François Fiedler - Composition - Original Lithograph 1960

François Fiedler - Composition - Original Lithograph From the literary review ''XXe Siècle'' 1960 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Biography François Fiedler was born in Kassa, Hungary in 1921. He starts at a young age by painting academic portraits and copying the grand masters of the past. After his university studies he enrolls in the Fine Arts Academy of Budapest. At the age of 25, in 1946, François Fiedler moves to Paris. It is during this period immediately after the war that his work evolves towards abstraction; he practices a gestural painting in ‘coulages’. Straight away his first solo exhibitions are organized. He also participates in group exhibitions such as the ‘Salon des Realities Nouvelles’ and the ‘Salon de Mai’. His friend Joan Miro introduces him to Aime Maeght; also to Braque and Calder, following the example of Tapies, Ubac and Tal-Coat, be becomes one of the artists in the circle who gravitates who toward the famous gallery owner. From now on this will assure him numerous exhibitions. From 1959-1974, no less than four editions of the magazine ‘Derriere le Mirror’ are entirely dedicated to him. Besides painting, which will remain his principal means of expression, Fiedler will experiment for several years with etching. Stamping his destiny, he achieves an original style, relief that will add a particular ''dramatic'' intensity to his work. The magic alchemy that comes out of his engraving is allied to an esthetic approach that is extremely rigorous that nourishes Fiedler and is proof of his questioning. This becomes a departure point of a reflex ion of the singular and the multiple, of the notion of identity, which is fundamental to his work. During these diverse periods, Fiedler plays with the unusualness of his style. The artist illustrates diverse works such as St. John of the Cross, Hercules and Claude Ollier. Fielder works for more than 2 years on 35 etchings for the Illustrations of the Evangeline According to St. Matthew, but the publication of this work is compromised by the death of Aimé Maeght in 1981. François Fielder remains unrecognized despite the importance of his work.