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Monique Frydman is a French painter born in 1943 in Nages. She lives and works in Paris and Senantes, France.

After studying at the School of Fine Arts in Toulouse, Monique moved to Paris in 1964, where she attended the ENSBA painting workshop and met François Rouan and Pierre Buraglio.

In 1966, like many committed artists in Europe, Monique Frydman stopped painting, to devote herself to extreme leftist militancy, and notably to feminism, within the Women's Liberation Movement (MLF).

Monique Frydman belongs to a postmodernist generation of artists who radically deconstructed painting, among which Supports/Surfaces, a movement which rethought the powers of painting through its material and metaphorical components in the 1970s-80s. For both Frydman and the group, a picture is considered an exploration of the depth of the plane. The body has been at the heart of her intensely lyrical approach from her first figurative and militant paintings of the 60s – based on the imperative necessity to assert a feminine identity through the use of her own body – and pasted silk paper murals of the 70s (Judith triumphans, 1978) to the series of large abstract paintings she developed as from the 80s. In her work, rubbing techniques (often pieces of string dipped in color and dragged across the back of the canvas then moved around) are often a commanding factor in what remains suspended on canvas – painting, drawing, lines, surface, lineaments of figures – through the effect of colour/light (in the lineage of Rothko), dispensed by the powdery texture of pure pigment or pastel, or the fluidity of acrylic paint. M. Frydman works in series of colors, in turn, dusky and vivid, with which she experiments with mass, workability, vibration, and translucency.