Jean Miotte came of artistic age in the decade after World War II when non-figurative gestural abstraction was emerging on as the contemporary artistic language.
“L’Art Informel” to connote “without form” which Miotte is one of the leader, claims an individual freedom embodied in the spontaneity of the gestural brushstroke. Miotte developed a vocabulary of bold, quasi-calligraphic markings whose vaulting, liquid jets and arcs of paint were at once suggestive of the body in motion while at the same time denying corporality. He uses bold brushstrokes to create paintings that seem to jump with tension and excitement. Of prime importance for Miotte was the aspiration for this gestural, abstract language to create a bridge between cultures, to break beyond national barriers of geography or expression to form a truly international language.
The power and transcultural appeal of this painting was soon seen in its international reception. Miotte was invited to exhibit throughout Europe, America, and the near and far East long before the concept of globalization was current in artistic terms.
Miotte, Jean
1988 Mono-print Signed 30 x 22 in SOLD1988 Mono-print Signed 30 x 22 in SOLD1988 Mono-print Signed 30 x 22 in SOLD1988 Mono-print Signed 30 x 22 in SOLD1988 Mono-print Signed 30 x 22 in SOLD“L’Art Informel” to connote “without form” which Miotte is one of the leader, claims an individual freedom embodied in the spontaneity of the gestural brushstroke. Miotte developed a vocabulary of bold, quasi-calligraphic markings whose vaulting, liquid jets and arcs of paint were at once suggestive of the body in motion while at the same time denying corporality. He uses bold brushstrokes to create paintings that seem to jump with tension and excitement. Of prime importance for Miotte was the aspiration for this gestural, abstract language to create a bridge between cultures, to break beyond national barriers of geography or expression to form a truly international language.
The power and transcultural appeal of this painting was soon seen in its international reception. Miotte was invited to exhibit throughout Europe, America, and the near and far East long before the concept of globalization was current in artistic terms.