May 15, 2017
Journal name not available for this finding
In the 20th and 21st centuries, we are well aware how many artists collect, conserve and compile archives (be they personal or exogenous), then, rather than confining them to the status of historical documentation, incorporate them in their work. The case of the Franco-German painter Hans Hartung is not unrelated to this kind of approach, but in a manner which is, paradoxically, both more empirical and more structured. Very empirical on the one hand, because Hartung never completely predicts ...