Georges Victor Adolphe Mathieu d’Escaudoeuvres was born in Boulogne-sur-Mer, France.

After studying law, philosophy and obtaining a masters degree in English, he was appointed as Professor of English at the Douai High School. It was at this time that Mathieu started to paint. The artist traveled to Paris, where he would take daily walks to and from the studio of Paul Fachetti, a famous photographer who regularly published in Vogue and Harper’s Bazaar. The two became friends. “You like painting and you should pursue it”. A gallery that would become very important to him was opened in which art critic Michel Tapié would exhibit “The Significant and the Informal” and “Art Other” along with Dubuffet, Pollock, Sam Francis, Riopelle and, among others, Mathieu. Mathieu’s arrival in Paris in 1947 coincided with the first shows of “Abstraction Lyrique”, one of the two branches of post-war abstraction so popular in France. Thinker and painter, Mathieu would recognize his work in Wols, especially in his stains and projections. From that point on, the gesture became essential for the artist, making it his signature. Wild and baroque, the colors are jet-propelled onto the canvas. By the time he exhibited his work at René Drouin in 1950, Mathieu was already the master of his style; vigorous calligraphy, stunning chromatic aberration, Mathieu left an indelible mark on post-war art.

Georges Mathieu, who, like many other painters from the fifties, had been left in the wings, was the star of his own retrospective in 2002, held at the Jeu de Paume National Gallery in Paris. This agitator slash dandy has come out of purgatory and the market value of his works is on the upswing.


Georges Mathieu, Arpents de lune, 1989
Georges Mathieu, Déformation de fonction variable convexe, 1957
Georges Mathieu, Départ alarme III, 1987
Georges Mathieu, Gropom de charmon, 1957
Georges Mathieu, Hommage aux frères Boisserée, 1967
Georges Mathieu, Omaggio a Seneca, 1957
Georges Mathieu, Potentille, 1964
Georges Mathieu, Usuard, 1956
Georges Mathieu, Bonissan, 1972