Alfred Manessier

For Alfred Manessier, the variety of techniques which he utilized, as well as the diverse inspirations and themes led to the breaking off point of his global project, that which he called his "passages".

The work of Manessier blossoms from the moment where he discovers the necessity to consecrate himself to non-figurative painting.  Close to abstract art, it is preferable to qualify his painting as non-figurative. Manessier's work is in effect profoundly anchored in reality, even if that reality is elusive.  They are never gratuitous constructions; always organized based on references that are more or less explicit, such as places, political events, and meditations on sacred texts.

Profoundly imprinted from his childhood memories of the landscapes and the light of his native region and the Bay of Somme, in the late 1940's and 1950's, he dedicated numerous canvases to the meandering reflecting rivers in the ports of Normandy, with a great sensitivity to nature,

The artist was equally an important contributor to the movement "art sacre", during the second half of the twentieth century, which aspired to bring "living art" into the scope of the modern church building, and was based on the premise that much 19th century church decoration was outdated.   In this spirit, the artist created the stained glass windows  for the church of Sainte-Agathe des Bréseux (1948) -the first non figurative designs to be incorporated in an ancient building.  Stained glass holds a significant place in the artistic production of Alfred Manessier, having first been introduced to the technique by Georges Rouault.

International prizes recognized the work of Manessier.  Selected for the Bienalle of Venice in 1950, he was awarded the Grand Prix for painting in 1962, the same year that Giacometti received the Grand Prix pour sculpture.  Manessier was the last French painter to be so recognized, after Matisse, Jacques Villon and Raoul Dufy.

In 1953, he received the Premier Prix for painting at the Bienalle of Sao Paolo, and in 1955, the Grand Prix for painting at the Carnegie Institute in Pittsburg.