Gérard Ernest Schneider

This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Gérard Ernest Schneider" – news · newspapers · books · scholar · JSTOR (February 2010) (Learn how and when to remove this message)

You can help expand this article with text translated from the corresponding article in German. (March 2009) Click for important translation instructions. View a machine-translated version of the German article. Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing German Wikipedia article at ]; see its history for attribution. You may also add the template {{Translated|de|Gérard Ernest Schneider}} to the talk page. For more guidance, see Wikipedia:Translation.

Gérard Ernest Schneider (1896–1986) was a Swiss painter.

A major pioneer of lyrical abstraction, a gestural and personal form of abstraction, along with Hans Hartung and Pierre Soulages, Gérard Schneider was shown in Paris at the Galerie Louis Carré as early as 1950.

From 1955 to 1960, Schneider's work was exhibited at the Kootz Gallery in New York where an exclusivity contract connected the artist and the American dealer Samuel Kootz.

From gesture, “the shape is born, whether lyrical or dramatic, with its colour and technical means, without any reference to external nature” according to Schneider.

Eugène Ionesco spoke of “the original, eruptive, richness” of his work.

From nervous gesture and volcanic composition, full of tension, of the 1950s followed “the light years” from Michel Ragon's expression, which were marked by the balance of forms reflecting each other and the explosion of colour. "Painting should be looked in the same way as music is listened to", as Schneider enjoyed saying.

Musical, his work is to be understood like “an orchestra” which expresses “passion, fury, romanticism“ according to Michel Ragon.

The works of Schneider are in museums including the Centre Pompidou in Paris, MoMa in New York, the Phillips Collection in Washington, the Museum of Fine Arts of Montréal and the Modern Art Museum of Rio de Janeiro, as well as private collections and foundations such as the Fondation Gandur pour l’Art in Geneva.

The Galerie Diane de Polignac in Paris is preparing the Catalogue raisonné of the works on canvas by Gérard Schneider edited by Laurence Schneider, the artist's daughter, and Patrick Gilles Persin, an art historian.

• L'Envolée lyrique, Paris 1945-1956, Musée du Luxembourg, Paris, 26/04/2006-6/08/2006
• Gérard Schneider, grands gestes pour un grand monde, Musée d’Art & d’Histoire, Neuchâtel, 15/05/2011-16/10/2011
• Les Sujets de l’abstraction, Peinture non-figurative de la Seconde École de Paris (1946-1962), Fondation Gandur pour l’Art, Musée Rath, Genève, 06/05/2011-14/08/2011
• Gérard Schneider. Rétrospective, Musée des Beaux-Arts d’Orléans, 24/02/13-2/06/13

• Official website

This article about a Swiss painter is a stub. You can help Wikipedia by expanding it.

• v
• t
• e