• Monique Frydman

    Baudoin Le-bon

    At first, Monique Frydman’s work was somewhat reminiscent of Bram Van Velde’s. But in 1967 the Parisian avant-garde, and the political situation of the time, set her in a new direction. While a generation of artists led by Claude Viallat, Louis Cane, and others began a return to abstract painting, Frydman traveled to Cuba and, during the spring of 1968, to Prague. She began to use personal recollections in a way that most “radical” artists had specifically put aside. Completely isolated from the “individual mythologies” of the early ’70s, her work possessed a quality of the hand; these were

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