Permanent Collection

Martin Barré, 56-80-P, huile sur toile, 1956, 145,5 x 97 cm Martin Barré Martin Barré worked by superimposing layers of paint from a palette reduced to only a few colours. Starting in 1957, he used a “knife equally to apply the paint and to scrape it off to reveal the fabric of the canvas” in […]

Alfons Schilling, Ohne Titel, huile sur toile, 1960-1961, 223 x 253,2 cm Alfons Schilling Born in Basel but trained in Vienna, Alfons Schilling, like Judit Reigl, was interested in centrifugal and centripetal movements in paint. Before moving to New York in the autumn of 1962, Schilling stayed in Paris for several months from December 1961,

Judit Reigl, Les Huns (série Écriture en masse), huile sur toile, 1964, 207,5 x 230,5 cm Judit Reigl Paris attracted not only American painters, but artists from all over Europe, such as the Hungarian Judit Reigl, who arrived in the capital in 1950. During her first years of exile, she produced several important series. In

Pierre Soulages, Peinture 195 x 130 cm, 1er septembre 1957, huile sur toile, 1957, 195 x 130 cm Pierre Soulages Over the course of the 1950s, Pierre Soulages covered his canvases even more with the colour black, which invaded the space of the canvas while nonetheless leaving room for light, which the artist treated with

Pierre Soulages, Peinture 81 x 60 cm, 28 novembre 1955, huile sur toile, 1955, 81 x 60 cm Pierre Soulages Part of a period of pictorial experimentation characterised by thick forms in dialogue with colourful, non-uniform backgrounds, Peinture 81 x 60 cm, 28 novembre 1955 presents large black rectangles applied by brush or knife, juxtaposed

Pierre Soulages, Peinture 130 x 89 cm, 24 août 1958, huile sur toile, 1958, 130 x 89 cm Pierre Soulages After travelling to the United States and Japan in 1957 and 1958, Pierre Soulages returned to Paris and moved into his studio in Rue Galande. Here he painted several canvases with a scraping technique, including

Christo, Jean Dubuffet, Conrad Marca-Relli, Georges Noël, Léon Zack, Antoni Tàpies, Simon Hantaï Materiality Impressed by the effect of Fautrier’s work, Jean Dubuffet invented his own pictorial language, based on cheap materials that gave life to sculptures made of clinker such as Savonarole and landscapes made with dead leaves. Antoni Tàpies combined oil with sand

Alberto Burri, Lucio Fontana, Salvatore Scarpitta, Manuel Rivera, Mimmo Rotella, Jean Tinguely, Pol Bury, Piero Manzoni, César, Emilio Vedova, Raymond Hains Experimentations While the Italian artist Emilio Vedova extended his format with a violent and explosive triptych coloured with energetic paintbrush bursts, his compatriot Alberto Burri used jute cloth with bright red acrylic and salvaged

Dialogues This section includes, for example, works by Hans Hartung, a German artist who took French nationality, containing wide black bands that give structure to the pictorial space, the compositions painted from initial studies. This structure is reminiscent of the works of his contemporary, Gérard Schneider, a Swiss artist and another pioneer of lyrical abstraction.