Hans Hartung Art for Sale: Prints & Originals

Born in Leipzig, Germany, in 1904, Hartung showed an early creative inclination, influenced by his artistic family background. He cultivated an early admiration for the works of Rembrandt, alongside German painters like Lovis Corinth, as well as Expressionist figures such as Oskar Kokoschka and Emil Nolde.

In the 1920s, Hartung's began experimenting with abstraction. His works were comprised of energetic lines and bold gestures, emerging from a fascination with the expressive process of mark-making.

During World War II, Hartung joined the French Foreign Legion. He was sought out by the Gestapo and subsequently detained by French authorities for seven months. Once they discovered he was an artist, he was placed in a red cell, aimed at damaging his vision.

After his release, he rejoined the Legion and fought in North Africa, where he lost a leg during a battle near Belfort. In 1945, he was granted French citizenship and later awarded the Croix de Guerre for his wartime service.

In the post-war period, Hartung's career flourished as he became a central figure in the Parisian art scene. His association with the Art Informel movement in the 1950s solidified his reputation as a leading abstract artist. Hartung's work during this period was characterised by large-scale canvases featuring sweeping brushstrokes and gestural compositions.

Hartung's innovative techniques, including the use of olive branches and garden rakes to apply paint, demonstrated his experimental spirit. This approach culminated in his groundbreaking work of the 1960s, which saw him awarded the Grand Prize for painting at the 1960 Venice Biennale.

From the 1960s until his death in 1989, he continued to explore new methods of paint application. He developed a technique using paint sprayers, which allowed him to create works of unprecedented scale and intensity. This late period of his career, saw Hartung push the boundaries of abstraction even further, cementing his legacy as a tireless innovator.
From the 1960s until his death in 1989, he continued to explore new methods of paint application. He developed a technique using paint sprayers, which allowed him to create works of unprecedented scale and intensity. This late period of his career, saw Hartung push the boundaries of abstraction even further, cementing his legacy as an unrelenting innovator.

Hartung was prominently featured in Warren Forma’s 1963 film documentary School of Paris: (5 Artists at Work), which offered a glimpse into the daily practices of artists. The film featured Hartung alongside Claude Weisbuch, Günter Fruhtrunk, Jean Dewasne, and di Tiena. Forma's series was known for its candid, detailed studies of living artists at work, and Hartung’s inclusion underscored his significant role in the post-war Parisian art scene. This documentary offered a firsthand glimpse into the process and energy that defined Hartung's abstract, gestural paintings, providing insight into his creative practice at a pivotal moment in his career.
In the last three years of his life, Hartung experienced a dramatic resurgence in productivity, despite significant physical decline. After a severe stroke in 1986 diminished his fine motor control, Hartung managed to produce an remarkable number of artworks. In 1987, he completed 85 paintings, followed by 202 in 1988, and 360 in 1989, the year of his death. Assisted by a team that prepared canvases and materials, Hartung worked primarily with sprayers, which allowed him to create large-scale, dynamic works with minimal physical exertion. These late works, characterised by loose gestures and innovative techniques, prompted critical discussions about their authenticity, but Hartung remained in control of the final marks on the canvas.
The reception to Hartung's late works was mixed. Some studio assistants, particularly those with technical backgrounds, initially found it challenging to accept the more spontaneous, less controlled nature of Hartung's late paintings, attributing them to his physical infirmity rather than intentional creativity. However, a shift occurred when younger assistants embraced the simplicity of Hartung’s late work as a natural continuation of Hartung’s process-orientated practice. Critics, on the other hand, praised Hartung’s prolific output in the late 1980s, marvelling at the artist’s inventive use of sprayers and his ability to incorporate energetic, gestural lines into his work. Exhibitions of Hartung’s recent works received positive reviews, with many observers comparing his late productivity and vitality to the final phases of Picasso’s career.