Abstract
Hidden in the south of France during the Second World War, Waldemar George immediately resumed his activities as an art critic upon the liberation of Paris in 1944. In the weekly Opera, he tried unsuccessfully in 1949 to impose a new « Award of contemporary painting » on the Parisian art scene, in order to rehabilitate a sense of composition among painters. A long time enemy of abstraction, Waldemar George eventually found, in the Informal or « Tachiste » trend of the Parisian avant-garde in the late 1950s, an acceptable form of expression for his tireless quest for the human figure in art. During those years, he met and gave advice to the young art critic Pierre Restany, while allowing himself be moved by the almost abstract paintings of an Edouard Pignon or an Asger Jorn.
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