FRANCOIS FIEDLER
FOUNDATION
FRANÇOIS FIEDLER
(1921 Kassa, Hungary - 2001 Paris, France)
François Fiedler is a French lyrical abstract expressionist painter of
Hungarian origin. He was born in Kassa, Hungary. He started
painting at the age of 5, and copied the masters at the age of 10.
He graduated from the Budapest Fine Art Academy in 1946.
After World War II he settled in France, where he became
fascinated with abstract art. He was discovered by Miró, who saw
one of his canvases in a gallery window. Miró called him “the
painter of light”, he shared his ateliér with Fiedler in the early years
and introduces him to Chagall, Braque and Giacometti.
Hungarian origin. He was born in Kassa, Hungary. He started
painting at the age of 5, and copied the masters at the age of 10.
He graduated from the Budapest Fine Art Academy in 1946.
After World War II he settled in France, where he became
fascinated with abstract art. He was discovered by Miró, who saw
one of his canvases in a gallery window. Miró called him “the
painter of light”, he shared his ateliér with Fiedler in the early years
and introduces him to Chagall, Braque and Giacometti.
Miró recognized Fiedler’s talent of the trinity - stable technical knowledge, passionate, innovative spirit and playful usage of
different matters which led to a very rich oeuvre. These early years Fiedler found shelter in the ’reality’ he created with his
paintings.
Fiedler threw himself into exploring the new technical possibilities. Fiedler developed a new technique, which allowed him to
play an endless game with light and shadows, density, to create an endless rhythm on a bare surface or structural complexity.
His first solo exhibition was held in 1948 at Galerie Haut-Pave, Paris.
In 1951 a show was dedicated to the works of Kandinsky and Giacometti at the Fondation Maeght. On this occasion new
talents were also presented as Eduardo Chillida, François Fiedler, Ellsworth Kelly, Pierre Tal-Coat and Saul Steinberg.
Fiedler was attracted to the process of painting promoted by André Malraux that revealed the subjective expression of the
artist’s psyche. The key is “free association”. Fiedler began a work with a motif that was spontaneously developed until the
work was complete – until it looked and felt “right”. In this manner, there is no fundamental difference between Pollock or
Fiedler. That is why each of Fiedler works is different although painted by the same process.
Despite Fiedler was a member of Post-War School of Paris he was utilizing the same “process” as the Abstract
Expressionists did in School of New York. He was influenced by Pollock’s and Rothko’s art. Pollock with the unique technical
method, Rothko with his large, colorfield paintings.
Instead of traditional tools Fiedler preferred scrapes, knives, trowels, stones, sand. The surfaces are very sculptural and
dimensional, they are scratched, scraped and multilayered, relief-like.
Fiedler’s work is characterized by formal elements such as color, shape, depth, composition.
Fiedler never stopped inventing or discovering, even attempting, sometimes, to destroy his own creation. Hence he allowed
himself to neglect his achievements and return to the road toward the unknown, beyond all pictorial aesthetics. Fiedler’s
appetite for each new medium was insatiable. Indeed, Fiedler is a polihistor of fine art. Miró, Picasso did the same, they could
not concentrate and be satisfied in one genre.
Fiedler demands a new approach from the beholder. „Not just reading out something from the painting, but rather to look into
the composition. To archieve this you need fantasy, concentration, introspection and intensification.” Fiedler’s lifework is full
of personal and artistical searching.
During a career that lasted six decades, he created a new and impassioned form of abstract painting.
Fiedler’s works are regularly exhibited in Switzerland, Italy, Germany, Spain, France and the United States.
Fiedler is one of the most important artist in Post-War French art. His paintings were acclaimed and admired by fellow artists
such as Joan Miró. His paintings encapsulate the essence of his minimalist art. Braque, Miró, Chagall, Calder, Chillida,
Fiedler, Giacometti, Kandinsky, Matisse, Riopelle, Tápies a great circle has gathered and was joined by a new generation of
artists. Names, which have become inextricably associated with twentieth-century art.
different matters which led to a very rich oeuvre. These early years Fiedler found shelter in the ’reality’ he created with his
paintings.
Fiedler threw himself into exploring the new technical possibilities. Fiedler developed a new technique, which allowed him to
play an endless game with light and shadows, density, to create an endless rhythm on a bare surface or structural complexity.
His first solo exhibition was held in 1948 at Galerie Haut-Pave, Paris.
In 1951 a show was dedicated to the works of Kandinsky and Giacometti at the Fondation Maeght. On this occasion new
talents were also presented as Eduardo Chillida, François Fiedler, Ellsworth Kelly, Pierre Tal-Coat and Saul Steinberg.
Fiedler was attracted to the process of painting promoted by André Malraux that revealed the subjective expression of the
artist’s psyche. The key is “free association”. Fiedler began a work with a motif that was spontaneously developed until the
work was complete – until it looked and felt “right”. In this manner, there is no fundamental difference between Pollock or
Fiedler. That is why each of Fiedler works is different although painted by the same process.
Despite Fiedler was a member of Post-War School of Paris he was utilizing the same “process” as the Abstract
Expressionists did in School of New York. He was influenced by Pollock’s and Rothko’s art. Pollock with the unique technical
method, Rothko with his large, colorfield paintings.
Instead of traditional tools Fiedler preferred scrapes, knives, trowels, stones, sand. The surfaces are very sculptural and
dimensional, they are scratched, scraped and multilayered, relief-like.
Fiedler’s work is characterized by formal elements such as color, shape, depth, composition.
Fiedler never stopped inventing or discovering, even attempting, sometimes, to destroy his own creation. Hence he allowed
himself to neglect his achievements and return to the road toward the unknown, beyond all pictorial aesthetics. Fiedler’s
appetite for each new medium was insatiable. Indeed, Fiedler is a polihistor of fine art. Miró, Picasso did the same, they could
not concentrate and be satisfied in one genre.
Fiedler demands a new approach from the beholder. „Not just reading out something from the painting, but rather to look into
the composition. To archieve this you need fantasy, concentration, introspection and intensification.” Fiedler’s lifework is full
of personal and artistical searching.
During a career that lasted six decades, he created a new and impassioned form of abstract painting.
Fiedler’s works are regularly exhibited in Switzerland, Italy, Germany, Spain, France and the United States.
Fiedler is one of the most important artist in Post-War French art. His paintings were acclaimed and admired by fellow artists
such as Joan Miró. His paintings encapsulate the essence of his minimalist art. Braque, Miró, Chagall, Calder, Chillida,
Fiedler, Giacometti, Kandinsky, Matisse, Riopelle, Tápies a great circle has gathered and was joined by a new generation of
artists. Names, which have become inextricably associated with twentieth-century art.
