JEAN MIOTTE

“A rhythm can be seen and heard and felt in your muscles ... This recognition of the body, of gesture, is one of the keys to modernity in art.¹”

Jean Miotte (1926- 2016) was a master of energy. His paintings hum with an internal rhythm entirely their own. Yet while this core principle endures throughout his work, his style never stopped evolving, as Miotte sought out new inspirations and methods. The eight works presented at Almine Rech Paris, Matignon exemplify the artist’s vigorous gestural approach that ceaselessly changed over time. Arranged chronologically, the works in this show demonstrate the development of Miotte’s oeuvre from 1958 to 2010.

Miotte’s earlier works, like Sans titre (1958) and Diffusion I, (1963) feature densely packed compositions and a substantial facture. His impasto technique was created with a loaded brushstroke or a palette knife. The artist’s mastery of texture gives these works a tangible solidity. There is an exciting sense of movement as blocks of color come together in a dance, reflecting the athletic way Miotte liked to paint.

Work from the last decade of Miotte’s life is characterized by a newfound clarity, informed by a renewed interest in color and balance. The application of paint is at times lighter, without losing an intrinsic sense of weight and vigor. White takes on a new importance in these paintings, expanding the depth of the compositions. Paintings like Sans titre, (circa 2000) and Sans titre (2010) import a sense of carefully arranged equilibrium. Works from the 1980s, Sans titre, 1980 and Dans les prés, (circa 1980) show the artist reaching for this mature style.

Jean Miotte’s oeuvre lies at the inflection point between control and freedom. This includes the freedom to push his practice towards new forms of expression, constantly expanding his artistic horizons. Almine Rech Paris, Matignon is pleased to present a celebration of an artist who was always in motion.

— Louisa Mahoney, researcher

In collaboration with the Jean Miotte Foundation.