Installation

Simon Hantaï
Accrochage

April 5–May 28, 2022
Gagosian, rue de Ponthieu, Paris

Gagosian, Paris, is pleased to present a selection of paintings by Simon Hantaï (1922–2008). In anticipation of his forthcoming retrospective at Fondation Louis Vuitton, curated by Anne Baldassari and opening on May 18, 2022, these works will be installed on the ground floor of the gallery at 4 rue de Ponthieu.

The grouping, which is dominated by bold, vibrant colors evocative of spring blossoms, features several paintings made by Hantaï using variations on his iconic pliage (folding) technique. By crumpling and knotting the canvas before painting it uniformly and then spreading it out to reveal a pattern of alternations between pigment and ground, Hantaï arrived at a process that synthesized Surrealist automatism and the allover gestures of Abstract Expressionism. Here, several paintings from the Tabulas series (1972–76 and 1980–82), including large gridded compositions in yellow, blue, pink, and green, find him regulating the abstract shapes generated by the pliage process through a repeating pattern of folds and the use of single tints that also reflect his study of Paul Cezanne, Henri Matisse, and Johann Wolfgang von Goethe’s Theory of Colors (1810).

Gagosian announced the exclusive representation of Hantaï’s estate in 2019. LES NOIRS DU BLANC, LES BLANCS DU NOIR, the artist’s first exhibition at the gallery, featured black-and-white paintings and prints made between 1969 and 1997 and opened at Gagosian, Le Bourget, that October. This January, in the centenary year of the artist’s birth, the gallery presented a second solo exhibition, Les blancs de la couleur, la couleur du blanc, on both floors of the gallery at 980 Madison Avenue, New York. This exhibition was accompanied by a multipart publication, housed in a special box that contains a booklet with an essay and chronology by Anne Baldassari, individual cards devoted to each artwork, and a folded poster. Hantaï is also the subject of an essay by Baldassari in the Spring 2022 issue of Gagosian Quarterly.

Installation view, Simon Hantaï: Accrochage, Gagosian, rue de Ponthieu, Paris, April 5–May 28, 2022. Artwork © Archives Simon Hantaï/ADAGP, Paris

#SimonHantai

Related News

Gagosian Quarterly Summer 2026

Now available
Gagosian Quarterly Summer 2026

The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.

Jenny Saville a Ca’ Pesaro

Jenny Saville a Ca’ Pesaro

In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.

Alex Israel: Upside Down

Alex Israel: Upside Down

Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.

Simon Hantaï: The Paradox of the “last studio”

Simon Hantaï: The Paradox of the “last studio”

On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.

James Turrell: Lifting the Veil

James Turrell: Lifting the Veil

An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.

Derrick Adams: View Master

Derrick Adams: View Master

On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.

Giuseppe Penone: The Reflection of Bronze

Giuseppe Penone: The Reflection of Bronze

Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.

A Tremendous Generosity: Jeff Koons on Marcel Duchamp

A Tremendous Generosity: Jeff Koons on Marcel Duchamp

Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.

On Walter De Maria: Donna De Salvo and Lucy Raven

On Walter De Maria: Donna De Salvo and Lucy Raven

The Singular Experience at Gagosian’s Le Bourget gallery is the largest exhibition of Walter De Maria’s work in France in several decades. Organized by Donna De Salvo, senior adjunct curator at Dia Art Foundation, the exhibition marks the first time De Maria’s final sculpture, Truck Trilogy (2011–17), is being shown outside of the United States. Here, De Salvo speaks with artist Lucy Raven about her evolving kinship with De Maria and more.

Henry Moore: Monumental Nature

Henry Moore: Monumental Nature

Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.

A Revolution in Jewels: Pomellato at Palais de Tokyo

A Revolution in Jewels: Pomellato at Palais de Tokyo

The exhibition Pomellato, Le Joaillier Révolutionnaire opened at Palais de Tokyo, Paris, on June 24. The Italian jewelry house’s trailblazing advertising campaigns—created by some of the most consequential names in photography—act as the narrative arc of the exhibition, curated by Alba Cappellieri. Here, Sarah Godfrey tracks Pomellato’s history, speaks with Cappellieri about what drew her to this project, and examines some of the key photographs from the show.

Georg Baselitz and the Possibilities of Print

Georg Baselitz and the Possibilities of Print

On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.