Georges Mathieu was one of the pioneers of the Lyrical Abstraction movement, and his paintings, guided by intuition, were always filled with speed and explosive energy. In defining Lyrical Abstraction, Mathieu emphasized that artists must prioritize the speed of their brushstrokes to avoid interference from subjective consciousness. Additionally, artists should not premeditate any shapes nor rely on external references. Lyrical Abstraction painting should be a process of emotional release rather than a form of creation based on deliberate thought.

Influenced by Eastern calligraphy, Mathieu frequently used a single ink tone in his early works to express the integration and fluidity of lines. Mission II, created in 1976, can be considered a culmination of Mathieu’s exploration of composition and richness after his early experimental period. On a saturated red background, precise black and cyan brushstrokes exhibit unparalleled power and intensity. The bold, intersecting lines appear both thick and rounded, while a closer look reveals the intricate textures created by the rapid movement of the brush. Additionally, the contrasting colors form a frame-like effect around the edges of the canvas, where the interplay of colors resembles light, making them stand out prominently on the canvas.

Above the bold brushstrokes, Mathieu used a palette knife to scrape through red, black, and white streaks of paint, creating a sharp visual impact and a sculptural, three-dimensional effect. He also experimented with blending wet paint directly on the canvas, allowing the raw colors to merge naturally under the palette knife, generating random tonal harmonies. This technique, known as "Tubism," involved painting directly from tubes of paint, enriching his exploration of lines and gestural brushwork. At certain endpoints of his brushstrokes, he introduced his signature dripping technique, showcasing the element of chance in his work. The collision of multiple elements in Mission II is both conflicting and harmonious, elevating the composition’s depth to an even higher level. The arrangement of density and spacing within the painting is well-balanced—although the empty areas are laid out in a single tone, a closer look reveals dynamic intersections of brushstrokes, which interact with the complex elements above, creating a powerful visual impact.

喬治．馬修是抒情抽象運動的先驅之一，以直覺來主導的繪畫向來充滿了速度感和爆發力。馬修在定義抒情抽象的過程中，總結出藝術家在作畫時必須以下筆速度為優先考量，以避免藝術家主觀意識上的干擾。另外，藝術家不得預先設想任何形狀，也不可以依賴任何外物形體的參考。抒情抽象繪畫應是一個釋放情緒的過程，而不是一個經過思考所產生的創作型態。

受到東方書法的影響，馬修在早期作品中，經常以單一墨色來表現線條的集成以及流動性。《Mission II》作於1976年，可以說是馬修經歷過早期摸索後在構圖和豐富性上的集大成之作。在飽和的紅色底色上，精準的黑色及天青色筆觸展現了無與倫比的力道和刺激感，交互縱橫的粗獷線條及厚實又圓潤，近看清晰可見筆刷快速帶過所產生的細密肌理，更在畫框四邊形成一個對比色框架，對比色系的運用就像光線一般，在畫布上極為突出。

馬修在粗筆表現的正上方透過畫刀的刮擦來推開紅色、黑色及白色條狀顏料，進而產生尖銳的視覺感及三維空間上繪畫浮雕的建設。他也首次在畫布上將未乾的顏料混合，呈現出原色在畫刀下自然地融入彼此，隨機的顏色調和。這種直接從顏料管擠出來作畫的「導管主義」技法豐富了馬修對於線條和姿態性筆觸的探索，在部分筆觸終結的節點他更以潑灑的方式來展現他「滴畫」技法的偶然性，多重元素的碰撞既衝突又和諧，同時將作品的層次感帶入更高的殿堂。《Mission II》的構圖疏密有致，留白的部分雖以單色鋪陳，細看還是能一窺藝術家筆勢交錯的動態表現，與上方的多元元素產生化學反應，創作出強烈的視覺衝擊力。