ou trou de punaise), JAMAIS pliée!

Photogravure Jacques Dupont France, format 60 cms X 100 cms.

Soit mérite un entoilage (coût actuel France 60-80 euros fait par un professionnel et selon l'état de l'affiche à entoiler), soit encadrée, elle sera magnifique...sur un mur blanc, gris ou bleu ...etc

Regardez bien les photos, n’hésitez pas à me poser des questions.

La fiche technique (pas incluse) est tirée d'un guide speciall édité par Air France sur la série de GM (pas encore en vente)

Mathieu en quelques mots

Fondateur de l’Abstraction lyrique, inventeur des performances et du tubisme, pionnier de l’Action Painting, de la vitesse et du dripping, inspirateur du street art.

Affiches Air France 

Commencée un an plus tôt, Mathieu acheva en 1967 la réalisation d’une série d’affiches pour Air France, dont l’initiative revient à Pierre Sautet, sous-directeur commercial d’Air France. Cette rencontre unique entre art et publicité aboutit à la présentation des affiches le 26 octobre 1967 au Musée d’Art Moderne de la Ville de Paris. Elles connurent un énorme succès : il y eut des dizaines d’expositions organisées en France puis dans le monde, et plus d’un million d’affiches vendues.

Decouvrez la description qu’en donne Georges Mathieu — dont le verbe importe autant que la production picturale — dans le catalogue publié par Air France la même année.Les affiches sont ordonnées de la même façon que dans le catalogue, sachant quedeux des 16 affiches ne figurent pas dans le catalogue : Hong-Kong et l’URSS (déjà vendue).

 Unique  original poster A- class 1967

Have a good look at photos, don’t hesitate to question me!

Some tiny tearings all around but never folded!

What powerfull and shiny colors!!!!

Would be fantastic once framed.

Georges Mathieu in brief

Founder of Lyrical Abstraction,inventor of performance art, pioneer of Action Painting, speed and risk,dripping, early inspirer of street art.

Georges Mathieu, the inventor of performance art

, one can wonder why, while there isa (too) short mention of Japan’s Gutai movement, who undeniably anticipated performance art, there is absolutely no mention of Georges Mathieu, the founder of Lyrical Abstraction (the European equivalent of Abstract Expressionism) who inspired Gutai (Mathieu and Pollock are the two artists referred to in Gutai’s manifesto of 1956), who inspired Yves Klein (who was a and fellow royalist) and who inspired the Viennese Actionists.

Art historian Kristine Stilesstates, in an article titled “Painting, photography, performance: the case of Georges Mathieu” for the exhibition catalogue of Georges Mathieu’s retrospective at the Galerie du Jeu de Paume in Paris in 2002: “Yves Klein sawin him a guide and one of his royalist peers. The famous Saut dans le vide(1960), with which Klein documented through photography a leap into the unique,spontaneous and dangerous space, testifies to his debt to Mathieu. But Klein’s debt to his mentor is also conceptual and intellectual. Klein’s interest indanger, impulsiveness of gesture, speed and improvisation, which he expressed,among other things, through his lively brushes, echoes Mathieu’s approach. The Viennese Actionists also recognized Mathieu, making his performance on April 2,1959 in Vienna at the Theater am Fleischmarkt an important factor in their decision to devote themselves to action.”

Mathieu was the first to organize performances and happenings, as early as in 1954 he invites a small crowd of journalists and amateurs to see the live painting of one of his most famous paintings: Les Capétiens partout!, a 6-meter long artwork that he executes in an hour and twenty minutes. In May, 1956, in front of around 2,000 people at the Théâtre de la Ville – Sarah-Bernhardt, on the Night of Poetry, to action paint a huge canvas measuring twelve by four meters, using up to 800 paint tubes. In 1957, Georges Mathieu went to Japan, he executed in Tokyo 21 canvasses in three days including an 8- and a 15-meter fresco, painted in avery short time in front of a large crowd, then in Osaka, he painted in publicon the roof of the Daimaru, dressed in a kimono—he wishes to “reintroduce thenotion of play into art and culture.” (

) In 1959, he painted Le Massacre dela Saint-Barthélemy under the eyes of TV cameras in Paris, while jazz drummerKenny Clarke was soloing next to the canvas.

But then why this glaring omission? Kristine Stiles has an answer to it (from the same article): “Why was Mathieu’s contribution to art history (and in particular to performance history) neglected at the time? Why did his theoretical writings fall into oblivion? The negative reaction of American critics to Mathieu’s work seems to me to refer tothe old obsession with exhibitionism in the United States, especially the onecaptured by photography and published in mainstream magazines such as Time.That he was rich, eccentric, and aristocratic in essence, and showed it, did little to help him in the puritan climate of the time. In Europe, some artists linked to the political left rejected Mathieu because of his royalistconvictions. This would have been understandable if Yves Klein’s royalism had changed the reception he received from the avant-garde.”

Even though he did not use the word“performance” to describe his art, which is logical as there was no previousreference, in his books Mathieu explained he was placing the work of art “at thecrossroads of the object, the act, and the behavior”. According to him therehad to be an object, a resulting work of art, for instance a painting, and hewould later reject the purely conceptual and more recent versions ofperformance art. Nonetheless, the act and behavior aspects of this trilogy clearly relate to performance art, therefore he did not only anticipate performance art, he theorized and executed the earliest version of it.

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