The stages of his oeuvre

The Abstract Period,1947-66

In 1948 Collignon comes to non-figuration after visiting the Biennale of Venice where he meets Paul Klee, who is going to show him the almost unlimited possibilities of abstract painting. Co-foundator of the group REALITE-COBRA with Bury, Franck, Léonard, Plomteux and Silvin, this is the first attempt to create an association for the defence and promotion of abstract art. COBRA was founded on November 8, 1948. COpenhagen-BRussels-Amsterdam: artists coming from these 3 cities (Jorn, Dotremont, Appel, etc.) decide to take a united stand of experimental artists. In Liège they associate with the group REALITE. According to A. Herbin, “Non-figurative and non-objective art is eminently humanistic because it shows a new state of consciousness, a new way of being, which finally represents non-objective realism”.
In 1950 Collignon shares with Alechinsky and Dubosc the first “Prix Jeune Peinture Belge” ever awarded.
We will never put enough emphasis on the role of the patron and discoverer played during those years by the APIAW - Association pour le progrès intellectuel et artistique en Wallonie – and the support of Baron Fernand Graindorge, especially with his regular exhibitions in the building of the Emulation in Liège, showing the most innovative French painters’ works.
In 1951 Collignon settles in Paris. He will be back in Liège in 1969.
In 1952 he is the co-foundator of the group ART ABSTRAIT with Bury, Carrey, Delahaut, Milo, Plomteux, Saverys, whom Burssens and Hauror will join later. The group was born from the accidental but inevitable meeting of some artist friends who, after some personal and parallel experiences, are deeply committed into abstraction for finding there some principles and a field in accordance with their plastic point of view.
Between 1954 and 1958, Collignon’s works reach the top of lyricism. Long coloured diagonals cross the canvas and intersect each other. His abstract creation belongs to the artist’s most beautiful and personal periods.
J. Hendrickx

In 1957 Georges Collignon gets married for the second time with Christiane Mambour, daughter of the famous painter from Liège (1896-1968), of whom he is the student at the Academy.
Following his way towards more lyricism and expression, Collignon growingly establishes himself as one of the most important Belgian painters of the young generation. His casual-looking warm abstraction is in fact a rigorous construction but his technique sends out unexpected vibrations which give his works an incredible richness and make it look like enamel painting.
L. Koenig, 1957

That period of plastic anarchy encourages the artist to rush from an experience to another, like a gold digger, in such a fertile and crazy time that even the most daring innovations convey an impression of déjà-vu, Collignon is an unexpected character. He paints as a civilized man and he aims at some perfection in the practice of his art (…). Undoubtedly, he contracted a debt towards French painting, towards Bazaine and Bonnard, that he names with respect. This stubborn Walloon wishes to have all cards in his game.
C. Legrand, 1960

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