It’s Day 205 and I really love today’s artists artwork.  I’m so exhausted from singing for three hours last night at improv.  I think today I’m going to just spend on painting, finishing up a chapter for my writing group and just chillaxing for once!  Join me in celebrating Huguette Arthur Bertrand today!  I had to translate her biography from French into English so it’s going to read a little strange.  I think instead of translating “her” it says “his”…oops!  Hope you don’t mind!  It’s from the French wikipedia.

Huguette Arthur Bertrand, born in 1920 and died in Ecouen 2005 in Paris, is a French non-figurative painter of the post-war related the adventure of the lyrical abstraction .

Rare woman painter of lyrical abstraction Postwar, Huguette Arthur Bertrand actively

involved in the Parisian art scene, alongsidePierre Soulages and Hans Hartung , Zao Wou-Ki and Chu Teh-Chun and others.

Huguette Arthur Bertrand has shown very early among the first representatives of abstract art French postwar designated under the name of the young and the new school of Paris .

Born in 1920 and after a childhood spent in the region of Saint-Étienne in contact with the textile tradition, she moved to Paris in the immediate post-war period, is befriended artists orbiting the Galerie Denise René and travel (purse Prague).

Its sensitivity and the ardor however take away from the smooth and cold geometry developed by his environment and encourage him to follow his own pictorial energy.Present in living May 1949, she participated in the group “The Hands dazzled” exposed by the Maeght Gallery in 1949-1950 and gained his first solo exhibitions at the gallery Niepce in 1951, then Galerie Arnaud from 1953 to 1959. Price Fénéon in 1955, she exhibited the following year in New York (Meltzer Gallery) to Copenhagen (Birch Gallery) and in England, Belgium, Germany and Japan.

In 1956, she participated in the exhibition of abstract art Adventure presented by Michel Ragon .

1950s to the 1990s, his work evolves very constructed compositions, organizing masses of color and lines in bundles, to smoother fields overgrown and covered in dazzling shades. His pictorial universe expands a reasoned implement a freedom won and matured, perceptible in erasing the line and the color distribution. The material is lighter and shapes disappear to make way for transparent clouds borne solvents, as to reach the essence of painting in a roll-overs (all over).

The transition takes place over several years gradually, in a slow and patient research. If progress is soft, energy is released and the gesture

says forcefully. Construction and organization values ​​always take precedence over the color used in small registers, often with dominant brown, red and orange, his favorite colors

“Neither geometrism or abstract landscape. A beautiful lyrical abstraction which takes its source in the fifties and has never ceased to swell its waters (…);strong beliefs that no user can shake, “writes Michel Ragon in the catalog of a recent exhibition of the painter (Galarté gallery, Paris, 1987).

Huguette Arthur Bertrand is also the author of numerous tapestry made in Aubusson, a form of loyalty to his parentage and origins (gallery La Demeure, Paris, 1975).

Works of Huguette Arthur Bertrand are collected worldwide, in major international museums including the Centre Pompidou in Paris, the Museum of Fine Arts of Quebec,the Walker Art Center in Minneapolis, as well as in private collections and foundations such as the renowned Gandur Foundation for Art in Geneva.

In March 2012, the Galerie Diane de Polignac in Paris presented a solo booth artist Huguette Arthur Bertrand at the Pavilion of Art and Design, PAD Tuileries. The Gallery Diane de Polignac has also published a monographic catalog on the artist.

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The paintings are from her page on artsy.net.  It’s such a wonderful site filled with great art.  Check it out!

I hope you enjoy my piece today!  I feel that I may have made it a little busier than I wanted it to be.  Well, I still like it. 😉  I will see you tomorrow on Day 206!  Best, Linda