GÉRARD SCHNEIDER
An exhibition organised to mark the online publication of the Catalogue Raisonné
Gérard Schneider in his studio, working on Opus 15 i, Les Audigers, Boutigny-sur-Essonne, France, 1967 – Photo: Loïs Frederick © Archives Gérard Schneider / Adagp, Paris
Portrait of Gérard Schneider, Boutigny-sur-Essonne, France, September 1960 – Photo: Michel Ragon © Reserved rights / Archives Gérard Schneider
“Lyrical abstraction is primarily embodied by Gerard Schneider, as cubism is by Picasso” Michel Ragon, Schneider, Angers: Expressions contemporaines, 1998
“Every moment is a wonder,” my father used to say. I hope that you will experience the same wonder and joy that I have felt upon exploring this Catalogue Raisonné. Discovering—or rediscovering—the many facets of Gérard Schneider’s creative nebula, work by work, is an extraordinary experience.
Schneider fully embodied the Lyrical Abstraction movement. He would create a style of gesture—his gesture—that was
tumultuous, intrepid and inspired, poetic and pure. It would appear like a sudden flash of brilliance, blindly obeying his “creative psyche”.
Each artwork, whether a major canvas or a work on paper, is unique—an original in the purest sense. I have grown up with these works, and yet I hold my breath with each new revelation that the Catalogue Raisonné unveils.
What makes a digital Catalogue Raisonné so powerful is that it can be continuously expanded and enriched. It is also the most beautiful tool for transmitting this information that I could have imagined.
I would like to express my heartfelt thanks to the Diane de Polignac Gallery, which was the driving force behind this ambitious project initiated ten years ago, for its unfailing support. I would also like to express my deepest appreciation for the work, research and commitment of Christian Demare. This adventure has given me the opportunity to discover the profound density and complex architecture of my father’s work.
Laurence Schneider
GÉRARD SCHNEIDER
Catalogue raisonné
After many years of work, the Catalogue Raisonné of Gérard Schneider is now available online. A major milestone in the understanding of his work, this publication is the result of painstaking efforts which involved collecting and sorting archives, as well as gathering and ordering the relevant information.
A Catalogue Raisonné is an inventory of all the known works by an artist, in the most complete form possible. This authoritative publication may be structured chronologically, thematically or stylistically. In the case of Gérard Schneider’s Catalogue Raisonné, a chronological approach was the obvious choice. A Catalogue Raisonné consists first of all of a precise, physical description of each work: its title, technique and dimensions. It also contains information relating to the “life” of the work—i.e. its provenance, its appearances at public sales, etc.—and the exhibitions and publications relating to each work. Of course, all of this information is based on photographs of the works, as well as all the archival elements that make it possible to document the work as accurately as possible.
In the context of Gérard Schneider’s body of work, the authors have chosen to examine his paintings—on canvas or wood panels—and works on paper, which will be joined by prints, tapestries and other works such as mosaics and objects in a second phase.
A Catalogue Raisonné is a fundamental tool for collectors, dealers, auction houses, art historians, curators and students. This documented inventory enables us to appreciate all the known works by the artist, which is necessary in order to judge the importance and historical significance of their work, and to trace the history of each artwork.
For the Catalogue Raisonné of Gérard Schneider, the publisher and the authors have opted for a 100% digital catalogue, which will be accessible worldwide and at any time. A “living” knowledge base, the Catalogue Raisonné will be updated with new information on a daily basis. Choosing a digital format means opting for the most up-to-date information possible and thus enabling a real interaction between the works and their owners.
This evolving form of the Catalogue Raisonné constitutes a new way of considering this type of publication; it responds to current expectations and thanks also to the flexibility of the digital tools, it makes it possible to adapt to new research and approaches concerning the production of an artist.
This relationship—which is as contemporary as it gets!—is
the perfect reflection of Gérard Schneider’s work: being both
eminently rich and dynamic.
Christian Demare
GÉRARD SCHNEIDER
1896-1986
Gérard Schneider was born in Sainte-Croix in Switzerland in 1896. He spent his childhood in Neuchâtel where his father was a cabinetmaker and antique dealer.
At the age of 20, he went to Paris to study at the École nationale des arts décoratifs, and then in 1918 entered the studio of Fernand Cormon at the École Nationale des beaux-arts de Paris. Cormon had also taught Vincent van Gogh and Henri de Toulouse-Lautrec.
In 1922, Gérard Schneider settled permanently in Paris. The 1920s and 1930s were marked by a long period during which he learned different techniques and the history of painting.
In 1926, Gérard Schneider’s exhibition took place for the first time at the Salon d’Automne. The work he showed, L’Allée hippique (Horse Pathway), attracted attention. He also frequented musical circles in Paris. He exhibited five paintings, including Figures dans un jardin (Figures in a Garden) at the Salon des Surindépendants of 1936, which were appreciated by the critic of La Revue Moderne: “a style, figures of such agility that the expression of movement seems to have been included in the rapid technique”.
He also discovered the artistic movements of the century of upheavals and tragedies during this period. In the mid-1930s, Gérard Schneider assimilated the revolution initiated by Kandinsky’s abstraction, while also exploring the new horizons introduced by Surrealism.
He no longer painted from reality. His palette darkened, black now occupied an important position and formed structures. He wrote poems and frequented the Surrealists: Luis Fernandez, Oscar Dominguez, Paul Éluard and Georges Hugnet.
From 1938, the titles of Gérard Schneider’s paintings no longer referred to reality: the three sent to the Salon des Surindépendants were called Composition. In 1939, he met Picasso. Around 1944, his painting definitively abandoned all references to reality.
In 1945, the Musée National d’Art Moderne bought one of Gérard Schneider’s paintings (Composition, 1944).
Gérard Schneider and the Consul of France, during the presentation of the Lissone Grand Prize for Abstract Art (in the background Opus 58 C, 1957), Lissone (Milan), Italy, 1957 – Photo: reserved rights © Archives Gérard Schneider / Adagp, Paris
In the effervescence of the immediate post-war period, Gérard Schneider’s art played a pioneering role in the
birth of a new form of abstraction. In Paris, the painter Gérard Schneider and other precursors proposed a return to the radicality of abstraction, a form of abstraction that no longer had any connection with the real and perceptible world and would become a landmark, it matched the aesthetic imperatives of this transitional period: it was called Lyrical Abstraction.
Alongside artists such as Jean-Michel Atland, André Lanskoy, Georges Mathieu and especially Hans Hartung and Pierre Soulages with whom he formed sincere friendships, Gérard Schneider very quickly saw his work acquire an international dimension. From the mid-1940s, major exhibitions grouping the main members of lyrical abstraction were organized in Paris, especially at the galleries of Lydia Conti and Denise René.
Abroad, at major travelling exhibitions, the public discovered this vital creative momentum: around Germany from the late 1940s: this was the exhibition Wanderausstellung Französischer Abstrakter Malerei (Travelling exhibition of French abstract paintings) which circulated throughout West Germany between 1948 and 1949. Schneider’s works were exhibited immediately afterwards in the USA: at the Betty Parsons Gallery (in 1949 and 1951) and in the major travelling exhibition Advancing French Art that was shown all over the country, from Chicago to San Francisco.
Between 1955 and 1961, the Samuel Kootz Gallery in New York was his exclusive dealer in the USA and his representative there. Gérard Schneider joined his friend Pierre Soulages in this prestigious gallery.
The Phillips Gallery of Washington bought Opus 445 of 1950 and New York’s MoMA bought Opus 95 B of 1955. In 1956, Gérard Schneider married for the second time, his wife was Loïs Frederick a young American woman who had come to Paris to study art on a Fulbright scholarship, whom he met through Marcel Brion. Around the same time, Schneider met Eugène Ionesco.
Exhibitions were held successively around the world.
From the early 1950s, Gérard Schneider’s works were exhibited in Europe: for example, in Brussels where there was a first retrospective in 1953, then a second one in 1962 in association with the Düsseldorf Kunstverein. He also participated in the first two editions of Documenta in Kassel in 1955 and 1959.
Gérard Schneider exhibited three times at the Venice Biennale, in 1948, 1954 and 1966.
Loïs Frederick and Gérard Schneider, boulevard du Montparnasse, Paris, France, 1956 – Photo: reserved rights © Archives Gérard Schneider
In 1957, he won the Lissone Grand Prize for Abstract Art. His works also travelled regularly to Japan from 1950 until
the early 1970s, especially for the International Exposition of Art. In addition, for the International Art Exhibition in Tokyo in 1959, he was awarded the prize of the Governor of Tokyo.
Gérard Schneider also showed several times at the São Paulo Biennale: in 1951, 1953 and 1961. During the 1961 edition, Jean Cassou, chief curator of the Musée National d’Art Moderne of Paris, asked Schneider to create four canvas paintings 2 x 3 m for a group of ten large format works that were exhibited.
During the 1960s, he maintained a close connection with the Milan-based dealer, Bruno Lorenzelli who held many exhibitions of his work around Italy. This decade of change saw Gérard Schneider’s painting acquiring more colour, becoming freer while the gesture acquired a definitively calligraphic dimension.
Yet again, Gérard Schneider’s work evolved and echoed the aesthetic aspirations of his time as much as a complex interior process that had begun many years earlier. A synthesis of the notions of form, colour and space. At the 1966 Venice Biennale, an entire room of the French Pavilion was devoted to his work.
Similarly, a major retrospective was held of his work in Turin in 1970 where about a hundred paintings were exhibited at the Galleria Civica d’Arte Moderna. This was a great success, and then the exhibition continued at the “Terre des Hommes” Pavilion in Montreal.
At over 70, Gérard Schneider’s art continued its effervescence. The fire was still as intense. The volcanic eruption of colour more fervent than ever, as if his work was destined never to be extinguished.
Exhibitions of the painter Gérard Schneider continued at the same pace, such as those held by the Galerie Beaubourg in Paris.
This fire, this energy, required a speed of execution that only paper seemed to allow. At the start of the 1980s, he turned towards this support almost exclusively. This is how, in the intimacy of his studio, large and luminous compositions full of colour were born, enflamed, the unreal beauty of which continue to fascinate.
Gérard Schneider left this world on July 8th 1986 at the age of 90 and bequeathed us an oeuvre that was both simultaneously unfathomable in its aesthetic complexity and yet so close, so human and so sensitive.
In 1998, Michel Ragon published a major monograph on his work.
In conjunction with the online publication of the Catalogue Raisonné of Gérard Schneider, the Diane de Polignac Gallery invites you to immerse yourself in the work of this pioneer of the Lyrical Abstraction movement.
Through seven paintings, we will explore seven periods of investigation and creation, each one a milestone revealing key moments in Schneider’s body of work, from the surrealist stage to the artist’s total mastery of free and creative gestural expression.
EXHIBITED ARTWORKS
Texts by Astrid de Monteverde unless otherwise stated.
SURREALISM AND ABSTRACT ART
After learning intensively from the classical masters, Gérard Schneider shifted his focus to non-figurative painting as a new artistic language. Following in the footsteps of Kandinsky, Schneider continued his artistic explorations. In the mid-1930s, he frequented surrealist circles and made friends with the painters Luis Fernandez, Victor Brauner and Oscar Dominguez, and the poets Paul Éluard and Georges Hugnet. Schneider, who wrote poems, no longer painted from life during this period. The artist oscillated between figuration and abstraction during this transitional phase, inspired by the formal world of Surrealism, while also echoing the fears and hopes of the times. The artist’s decomposition of the figure was permeated by influences from Surrealism and the process of automatic writing, which saw Schneider developing long, slender figures that he gradually reduced to a few lines.
Untitled -1938
Oil on canvas
81 x 100 cm / 31 7/8 x 39 3/8 in.
Dated lower right
Catalogue raisonné registration number
GS-T-38-004
Untitled – 1938 ca.
Oil on Canvas
Private collection, France
STEPS TOWARS ABSTRACTION
The subject’s deconstruction was soon accelerated. Around 1938, Gérard Schneider entitled his works Composition, and later Opus, no longer establishing any connections with real life. Around 1944, his work definitively abandoned all references to reality to fully embrace non-figurative painting. The 1940s were an experimental decade for the artist, who explored a whole realm of possibilities.
The figure disappeared, his compositions reduced to a succession of rigid, intertwined forms. This artistic investigation prompted the artist to concentrate first on form, after which he turned his attention to gestural expression. While colour tended to be applied as a flat surface, the artist used black to play a structuring role in his works.
Opus 343 – 1947
Oil on plywood
50 x 61 cm / 19 11/16 x 24 in.
Signed and dated lower right: “Schneider – 47”.
Titled on the reverse.
Catalogue raisonné registration number
GS-T-47-004
Exhibition
Gérard Schneider 1945-1955, de l’abstraction au lyrisme, Sep.–Oct.
2017, Galerie Diane de Polignac & Chazournes, Paris, France
Bibliography
Gérard Schneider 1945-1955, de l’abstraction au lyrisme, Paris:
Galerie Diane Polignac & Chazournes, 2017, ill. col. p. 31
Untitled – 1949
Oil on Canvas
Musée de Grenoble, France
FROM THE ABSTRACT TO THE LYRICAL
After the end of the Second World War, the international art scene was in a state of frenzy. Among those who chose non-figurative painting as their artistic language, impassioned debates pitted the supporters of the “colder”, rational style of geometric abstraction against those who preferred the more “passionate” gestural style of abstraction, which was rooted in free, spontaneous gestures. Schneider played a pioneering role in the affirmation of this new style of abstract painting: a radical form of abstraction, free from any attachment to the real, tangible and perceptible world. This very personal abstract style became known as “Lyrical Abstraction”.
At the turn of the 1950s, the forms in Schneider’s work became more flexible, gradually giving way to a pursuit of gesture. The artist’s use of black retained its structuring role. With a bold palette of celadon blue, royal blue, magenta and yellow, among other colours, Schneider allowed himself great freedom in his artistic explorations, on both paper and canvas. This was also the moment that his work began to receive international recognition: in Paris, the gallery owners Lydia Conti and Denise René regularly presented his work alongside members of the Lyrical Abstraction school such as Hans Hartung and Pierre Soulages; Betty Parsons also exhibited his work in New York and the Der Spiegel Gallery in Munich as well. Schneider was already participating in major art events during this period, presenting his work at the 24th Venice Biennale in 1948 and the 1st São Paulo Biennale in 1951.
Opus 493 – 1951
Oil on canvas
73 x 92 cm / 28 3/4 x 36 1/4 in.
Signed and dated lower right: “Schneider 12/51”.
Titled on the reverse on the canvas.
Catalogue raisonné registration number
GS-T-51-014
Exhibition
1er Salon d’art français contemporain au Maroc, Feb. 28–Mar. 10,
1952, Pavillon de la Mamounia, Rabat, Morocco
Untitled – 1952 ca.
Gouache, India ink and pastel on paper
Private collection, France
Portrait of Gérard Schneider (lower left Opus 375 [1948], on top Untitled [1952]), rue Armand-Moisant studio, Paris, France, 1952 – Photo: Denise Colomb © Archives Gérard Schneider / Denise Colomb / Adagp, Paris
“A painting is on organized whole, a set of relationships between shapes, lines, and coloured areas on which the meanings we ascribe are revealed or unrevealed.” Gérard Schneider in Raymond Bayer , Entretiens sur l’Art abstrait, Geneva: Éditions Pierre Cailler, 1964
DRAMATIC ABSTRACTION
The art critic Michel Ragon used the expression the “glorious years” to describe the period of the 1950s in the work of Gérard Schneider. Lyrical Abstraction was emerging triumphant, led by the famous “trio” of artists: Hans Hartung, Gérard Schneider and Pierre Soulages. For Schneider, it was a decade of consecration, during which he showed three large canvases at the Venice Biennale in 1954, as well as participating in the first Documenta exhibition in Kassel, Germany, in 1955, and receiving the Lissone Grand Prize for Abstract Art in 1957. The period was also marked by Schneider’s collaboration with the great New York dealer Samuel Kootz: from 1955 to 1961, the two men signed an exclusive contract that propelled Schneider’s work to the forefront of the art scene.
Gérard Schneider was well-known abroad, particularly in Japan. His gestural style of painting resonated with a sense of immediacy associated with Japanese calligraphy and was naturally much appreciated. The art critic Michel Seuphor stated: “Of all the European abstract painters, Schneider is, without doubt, the one who comes closest to Japanese abstract calligraphy.” This was confirmed in 1959 when the artist received the prestigious Tokyo Governor’s Award and was subsequently awarded exhibitions in Tokyo and Osaka. The writer Shinichi Segui confirmed that: “Of the most famous French avant-garde painters in Japan, Schneider is, without doubt, the name that comes first.” Schneider would also say himself: “Japanese critics and calligraphers have very much got the impression that my painting style seeks to reach that other side, which is the inner resonance, and that it contains this convergence of two complementary elements—the ‘cosmos’ and personal expression—just like traditional calligraphy.”
Gérard Schneider’s work was also highly appreciated in the United States, where the group exhibition Advancing French Art presented the artist’s works, among others, in 1950. The artist’s painting Opus 445 was acquired by the Phillips Collection in Washington in the same year. Schneider was represented in New York by the Samuel Kootz Gallery from 1955 to 1961. His works were popular among American artists and the American public. It is well known that Franz Kline particularly admired his paintings. As a result, a
connection was established between Schneider’s painted works and the American Abstract Expressionism movement. The art critic Roger van Gindertael used the term “action painting” in relation to Schneider’s work, highlighting the gestural aspect of his painting style in the 1950s. The art critic Michel Seuphor also drew attention to the connection between Schneider and American painting, saying: “I am not at all unaware that this same need for the spatial expansion of total expression through a brief gesture can be found in the work of certain French painters. (…) I confess to deriving great pleasure from a recent work by De Kooning or Kline. But this pleasure does not exclude the pleasure, quite different in truth, that a Soulages or a Schneider gives me.” He added: “De Kooning thus joins—with Kline, Soulages, Schneider and Hosiasson—the Japanese calligraphers’ art of unconventional gesture and the art of the blot.”
Schneider’s 1950s paintings were thus characterised by the importance of gestural expression—powerful and masterful gestures that gave life to form. It was a decade marked by the emergence and development of the artist’s expression of this gestural technique, driven by the artist’s “creative psyche”. In an interview with Roger van Gindertael, the artist explained: “The gesture is the direct technical means of realising the lived moment. It is the gesture that, driven by the inner self, creates the form. (…) With gesture, the artist defines a phase of his state in an improvisation. It is made valid by the authenticity of the inspiration that it communicates. If the gesture is automatic only, without any inner sense of necessity, its graphics will be gratuitous, a fragment of a limited repertoire.” In his book Art abstrait, Marcel Brion confirmed: “Underlying Schneider’s work is a romantic temperament, an extremely vivid and swift sensibility”. Gérard Schneider’s painting style was particularly vehement and volatile, punctuated by fiery gestures. Michel Ragon described it as follows: “Musicality, lyricism and poetry form an infinite variation of the original elements of his expression.”
Untitled – c. 1959
Oil on canvas
73 x 92 cm / 28 3/4 x 36 1/4 in.
Catalogue raisonné registration number
GS-T-59C-037
Opus 95 B – 1955
Oil on Canvas
Museum of Modern Art, New York, USA
THE METAMORPHOSIS OF LYRICISM
In the 1960s, Gérard Schneider reinvented Lyrical Abstraction in a new context. The era was marked by a return to figuration with the victory of Pop Art and the French Nouveau Réalisme movement. It was also a time of prominence for New York over Paris which culminated, in 1964, with the Grand Prize for painting at the Venice Biennale being awarded to Robert Rauschenberg and the Franz Kline retrospective at the Musée d’Art Moderne in Paris. With regard to abstraction, op art and kinetic art dominated the contemporary scene, highlighting a new relationship with colour. In Schneider’s work, the palette of the 1960s was more vivid than that of the preceding period. It is also important to highlight the wider context, which was marked by crises that culminated in the events of May 1968. Art as a whole was being contested: the Destruction in Art Symposium appeared in London in 1966, Harold Rosenberg wrote that “the history of art is coming to an end”, while Alain Jouffroy published the pamphlet L’abolition de l’art [The Abolition of Art].
This turbulent artistic environment sheds some light on the transformation of Schneider’s painting style, which he was able to reinvent with virtuosity and relevance. This new period was characterised by the predominance of colour, as Schneider, a great colourist painter, adopted a radiant palette: “The sonorous relationships, the cold blue, the piercing flash of yellows and reds, the spontaneity in the execution, and the psyche with which the work is charged,” the artist declared, “manifest the painter’s humanity in his attempt to constantly surpass himself in order to shout loudly enough what he bears within.”
Schneider’s intense and explosive paintings of the 1950s gave way to a more diffuse use of colour that gradually became more prominent in the composition. His relationship with colour also evolved: in the second half of the 1960s, colour was applied in large monochromatic flat areas on which free forms evolved in a composition reminiscent of Henri Matisse’s paper cut-outs. Colour had become form and form had become colour: “I tend essentially towards a painting style in which all the parts are integrated into an orchestral whole,” explained Gérard Schneider. He added: “A shift has undoubtedly taken place (…) on this principle of a solid background with simplified expressive forms, like the portents of a logical progression to come, which will follow with its clarified lyricism, leaving only the pictorial essence, in a more mural sense.”
Opus 85 G – 1965
Oil on canvas
73 x 92 cm / 28 3/4 x 36 1/4 in.
Signed and dated lower left: “Schneider / 7-65”.
Titled on the reverse on the canvas
Catalogue raisonné registration number
GS-T-65-055
Opus 95 E – 1961
Oil on Canvas
Musée d’Art, d’Histoire et d’Archéologie, Évreux, France (loan of the Centre Georges-Pompidou, Paris, France
THE APOTHEOSIS OF FORM, GESTURE AND COLOUR
The arrival of acrylic paint on the market was a major breakthrough for abstract painters; using acrylic paint, which dried much faster than oil paint, the artist was able to express himself with more boldness and spontaneity. By the turn of the 1970s, Schneider was mainly working in acrylics. At over 80 years old, the creative passion of the artist—a master of abstraction—only grew stronger. In both small and monumental formats, the artist continued to explore his reflections on abstraction. Schneider’s new works were a synthesis of form, gesture and colour, a collection of pieces that heralded the arrival of his large-scale works on paper. The artist’s palette made a truly vibrant display, his agitated gestures balancing the composition of his works. Gesture, form and colour had become, in equal measure, the structural elements of the composition.
Opus 31 M – 1977
Acrylic on canvas
150 x 220 cm / 59 1/16 x 86 5/8 in.
Signed and dated lower right: “Schneider.77”
Titled on the reverse on the canvas
Catalogue raisonné registration number
GS-T-77-042
Exhibition
Gérard Schneider, Galería Kandinsky, 1979, Madrid, Spain
Opus 19 K – 1971
Oil and acrylic on canvas
Private collection
“For Gérard Schneider, putting this emotion in order remains a way of making it more intense, more perfectly perceptible, more beautiful in artistic terms, and more evocative. That is to say that the more his paintings are constructed, the more they develop this emotion and the more value and power they give it. It would be a mistake to imagine that the moving element disappears or diminishes in the course of this constructive elaboration; on the contrary, it is expanded and deepened by becoming defined and explicit.”
Marcel BRION, Art abstrait, Paris: Albin Michel, 1956
Gérard Schneider in his studio rue Armand-Moisant, in front of Opus 12 C (1956), Paris, France, c. 1956 – Photo: reserved rights © Archives Gérard Schneider / Adagp, Paris
Gérard Schneider in his studio, working on Opus 15 i, Les Audigers, Boutigny-sur-Essonne, France, 1967 – Photo: Loïs Frederick © Archives Gérard Schneider / Adagp, Paris
Gérard Schneider in his studio, rue Henri Barbusse, Paris, France, 1985 – Photo: Alain Turpault © Archives Gérard Schneider / Adagp, Paris
Opus 57 M – 1980
Acrylic on canvas
46 x 55 cm / 18 1/8 x 21 5/8 in.
Signed and dated lower right: “Schneider / -80-”. Titled on the
reverse on the canvas
Catalogue raisonné registration number
GS-T-80-005
Untitled – 1984
Acrylic on paper
Private collection, France
Galerie Lydia Conti, Paris, France, 1948 – Photographie : droits réservés © Archives Gérard Schneider / Adagp, Paris
Vue de l’exposition Schneider, Palais des beauxarts, Bruxelles, Belgique, 1953 (décembre) – Photographie : Serge Vandercam © Archives Gérard Schneider / Adagp, Paris
Vue de l’exposition Gérard Schneider (4–31 oct. 1952), Galerie Der Spiegel, Cologne, Allemagne – Photographie : Johanna Schmitz-Fabri © Zentralarchiv für deutsche und internationale Kunstmarktforschung, Cologne, Allemagne / Adagp, Paris
Vue de l’exposition New paintings by Gérard Schneider (4–23 mars 1957), Galerie Samuel Kootz, New York, NY, États-Unis, 1957 – Photographie : droits réservés © Archives Gérard Schneider / Adagp, Paris
SOLO SHOWS
2022
– Gérard Schneider, Lyrisme(s), Galerie Diane de Polignac, Paris,
France
– Gérard Schneider, Galerie Perrotin, Paris, France
– Gérard Schneider, Independant Art Fair – Galerie Perrotin, New
York, NY, États-Unis
2020
– Gérard Schneider, La naissance du geste, œuvres sur papier 1944-1959, Galerie Diane de Polignac, Paris, France
– Le geste et la couleur, œuvres sur papier des années 1960, Galerie Diane de Polignac, Paris, France
– Gérard Schneider, On Paper, 1944-1959, Galerie Aliénor Prouvost, Bruxelles, Belgique
2017
– Gérard Schneider 1945-1955, de l’abstraction au lyrisme, Galerie Diane de Polignac, Paris, France
2014
– Gérard Schneider, Galerie Diane de Polignac, Paris, France
– Gérard Schneider, Galerie Bertrand Trocmez, Clermont-Ferrand, France
2013
– Gérard Schneider, Rétrospective, Musée des beaux-arts d’Orléans, France
– Gérard Schneider, Abstrait lyrique, Galleria Spazia, Bologne, Italie 2012
– Gérard Schneider, Abstrait lyrique, Galleria Lorenzelli, Milan, Italie
– Gérard Schneider – The Lyrical Abstraction as Asceticism, Galerie Artvera’s, Genève, Suisse
2011
– Gérard Schneider, Grands gestes pour un grand monde, Musée d’Art & d’Histoire, Neuchâtel, Suisse
2008
– Gérard Schneider, Galleria d’Arte Maggiore G.A.M., Bologne, Italie
2007
– Schneider – La métamorphose du lyrisme. Parcours 1916-1986, Musée de l’Hôtel-Dieu, Mantes-la-Jolie, France
2006
– Schneider, Los años 50, Fundación BBK, Bilbao, Espagne
– Schneider, au cœur de l’abstraction lyrique, Musée de Millau, Millau, France
– Schneider, œuvres majeures, FIAC, Galerie Applicat-Prazan, Grand Palais, Paris, France
– Schneider, œuvres majeures, Galerie Applicat-Prazan, Paris, France
2005-1998
– Schneider, Rétrospective, Angers ; Bourges ; Clermont-Ferrand ; Cahors ; Carcassonne ; Montbéliard ; Quimperlé ; Le Mans ; Millau ; Metz, France
1993
– Gérard Schneider, Espace Saint-Jean, Melun, France
– Gérard Schneider, Maison de la Culture, Nevers, France
1992
– Gérard Schneider, Palais des Festivals, Biarritz, France
– Gérard Schneider, Musée Hébert, Grenoble, France
– Gérard Schneider, Château d’Amboise, France
1991
– Gérard Schneider, Scène Nationale, Cherbourg, France
– Gérard Schneider, Espace Athanor, Guérande, France
1990
– Gérard Schneider, Galerie Proarta, Zurich, Suisse
– Gérard Schneider, Musée Pierre von Allmen, Thielle-Wavre, Neuchâtel, Suisse
– Gérard Schneider, Galerie Heyram, Paris, France
– Gérard Schneider, Galerie Prazan-Fitoussi, Paris, France
– Schneider, Galleria Tega, Milan, Italy
1989
– Gérard Schneider, Galerie Heyram, Paris, France
– Gérard Schneider, Galleria Lorenzelli, Milan, Italie
– Gérard Schneider, Galerie Vega, Paris, France
– Schneider, Galerie Prazan-Fitoussi, Paris, France
– Schneider, Fondation Vasarely, Aix-en-Provence, France
1988
– Gérard Schneider, Maison des Princes, Pérouges, France
– Gérard Schneider, Galerie Heyram, Paris, France
– Gérard Schneider, Galerie Royal Fine Arts, Genève, Suisse
– Gérard Schneider, Galerie Léa Gredt, Luxembourg
– Gérard Schneider, Galerie ML Muller, Auvernier, Suisse
– Gérard Schneider, Centre d’Art Contemporain, Évry, France
1987
– Gérard Schneider, Galerie Heyram, Paris, France
– Gérard Schneider, Galleria Lorenzelli, Milan, Italie
1986
– Gérard Schneider, Galleria Lorenzelli, Milan, Italie
– Gérard Schneider, Galerie Beaubourg, Paris, France
– Gérard Schneider, Galerie Ditesheim, Neuchâtel, Suisse
– Gérard Schneider, Galerie Hélène Trintignant, Montpellier, France
– Gérard Schneider, Galerie am Zuriberg, Zurich, Suisse
– Gérard Schneider, Galerie Patrice Trigano, Paris, France
– Gérard Schneider, Galleria Saint-André, Savone, Italie
– Gérard Schneider, Château de Pondres, festival de Montpellier, France
– Gérard Schneider, Galerie Pierre Huber, Genève, Suisse
– Gérard Schneider, Galleria Peccolo, Livourne, Italie
– Hommage à Gérard Schneider, PACA, Angers ; Cholet ; Saumur, France
1985
– Gérard Schneider, Galerie Léa Gredt, Luxembourg
– Gérard Schneider, Salle d’expositions municipales, Nancy, France
– Gérard Schneider, Kunstmesse, Galerie Pierre Huber, Bâle, Suisse
– Gérard Schneider, Galerie Sapone, Nice, France
1984
– Gérard Schneider, Galerie Jacqueline Storm, Lille, France
1983
– Rétrospective, Musée d’Art et d’Histoire, Neuchâtel, Suisse / Musée d’Art Contemporain, Dunkerque, France
– Fiac, galerie Patrice Trigano, Paris, France
1982
– Gérard Schneider, Galerie Art 62, Cannes, France
– Gérard Schneider, Studio d’arte contemporanea Dabbeni, Lugano, Suisse
1979
– Gérard Schneider, Galerie Kandinsky, Madrid, Espagne
1978
– Gérard Schneider, Galerie Lucas, Gandia, Espagne
– Gérard Schneider, Kunstmesse, Galerie Flaviana, Bâle, Suisse
– Gérard Schneider, Galerie Flaviana, Locarno, Suisse
– Gérard Schneider, Centre culturel, Ris-Orangis, France
1977
– Gérard Schneider, Galerie Beaubourg, Paris, France
1976
– Gérard Schneider, Festival des arts, Reykjavik, Islande
– Gérard Schneider, Institut Français, Oslo, Norvège
– Gérard Schneider, Galerie d’Orsay, Cannes, France
– Gérard Schneider, Galerie Le Dessin, Paris, France
1975
– Gérard Schneider, Galerie Beaubourg, Paris, France
– Gérard Schneider, Galerie Albert Verbeke, Paris, France
– Gérard Schneider, Art Club Frédéric Gollong, Saint-Paul-de-Vence, France
– Gérard Schneider, Galerie la Main de Fer, Perpignan, France
– Temperas de Gérard Schneider, DEXA Galeria de Arte, Panama
1974-1975
– Gérard Schneider, Instituts Français, Amérique Latine
– Gérard Schneider, Maisons des jeunes et de la culture de Belleville, Paris ; Thonon-les-Bains ; Toulouse, France
1974
– Gérard Schneider, Galleria Lorenzelli, Milan, Italie
– Gérard Schneider, Galerie Beaubourg, Paris, France
– Gérard Schneider, Galerie Cavalero, Cannes, France
– Gérard Schneider, Galerie Protée, Toulouse, France
– Gérard Schneider, Galleria La Nuova Città, Brescia, Italie
1973
– Gérard Schneider, Galerie Paul Bruck, Luxembourg
– Gérard Schneider, Galleria R. Rotta, Gênes, Italie
1972
– Gérard Schneider, Galleria Lorenzelli, Milan, Italie
– Gérard Schneider, Galerie Protée, Toulouse, France
– Gérard Schneider, Galerie Cazenave, Paris, France
– Gérard Schneider, Galerie Cavalero, Cannes, France
1971
– Gérard Schneider, Galleria La Nuova Loggia, Bologne, Italie
1970
– Gérard Schneider, rétrospective, Galleria Civica d’Arte Moderna, Turin, Italie / Pavillon Terre des Hommes, Montréal, Canada
– Gérard Schneider, Galerie Arnaud, Paris, France
– Gérard Schneider, Salles des Expositions municipales, Vitry-sur-Seine, France
– Gérard Schneider, Galerie Cavalero, Cannes, France
– Gérard Schneider, Galerie Gilles Corbeil, Montréal, Canada
– Gérard Schneider, Galleria Falchi, Milan, Italie
1968
– Gérard Schneider, Centro culturale Antonio Rosmini, Trente, Italie
– Gérard Schneider, Galerie Arnaud, Paris, France
– Gérard Schneider, Galleria San Fedele, Milan, Italie
– Gérard Schneider, Institut Français, Rabat / Centre Culturel Français, Casablanca, Maroc
– Gérard Schneider, Galleria Martano Due, Turin, Italie
1967
– Gérard Schneider, Galerie Arnaud, Paris, France
– Gérard Schneider, Institut Français, Barcelone, Espagne
1966
– Biennale de Venise, Italie
1965
– Gérard Schneider, Galerie Arnaud, Paris, France
– Gérard Schneider, Galleria Lorenzelli, Bergame, Italie
– Gérard Schneider, Gallerie Flaviana, Locarno, Suisse
– Gérard Schneider, Musée des beaux-arts, Verviers, Belgique
1964
– Gérard Schneider, Galleria II Centro, Naples, Italie
– Gérard Schneider, Galleria II Cancello, Bologne, Italie
– Gérard Schneider, Galerie Argos, Nantes, France
1962
– Gérard Schneider, retrospective, Kunstverein, Düsseldorf, Allemagne / Palais des beaux-arts, Bruxelles, Belgique
– Gérard Schneider, Galerie Kriegel, Paris, France
1961
– Gérard Schneider, Galerie Arditti, Paris, France
– Gérard Schneider, Kootz Gallery, New York, NY, États-Unis
– Gérard Schneider, Galerie Im Erker, Saint-Gall, Suisse
– Gérard Schneider, Galleria Lorenzelli, Milan, Italie
1960
– Gérard Schneider, Minami Gallery, Tokyo, Japon
– Gérard Schneider, Nakanoshima Gallery, Osaka, Japon
– Gérard Schneider, Galleria Lorenzelli, Milan, Italie
1959
– Gérard Schneider, Galerie Arnaud, Paris, France
– Gérard Schneider, Kootz Gallery, New York, NY, États-Unis
– Gérard Schneider, Galerie du Musée de poche, Paris, France
1958
– Gérard Schneider, Galleria Apollinaire, Milan, Italie
– Gérard Schneider, Kootz Gallery, New York, NY, États-Unis
1957
– Gérard Schneider, Galerie Der Spiegel, Cologne, Allemagne
– Gérard Schneider, Kootz Gallery, New York, NY, États-Unis
1956
– Gérard Schneider, Kootz Gallery, New York, NY, États-Unis
1955
– Gérard Schneider, Galerie Der Spiegel, Cologne, Allemagne
1954
– Gérard Schneider, Galerie Arnaud, Paris, France
– Gérard Schneider, Galerie Galanis, Paris, France
1953
– Gérard Schneider, Galerie Der Spiegel, Cologne, Allemagne
– Gérard Schneider, rétrospective, Palais des beaux-arts, Bruxelles, Belgique
1952
– Gérard Schneider, Galerie Ex-Libris, Bruxelles, Belgique
– Gérard Schneider, Galerie Der Spiegel, Cologne, Allemagne
– Gérard Schneider, Galerie Otto Stangl, Munich, Allemagne
– Gérard Schneider, Kaiser Wilhelm Museum, Krefeld, Allemagne
1951
– Gérard Schneider, Galerie de Beaune, Paris, France
– Gérard Schneider, Betty Parsons Gallery, New York, NY, États-Unis
1950
– Gérard Schneider, Galerie Lydia Conti, Paris, France
1948
– Gérard Schneider, Galerie Lydia Conti, Paris, France
1947
– Gérard Schneider, Galerie Lydia Conti, Paris, France
1920
– Gérard Schneider, Galeries Léopold Robert, Neuchâtel, Suisse
SELECTED GROUP SHOWS
2022
– Showroom, Galerie Perrotin Secondary Market, Paris, France
2020
– La Libération de la peinture, 1945-1962, Fondation Gandur pour l’Art & Mémorial de Caen, Caen, France
2018
– L’art abstrait des années 50, Espace Musées Aéroport Paris-Charles de Gaulle – Terminal 2E, Roissy, France
2017
– Le Geste et la Matière – Une abstraction « autre » (Paris 1945-1965), Fondation Clément, Le François, France
2016
– Hartung et les peintres lyriques, Fonds Hélène & Édouard Leclerc pour la Culture, Landerneau, France
2014
– L’aventure d’une passion. Gilbert Delaine, un homme, un musée, LAAC, Dunkerque, France
– Abstraction lyrique, Paris 1945-1995, Jordan National Gallery of Fine Arts, Amman, Jordanie
2013
– Montparnasse / Saint-Germain-des-Prés, six regards sur l’abstraction lyrique, Musée de Tessé, Le Mans, France
2012
– Montparnasse / Saint-Germain-des-Prés, Un certain regard sur l’abstraction lyrique, Anciennes écuries des ardoisières, Trélazé ; Montparnasse / Saint-Germain-des-Prés. Abstractions d’après-guerre, Musée des Beaux-Arts, Bordeaux, France
– L’Art en guerre, France 1938-1947, Musée d’Art moderne de la Ville de Paris, Paris, France
2011
– Les Sujets de l’abstraction, Peinture non-figurative de la Seconde École de Paris (1946-1962), Fondation Gandur pour l’Art & Musée Rath, Genève, Suisse ; Musée Fabre, Montpellier, France
– Regard sur l’abstraction lyrique / Montparnasse et Saint-Germaindes-Prés, Musée des Beaux-Arts, Carcassonne, France
2009
– FIAC, Dialogues I Autour de Pierre Soulages, Galerie Applicat-Prazan, Grand Palais, Paris, France
– Paris Central. Vrije stad, vrije kunst in de jaren’50’, Cobra Museum voor Moderne Kunst, Amstelveen, Pays-Bas
– Explosions lyriques : La peinture abstraite en Suisse 1950-1965, Musée d’art du Valais, Sion, Suisse
2008
– Les années 50-60 – Gildas Fardel, un collectionneur d’art abstrait, Musée des Beaux-Arts, Nantes, France
– 1945-1949, Repartir à zéro, comme si la peinture n’avait jamais existé, Musée de Beaux-Arts de Lyon, Lyon, France
2006
– L’Envolée lyrique, Paris 1945-1956, Musée du Luxembourg, Paris, France
2005
– Informale. Jean Dubuffet e l’arte europea 1945-1970, Foro Boario, Modène, Italie
1997
– Made in France 1947–1997, 50 ans de création en France, Centre Georges-Pompidou, Paris, France
1996
– 1946, L’art de la reconstruction, Musée Picasso, Antibes, France
1994
– Abstraction-Figuration, de la nécessité de la peinture, divers lieux, France
1990
– La France à Venise, le pavillon français de 1948 à 1988, Peggy Guggenheim Foundation, Venise, Italie
1989
– L’Europe des grands maîtres, Musée Jacquemart-André, Paris, France ; Musée des Beaux-Arts, Séoul, Corée du Sud
1988
– Abstrakte Landskaber, Kunstmuseum, Randers, Danemark
– Sammlung T, Kunstmuseum, Saint-Gall, Suisse
– Aspect de l’art abstrait des années 50, divers lieux, France
– Linien II: 47-50, Statens museum for Kunst, Copenhague, Danemark
– Abstractions lyriques – Paris 1945-1955, divers lieux, France
1987
– L’art en Europe, les années décisives 1945-1953, Musée d’art moderne, Saint-Étienne, France
1985
– Kunstmesse, Bâle, Suisse
1984
– Charles Estienne et l’Art à Paris – 1945-1966, Centre national des Arts plastiques, Paris, France
1983
– FIAC, galerie Patrice Trigano, Paris, France
1981
– Paris-Paris. Créations en France, 1937-1957, Centre Georges Pompidou, Paris, France
– Abstraction Lyrique – Hommage à Michel Ragon, Château du Tremblay, Fontenoy, France
– 1937-1957 – Abstraction Lyrique, Galerie Beaubourg, Paris, France
1979
– Escola de Paris, 1956-1976, Fundaçao Calouste Gulbenkian, Lisbonne, Portugal
– FIAC, galerie Beaubourg, Grand Palais, Paris, France
– École de Paris 1956-1976, Współczesne Malarstwo Francuskie, divers lieux, Pologne
– Kunst des 20. Jahrhunderts: Gemalde, Skulpturen, Collagen, Objekte, Environments, Museum Ludwig, Cologne, Allemagne
1978-1979
– Permanence de la Peinture Française, Italie, Espagne, Pologne
1974
– 9 peintres de l’École de Paris, divers lieux, Portugal
– Maîtres de l’Abstraction Lyrique Européenne, Degottex – Hartung -Mathieu – Riopelle – Schneider – Soulages – Wols, Galerie Beaubourg, Paris, France
– Donation Gildas Fardel, Musée des beaux-arts, Nantes, France
1971-1972
– Panorama de l’Art Contemporain, Iran, Égypte, Grèce, Turquie, Syrie, Maroc, Algérie, Tunisie, Liban
– 25 ans de peinture en France, 1945-1970, Corée du Sud, Inde, Chili, Colombie
1968
– Painting in France 1900-1967, Washington ; New York ; Boston ; Chicago ; San Francisco ; Détroit ; Montréal, États-Unis et Canada
– Peintres d’aujourd’hui en France, Tchécoslovaquie
1966
– 33e Biennale de Venise, Italie
– Schweizer Malerei und Plastik 1945-1965, Allemagne
– L’École de Paris – Peinture française, Musée d’Art Contemporain, Montréal, Canada
– Contemporary Art: Acquisitions 1962-1965, Albright-Knox Art Gallery, Buffalo, NY, États-Unis
– La Peinture française contemporaine, Amérique du Sud
1964
– 32e Biennale de Venise, Italie
– École de Paris, Galerie Charpentier, Paris, France
1962
– Le Salon de Mai au Japon, Tokyo, Osaka, Japon
– École de Paris, Londres ; Cardiff ; Liverpool ; Aberdeen, Royaume-Uni
1961
– 6e Biennale de São Paulo, Brésil
– Moderne Malerei seit 1945 aus der Sammlung Dotremont, Kunsthalle, Bâle, Suisse
– French Painting Today, Art Museum, Denver, CO, États-Unis
1960
– Festival d’art d’avant-garde – Décors pour un spectacle imaginaire, Pavillon américain – Porte de Versailles, Paris, France
– La peinture Française d’aujourd’hui, divers lieux, Israël
– École de Paris, Galerie Charpentier, Paris, France
1959
– Documenta, Cassel, Allemagne
– School of Paris 1959: The Internationals, Walker Art Center, Minneapolis, MN, États-Unis
– Peinture française de Gauguin à nos jours, divers lieux, Pologne
– The fifth international art exhibition of Japan, divers lieux, Japon
– Collection et donation Gildas Fardel, Musée des beaux-arts, Nantes, France
– Six peintres de l’École de Paris. Atlan, Bergman, Bryen, Hartung, Schneider, Soulages, Galerie Kaare Bernsten, Oslo, Norvège
– Mostra Nazionale di Pittura – XI Premio Lissone 1959, Lissone, Italie
1958
– Cicero, Knaths, Plate, Levee, Schneider: Paintings, Arts Club of Chicago, Chicago, IL, États-Unis
– Hommage à Léon Degand, Galerie Denise René, Paris, France
– The 1958 Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh, PA, États-Unis
– Contemporary Art: Acquisitions 1957–1958, Albright-Knox Art Gallery, Buffalo, NY, États-Unis
– École de Paris – Französische malerei der Gegenwart, Kunsthalle, Mannheim, Allemagne
– École de Paris 1958, Galerie Charpentier, Paris, France
– De Franske, Fredriksberg Radhus, Copenhague, Danemark
1957
– Incantations, Kootz Gallery, New York, NY, États-Unis
– 4th International Art Exhibition of Japan (4e biennale de Tokyo), Tokyo ; Kyoto ; Nagoya ; Fukuoka, Japon
– 14 Paintings and Sculptures, Kootz Gallery, New York, NY, États-Unis
– Mostra Nazionale di Pittura – X Premio Lissone 1957, Lissone, Italy
– École de Paris, Galerie Charpentier, Paris, France
1956
– Expressionism, 1900-1955, Minneapolis ; Boston ; San Francisco ; Cincinnati ; Baltimore ; Buffalo, États-Unis
– Art in France today, Arizona Art Foundation, Scottdale, AZ, États-Unis
– 1er festival d’art d’avant-garde, Cité radieuse, Marseille, France
– Recent European Acquisitions, The Museum of Modern Art, New York, NY, États-Unis
– École de Paris, Galerie Charpentier, Paris, France
1955
– Documenta, Cassel, Allemagne
– The Third International Art Exhibition, Japon
– Tendencias recientes de la pintura fancesa 1945–55, Espagne
– Recent French Acquisitions: Soulages, Mathieu, Schneider, Dubuffet, Fauves, Kootz Gallery, New York, NY, États-Unis
– Hartung, Schneider, Soulages, Galerie Der Spiegel, Cologne, Allemagne
– Mostra Nazionale di Pittura – IX Premio Lissone 1955, Lissone, Italie
1954
– 27e Biennale de Venise, Italie
– Internationale Sezession 1954, Städtisches Museum SchlossMorsbroich, Cologne, Allemagne
– Collection Fernand Graindorge, Kunsthalle, Bâle, Suisse
– Situation de la peinture d’aujourd’hui, Galerie Ariel, Paris, France
– École de Paris 1954, Galerie Charpentier, Paris, France
1953
– International Art Exhibition, Japon
– 2e Biennale de São Paulo, Brésil
– Collection Dr O. Domnick, Stedelijk Museum, Amsterdam, Pays-Bas ; Palais des beaux-arts, Bruxelles, Belgique
1952
– Malerei in Paris heute, Kunsthaus, Zürich, Suisse
– Actuelle École de Paris, Kursaal, Ostende, Belgique
– Berliner Neue Gruppe mit Französischen Gästen, Hochschule für Bildenen Künste, Berlin, Allemagne
– Peintres d’Aujourd’hui – France-Italie, Musée de Lyon, Lyon, France
1951-1952
– Advancing French Art, Washington ; San Francisco ; Louisville ; Bloomington ; Baltimore ; Ann Arbor ; Kansas City, États-Unis
1951
– 1ère Biennale de São Paulo, Brésil
– Hartung, Lanskoy, Schneider – gouaches, pastels, Galerie Louis Carré, Paris
– L’École de Paris, 1900-1950, Royal Academy of Arts, Londres, Royaume-Uni
– Exposition d’Art français contemporain, Japon
1950
– Rythmes et Couleurs, Galerie Bernheim Jeune, Paris, France
1949-1950
– De Manet à nos jours, Amérique du Sud
1949
– Painted in France, Betty Parsons Gallery, New York, NY, États-Unis
– Hartung, Schneider, Soulages, Galerie Lydia Conti, Paris, France
– Peintures et sculptures abstraites, Galerie Colette Allendy, Paris, France
– Del arte figurativo al arte abstracto, Modern Art Institute, Buenos Aires, Argentine
1948-1949
– Wanderausstellung Französischer Abstrakter Malerei, Stuttgart ; Munich ; Düsseldorf ; Hannovre ; Hambourg ; Francfort ; Fribourg, Allemagne
1948
– 24e Biennale de Venise, Italie
– Sculptures et peintures contemporaines, Galerie Denise René, Paris, France
– Prises de Terre, Peintres et sculpteurs de l’objectivité, Galerie René Breteau, Paris, France
– Hartung, Schneider et Servranckx, Galerie Lydia Conti, Paris, France
– Tendances de l’art abstrait, Galerie Denise René, Paris, France
1947
– Peintures abstraites, Galerie Denise René, Paris, France
– 3e Salon de Mai, Paris, France (tous les ans jusqu’en 1987)
1946
– 1ère exposition de Domela Hartung Schneider, Salle du centre des recherches de la rue Cujas, Paris, France
– Peintures abstraites : Dewasne, Deyrolle, Marie Raymond, Hartung, Schneider, Galerie Denise René, Paris, France
– Le Salon 1946, Musée de beaux-arts de la Ville de Paris, Paris, France
– 1er Salon des Réalités Nouvelles, Paris, France (1946-1949 puis 1956-1958 et 1960-1973)
1936-1938, 1945-1947
– Salon des surindépendants, Paris, France
SELECTED BIBLIOGRAPHY
Articles by Gerard Schneider
« Pour et contre l’Art Abstrait », Arts, 10 décembre 1948
« Développement logique et continu du figuratif au nonfiguratif », Les Beaux-Arts, 6 mars 1953
« Sens de l’art moderne », Zodiaque, janvier 1954
« Écrits d’artistes », Cimaise, décembre 1958
« Terre des Peintres », Parler, n° 8-9, 1959
« Considerazioni del pittore Schneider sulla propria arte », L’Eco di Locarno, 1er avril 1965
« Le premier lyrique de l’abstraction », numéro spécial de XXe siècle dédié à Kandinsky, 1er décembre 1966
« Pratique de la couleur, libre improvisation », Skira annuel, 1976
« Kandinsky l’esprit de la peinture pure », Arts, 5 février 1982
Illustrated books
Robert Ganzo, Langage, douze lithographies en couleurs de Gérard Schneider, Paris, galerie Lydia Conti, 1948
Eugenio Montale, Poèmes, huit dessins et une lithographie de Gérard Schneider, Milan, All’Insegna Del Pesce d’Oro, 1964
Schneider Gérard, Mots au vol, poèmes, préface d’Eugène Ionesco, dix reproductions de dessins de Gérard Schneider, Paris, Éditions Saint-Germain-des Prés, 1974
Gérard Schneider, Extraits critiques, courts poèmes, neuf sérigraphies interchangeables, Locarno, galerie Flaviana, 1978
Monographs
Marcel Pobé, Schneider, Paris, Georges Fall, coll. Le Musée de Poche, 1959
Michel Ragon, Schneider, Amriswill, Bodensee Verlag, 1961
Marcel Brion, R. V. Gindertael, Schneider, Venise, Alfieri, 1967
Jean Orizet, Schneider Peintures, Paris, La différence / l’autre musée, 1984
Gérard Xuriguera, Schneider, Gandia, Cimal. 6, 1985.
Michel Ragon, Schneider, Angers, Expresssions contemporaines, 1998
Exhibition catalogs
Roger van Gindertael, Schneider, œuvres récentes, cat. expo. (nov. 1961), Paris, Galerie Arditti, 1961
Marcel Brion, Giuseppe Marchiori, Schneider, cat. expo. (févr. 1961), Milan, Galerie Lorenzelli, 1961
Karl-Heinz Hering (dir.), Gérard Schneider, cat. expo. (20 mars–23 avr. 1962), Düsseldorf, Kunstverein Düsseldorf, 1962
Marcel Brion (prés.), Gérard Schneider, cat. expo. (juin 1962), Bruxelles, Palais des beaux-arts de Bruxelles, 1962
Marco Valsecchi (préf.), Schneider, cat. expo., Bergame, Galerie Lorenzelli (nov. 1965), Milan, Galerie Lorenzelli, 1965
Giorgio Kaisserlian, Gérard Schneider, pitture, cat. expo. (oct. 1968), Milan, Galerie San Fedele, 1968
Eugene Ionesco, Luigi Mallé, Giuseppe Marchiori, Gérard Schneider, cat. expo. (16 avr.–24 mai 1970), Turin, Galleria civica d’Arte moderna, 1970
Georges Boudaille (préf.), Schneider, cat. expo., Paris, galeries Beaubourg et Verbeke (mars 1975), Paris, Galerie Beaubourg, 1975
Gérard Xuriguera, Gérard Schneider, una aventura patetica e inspirada, cat. expo. (30 sept.-26 oct. 1978), Gandia, Galerie Lucas, 1978
Pierre von Allmen (dir.), Jean-Marie Dunoyer, Schneider, cat. expo. (26 févr.–17 avr. 1983), Neuchâtel, Musée d’Art et d’Histoire de Neuchâtel, 1983
Michel Faucher, Schneider, cat. expo. (18 juin–12 sept. 1983), Dunkerque, Musée d’Art contemporain de Dunkerque, 1983
Giuseppe Marchiori (préf.), Gérard Schneider, cat. expo. (avr.–mai 1986), Livourne, Galerie Peccolo, 1986
Gérard Schneider, Gérard Xuriguera, Michel Ragon, Eugène Ionesco, Omaggio a: Gerard Schneider, cat. expo., Milan, Galerie Lorenzelli (nov.–déc. 1986), Milan, Lorenzelli Arte, 1986
Pierre von Allmen (av.-pr.), Georges Boudaille (préf.), Schneider, Les années cinquante, cat. expo. (7 juill.–28 oct. 1990), Thielle-Neuchâtel, Musée Pierre von Allmen, 1990
Michel Ragon, Pierre von Allmen, Schneider, cat. expo. (17 mai–15 juill. 1990), Zürich, Galerie Proarta, 1990
Éric Fitoussi, Gérard Xuriguera, Schneider, cat. expo. (28 sept.–15 nov. 1990), Paris, Galerie Prazan-Fitoussi, 1990
Daniel Chabrissoux, Loïs Frederick, Gérard Schneider : œuvres de 1916 à 1986, cat. expo., Angers et divers lieux (1991-1993), Angers, Expressions contemporaines, 1991
Patrick-Gilles Persin, L’Envolée lyrique Paris 1945-1956, cat. expo., Paris, Musée du Luxembourg (26 avr.–6 août 2006), Milan, Skira, 2006
Nicolas Morales, Schneider, Los años 50, cat. expo., Bilbao, Fundación BBK (25 jan.–17 avr. 2006), Bilbao, Fundación Bilbao Bizkaia Kutxa Fundazioa, 2006
Éric de Chassey (dir.), Éveline Notter (dir.), Justine Moeckli et al., Les sujets de l’abstraction. Peinture non-figurative de la seconde École de Paris, 1946-1962. 101 Chefs- d’oeuvre de la Fondation Gandur pour l’Art, cat. expo., Genève, Musée Rath (6 mai–14 août 2011) / Montpellier, Musée Favre (3 déc. 2011–25 mars 2012), Milan, 5 continents, 2011
Patrick-Gilles Persin, Sofia Komarova, Gérard Schneider (1896-1986) : l’abstraction lyrique comme ascèse, cat. expo., Genève, Galerie Artvera’s (23 nov. 2012–22 mai 2013), Genève, Galerie Artvera’s, 2012
Claudio Cerritelli (préf.), Gérard Schneider, abstrait lyrique, cat. expo. (15 nov. 2012–19 jan. 2013), Milan, Lorenzelli Arte, 2012
Claudio Cerritelli, Schneider, cat. expo. (jan.–mars 2013), Bologne, Galleria Spazia, 2013
Xavier Douroux (dir.), Hartung et les peintres lyriques, cat. expo., (11 déc. 2016–17 avr. 2017), Landerneau, Fonds Hélène & Édouard Leclerc pour la Culture, 2016
Christian Briend, Nathalie Ernoult, Le Geste et la Matière – Une abstraction « autre » – Paris, 1945-1965, cat. expo., Le François, Martinique, Fondation Clément (22 jan.–16 avr. 2017), Paris / Le François, Centre Pompidou, Paris / Fondation Clément, Le François, Martinique / Somogy éditions d’Art, 2017
Patrick-Gilles Persin, Dominique Gagneux, Gérard Schneider 1945-1955, de l’abstraction au lyrisme, cat. expo. (sept.–oct. 2017), Paris, Galerie Diane Polignac & Chazournes, 2017
Christian Demare (préf.), Gérard Schneider, On paper, 1944-1959, cat. expo. (19 mars–30 mai 2020), Bruxelles, Galerie Alienor Prouvost
Gérard Schneider, Lyrisme(s), cat. expo. (17 oct.–30 nov. 2022), Paris, Galerie Diane Polignac, 2022
Press articles
Charles Estienne, « Peintures abstraites », Terre des Hommes
n°23, 2 mars 1946, 1946, n. p.
Charles Estienne, L’art abstrait au XXe siècle, Cahier des amis de
l’art : Pour et contre l’art abstrait, n°11, 1947, p. 23-36
Pierre Descargues, « Gérard Schneider », Arts, 9 juin 1950, p. 5
Léon Degand, « Les expositions : Lanskoy, Hartung, Schneider », Art d’aujourd’hui, série 2, n°5, avr.–mai 1951, p. 28
Franck Elgar, Léon Degand, Michel Tapié, « Tendances actuelles de peinture française », XXe siècle – Nouveaux destins de l’art, n°1, juin 1951, Paris, Gualtieri di San Lazzaro (dir.), 1951, p. 45-58
Itsuji Yoshikawa, « Gérard Schneider », Bokubi, n°37, sept. 1954, Kyoto, Shiryu Morita, 1954, p. 2-10
Roger van Gindertael, « Une rétrospective Gérard Schneider… », Les Beaux-Arts, n°980, 1er juin 1962, p. 1, 5
Simone Frigerio, «Schneider», Quadrum – Revue internationale d’art moderne, n°15, 1963, p. 35-46
Georges Boudaille, « Où en est l’art abstrait? », interview de Gérard Schneider, Les Lettres françaises, mai 1965
Georges Boudaille, Marcel Brion, Jean- Robert Delahaut, Simone Frigerio, Eugène Ionesco, Jean-Jacques Lévêque,Michel Ragon, « Schneider », Terre d’Europe, extrait du n° 53, septembre 1977
Jean-Robert Arnaud, « Gérard Schneider, mon ami », Cimaise, n°183 (oct. 1986), 1986, p. 33-36
SELECTED COLLECTIONS
Germany
Cologne, Musée Ludwig
Krefeld, Kaiser Wilhelm Museum
Ludwigshafen, Wilhelm-Hack-Museum
Belgium
Bruxelles, Musée Modern Museum
Verviers, Musée de Verviers
Brazil
Rio de Janeiro, Museu de Arta Moderna do Rio de Janeiro
Canada
Québec, Musée national des beaux-arts du Québec
South Korea
Séoul, Fine Art museum
USA
Buffalo, NY, Albright-Knox Art Gallery
Colorado Springs, CO, Colorado Springs Fine Arts Center
Los Angeles, CA, University of California
Minneapolis, MNn, Walker Art Center
New Haven, CT, Yale University Art Gallery
New York, NY, Museum of Modern Art (MoMA)
Phoenix, AZ, Phoenix Museum
Princeton, MA, Princeton University
Saint-Louis, MO, Washington University
Washington D.C., The Phillips Collection
Worchester, MA, Worchester Museum
Spain
Vilafamés, Museu d´art contemporani Vicente Aguilera Cerni
France
Alès, Musée Pierre-André Benoit
Antibes, Musée Picasso
Dunkerque, LAAC
Grenoble, Musée de Grenoble
Nantes, Musée d’Arts
Paris, Centre National des Arts Plastiques
Paris, Frac Île-de-France
Paris, Musée d’Art Moderne de Paris
Paris, Musée national d’Art Moderne – Centre Pompidou
Indonesia
Jakarta, Museum
Italy
Dronero, Museo Civico Luigi Mallé
Lissone, Museo d’arte contemporanea
Rome, Galleria d’Arte Moderna
Turin, Galleria civica d’Arte Moderna
Japan
Kamakura, Museum of State
Norway
Oslo, Sonja Henie and Niels Onstad Foundation
Switzerland
Genève, Fondation Gandur pour l’Art
Neuchâtel, Musée d’Art et d’Histoire
Zurich, Kunsthaus
Gérard Schneider in Gordes, France, summer 1947 – Photo: reserved rights © Archives Gérard Schneider / Adagp, Paris
Gérard Schneider at the Otto Stangl gallery, Munich, Germany, 1952 – Photo: Georg Schödl © Archives Gérard Schneider / Adagp, Paris
Gérard Schneider in his studio, Les Audigers, Boutigny-sur-Essonne, France, December 1972 – Photo: André Villers © Archives Gérard Schneider / André Villers / Adagp, Paris
Gérard Schneider in his studio, surrounded by Opus 99 E (1961) and Opus 1 F (1961) in the background, Les Audigers, Boutigny-sur-Essonne, France, December 1972 – Photo: André Villers © Archives Gérard Schneider / André Villers / Adagp, Paris
The Diane de Polignac Gallery would like to express its deepest gratitude to Laurence Schneider, co-author of Gérard
Schneider’s Catalogue Raisonné, and her family for their longterm cooperation and trust over the past ten years or more.
A very special mention goes to the artist’s wife, Loïs Frederic, who initiated the Catalogue Raisonné, and Patrick-Gilles Persin.
The Gallery would also like to extend its warmest thanks to Christian Demare, co-author of Gérard Schneider’s Catalogue Raisonné.
Lastly, the Gallery would like to thank all those who have played an active role in making this ambitious project a reality, in particular Astrid de Monteverde.
GÉRARD SCHNEIDER, LYRISME(S)
Exhibition from October 17 to November 30, 2022
Diane de Polignac Gallery
2 bis, rue de Gribeauval, Paris
www.dianedepolignac.com
Translation: Lucy Johnston
Graphic design: Diane de Polignac Gallery
ISBN: 978-2-9584349-0-8
© Diane de Polignac Gallery, Paris, October 2022
Texts are author’s property
© ADAGP, Paris 2022 for the works of Gérard Schneider
Reserved rights
