Adolf Wölfli, born February 29, 1864 in Bowil (canton of Bern) in Switzerland and died November 6, 1930 in Bern, is a Swiss painter, designer and writer, convicted of child abuse then interned in an insane asylum. He is one of the major figures of art brut.

Adolf Wölfli, né en 1864 en Suisse et mort en 1930, est un peintre, dessinateur et écrivain, interné dans un asile d’aliénés. Il est une des figures majeures de l'art brut.

Adolf Wölfli

Portrait d'Albert Uriet à l'époque où il connut Paulhan

Albert Uriet, first illustrator of “Grand Meaulnes”, was born on January 7, 1889 in Fontenay-sous-Bois (Val-de-Marne), his father a carpenter and his mother a seamstress. He married in Paris on January 26, 1922 with Germaine Huet, from whom he divorced in November 1940. Germaine Huet was the cousin of Germaine Dauptain, second wife of Jean Paulhan. He died on March 25, 1954 in Saint Symphorien (Indre-et-Loire).

Albert Henri Uriet apprenticed with a bicycle merchant in Fontenay-aux-Roses, then he attended the School of Decorative Arts on rue d'Ulm, in Paris. After an exhibition at the Galerie André (rue des Saints-Pères), he joined Rvepp, a Swiss German based on rue Bergère, in Paris, where he worked as [&nbsp;?&nbsp;].

During the war of 1914, Albert Uriet was mobilized at the fort of Saint-Denis then at those of Vincennes and Beauvais, where he met Jean Paulhan. A strong friendship will bind them for years.

In 1918, he made some drawings for a daily newspaper, then for the Guignol theater. Then, he entered the Deberny-Peignot foundry and became friends with André Mouron (Cassandre).

In 1925, he rented a castle in Saint-Vigord to run a boarding house.
It was there that he created the illustration of Grand Meaulnes on behalf of the Association of Bibliophile Doctors.

The Mame et fils house in Tours then hired him as an illustrator. During the occupation, the clergy of Brittany had stored Les Grandes Heures de la Duchesse Anne de Nantes in the cathedral of Tours. The Mame house, in agreement with the archbishop, was inspired to create a missal which will be illustrated by Albert Uriet.

---

## Resources

[Images of works by Albert Uriet](https://www.google.com/search?q=albert+uriet&rlz=1C5CHFA_enFR878FR878&sxsrf=ALeKk03mLxyTIcHjVZK7uHZbMBOmOQHJEA:1606057185116&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjBr4egtZbtAhUID2MBHa6QAbcQ_AUoAnoECAcQBA&biw=1404&bih=926)

[Traces of the Grand Meaulnes in The bridge crossed (1921) by Jean Paulhan](https://www.erudit.org/fr/revues/tce/2019-n120-tce05268/1069143ar/)  
<small>(The war and Paulhan's meeting with Albert Uriet)</small>

Albert Uriet

_André Lhote, born in Bordeaux on July 5, 1885 and died in Paris on January 25, 1962, is a French painter, engraver, illustrator, art theorist and teacher. He is one of the representatives of the Cubist movement.

---

## Resources

[Images and photos](https://www.google.com/search?q=andr%C3%A9+lhote&tbm=isch&ved=2ahUKEwjps-CS25LqAhXT_IUKHdXUBCcQ2-cCegQIABAA&oq=andr%C3%A9+lhote&gs_lcp=CgNpbWcQAzIECCMQJzIECCMQJzICCAAyAggAMgIIADICCAAyBAgAEB4yBAgAEB4yBAgAEB4yBAgAEB5Q0eH-BViN6v4FYNXy_gVoAHAAeACAAS6IAfQBkgEBNpgBAKABAaoBC2d3cy13aXotaW1n&sclient=img&ei=IzjvXqmWENP5lwTVqZO4Ag&bih=1017&biw=1445&rlz=1C5CHFA_enFR878FR878&hl=fr)

André Lhote, peintre, graveur, illustrateur, théoricien de l'art et enseignant français

André Lhote

_André Masson, born January 4, 1896 in Balagny-sur-Thérain (Oise) and died October 28, 1987 in Paris, is a French painter, engraver, illustrator and theater decorator_.

---

## Resources

[Exhibition of the painter André Masson at the Center Pompidou-Metz, the transgressive conception of the act of painting](https://www.radiofrance.fr/franceculture/podcasts/le-regard-culturel/le-regard-culturel-chronique-du-mercredi-17-avril-2024-2870426)

André Masson, peintre, graveur, illustrateur et décorateur de théâtre français

André Masson


Georges Braque, born in Argenteuil (Seine-et-Oise, now Val-d'Oise) on May 13, 1882, and died in Paris on August 31, 1963, was a French painter, sculptor, and printmaker.

Initially working in the wake of the Fauves, influenced by Henri Matisse, Andre Derain, and Othon Friesz, he arrived, in the summer of 1906, at the landscapes of l'Estaque with cube-shaped houses that Matisse called "cubist," particularly marked in the painting _Maisons a l'Estaque_. According to Olivier Cena, this simplification is supposed to be at the origin of Cubism, though that remains debated.

By methodically studying Paul Cezanne's contour lines from 1906 onward, Braque gradually developed compositions using slight interruptions in lines, as in _Nature morte aux pichets_. Then, with a series of nudes such as _Nu debout_ and _Le Grand Nu_, after 1908 he moved toward a break with classical vision, the fragmentation of volumes, a period commonly called Cubist, lasting from 1911 to 1914. He then used geometric forms mainly for still lifes, introduced stenciled letters into his paintings, and invented pasted-paper works. As a true "thinker" of Cubism, he elaborated laws of perspective and color. In 1912 he also invented paper sculptures, now all lost, of which only one photograph of a counter-relief remains.

Mobilized during the First World War, where he was seriously wounded, the painter abandoned geometric forms for still lifes in which objects are set in recomposed planes. During the following period, up to the 1930s, he produced landscapes and human figures and, despite the variety of subjects, his work shows remarkable coherence. Braque, both precursor and heir to the classical tradition, is the French painter par excellence. _Le Cahier de Georges Braque, 1917-1947_, published in 1948, sums up his position.

The Second World War inspired his most somber works: _Le Chaudron_ and _La Table de cuisine_. After peace returned and with the end of his illness, he created deeper works, such as the _Ateliers_, often developed over several years, pursuing six sketches at once, as Jean Paulhan testifies. His best-known paintings are also his most poetic: the _Oiseaux_ series, two examples of which have adorned the ceiling of the Henri-II room at the Louvre Museum since 1953. He also created sculptures, stained glass windows, and jewelry drawings, but from 1959, affected by cancer, he slowed his pace of work. His last major painting is _La Sarcleuse_.

Two years before his death, in 1961, a retrospective of his works entitled _L'Atelier de Braque_ was held at the Louvre Museum, making Braque the first painter to be exhibited there during his lifetime.

A discreet man, little inclined toward public relations, Braque was an intellectual passionate about music and poetry, notably a friend of Erik Satie, Rene Char, and Alberto Giacometti. He died on August 31, 1963, in Paris. National funeral honors were organized for him, during which [Andre Malraux delivered a speech](https://www.ina.fr/ina-eclaire-actu/video/i06061540/hommage-de-malraux-a-georges-braque).

---

## Resources

[WikiArt](https://www.wikiart.org/fr/georges-braque)

[Images and photos](https://www.google.com/search?q=georges+braque&tbm=isch&ved=2ahUKEwiFh4eDxZrpAhWHOuwKHQDhAy8Q2-cCegQIABAA&oq=georges+braque&gs_lcp=CgNpbWcQAzICCAAyAggAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADICCAA6BAgAEENQkri1Ali50rUCYITctQJoAHAAeACAAWuIAYULkgEDNi44mAEAoAEBqgELZ3dzLXdpei1pbWc&sclient=img&ei=0DawXoXfCYf1sAeAwo_4Ag&rlz=1C5CHFA_enFR810FR811)

[Georges Braque - Artsy](https://www.artsy.net/artist/georges-braque/works-for-sale)

[Dominique Aury on Georges Braque - INA](https://www.ina.fr/video/I13182667/dominique-aury-a-popos-de-georges-braque-video.html)

[Georges Braque: Interview with Georges Charbonnier, France Culture](https://www.youtube.com/watch?v=fAfZPb_8KzI)

[A life, a body of work - Georges Braque](https://www.youtube.com/watch?v=bMKREtwjE8c&list=PLagEsBu5pFhGf8L4FlFS1sYW93xRMYdLo&index=293)

[Georges Braque as illustrator, 1962 - INA](https://www.ina.fr/video/I13163510/georges-braque-illustrateur-video.html)

[Georges Braque composes a greeting card, 1952 - INA](https://www.ina.fr/video/I13163495/georges-braque-compose-une-carte-de-voeux-video.html)

[Brassai on Georges Braque, 1960 - INA](https://www.ina.fr/video/I13217116/brassai-sur-georges-braque-video.html)

[Malraux's tribute to Georges Braque, 1963 - INA](https://www.ina.fr/video/I06061540/hommage-de-malraux-a-georges-braque-video.html)

[Georges Braque - FranceArchives](https://francearchives.fr/fr/commemo/recueil-2013/39281)


Georges Braque, French painter, sculptor, and printmaker

Georges Braque

Obviously, the characters who inhabit Campigli's paintings obey rites rather than manias or simple habits. This is what we see in their silence, in their reasonable satisfaction, in their innocence, in their sacred appearance. It seems they are protecting us. From what?  
It is not at all one of those hieratic sacred forms which immediately make one think of the Celts or the Redskins, and (at the same time) of sociologists. No, but quite familiar, and even, if I may say so, popular, who tolerates jokes, and even irony, very well.

**The bee**

Like a bee, Campigli begins by locking his characters in their cells. Sometimes alone; most often two, three or four together. Sometimes neighboring cells are separated by the bars of a banister, the steps of a staircase, the shelves of a cupboard, the grating of a window, the lines of a checkerboard. Sometimes by a simple thickness of air. (It happens - as in the suite of weavers - that the prisoner weaves her prison herself.) How does he go about it? Nothing insulates its creatures better than a wall of air, a row of columns of air. Its characters... as well as its daughters and its women. There are hardly more men in his paintings than bees in a hive.

We think for a moment of those girls of yesteryear who married (as they say) a gate. But in which cloister? To these young women whom Jérôme enclosed in a chain of mail. But Campigli's heroines are rarely naked below the surface of the body: usually, dressed with care, and even with too much care, entangled in their corsets (which make them look like hourglasses), and in their dresses. Not to mention that they are sometimes missing an arm, a leg, a breast: quite incapable of getting out of trouble on their own, if Campigli did not come - like larvae or nymphs - to bring them the honey and water, which they call for, to fan them (as do, in the hive, the wing-beating workers).  
Or even manage these mysterious communications, these touches and these complicity, which pass from one to the other with a touch, a smile, a necklace, various games.

**No without insistence**

He doesn't really want to talk to us. He is not turned towards us. Completely indifferent to the results. On this side too, as on the side of suffering or death, his paintings are closed. It seems, rather than a speech, an old childhood dream, which he constantly reworks, each evening adding to the collection the captives of the day. It must have been at first (I suppose), emotion helping, with great disorder day and night. Then Campigli became a painter, and dreams must have slipped into his paintings, without his knowledge. It was towards cubism.  
The cube was not made, no, to embarrass Campigli. He took it as is, simply hollowed it out and transformed it into a sort of cell (where the young women he watches willingly play childish games). Moreover, he treats it quite freely, moving from the regular cell (with a pyramidal base and oblique truncations) to the royal cell in the shape of a thimble. The edge, marked or not, is always present. Stable light would rather resemble a sediment left by the sun, rains, fogs. Even the colors vary little: sienna... — but no, better to say it in Italian: terra di Siena bruciata, ombra naturale, ocra d'oro, terra verde. Campigli's paintings are reminiscent of some marquetry, which would have passed from hand to hand. Or to some mosaic, on which we would have walked for a long time.  
Here we will perhaps talk about monotony. If we want. It is simply strange that the exaltation continues, the enthusiasm without ceasing - and on the other hand the dull soul, the drowsiness - show on the outside, more or less, the same face. If it sometimes seems to us that Campigli is repeating himself, we experience, much more surely, that he insists, because he must insist. This is because we, nor he, have not yet completely understood.
What is inspiration? It's having just one thing to say, that you never get tired of saying.

**The master of contacts**

However, in front of his paintings, stupid, or at least naive, thoughts come to mind. We say to ourselves: it is nevertheless true that it is different to walk - to play, to sit - in pairs, in threes or in fours. (Although we don't usually think about it.) But different in what way? It's difficult to understand. No less difficult than these distant contacts: the water which brings together two bathers, the ball which flies from one girl to the other, the air which both separates and confuses two captives. Or close: the hair that we share, before braiding it, a skein that we unwind, a hat that we try on.  
Who thought of calling touch a hobby (or rather the hope of a hobby)? Who noticed that love was the contact of two skins? They said more than they thought they would. All this makes for a strange domain, where we have little more than the embryos of antennas, the outlines of faculties. It would require the same effort of attention, of gathering, which makes doctors distinguish between mediate contact and the immediate, surveyors between first or second order contacts. Otherwise, I don't see how to avoid stupid thoughts.  
But Campigli hardly needs reflections: he is a painter. Painter and master of this somewhat troubled country, where events happen in silence, where a nervous thread quivers and a vibration continues. This is the country that certain Cretan or Pompeian girls already inhabited, the two bathing ladies, one of whom (Gabrielle d'Estrées, I believe) pinches the tip of the Duchess of Villars' breast. Better still, the “scene of married life” from San Gimignano where the husband and wife, both absent and present to each other, soak in the same large barrel.  
Besides, Campigli doesn't like being called master that much.

That Campigli's paintings in turn touch us (if I dare say) today to this extent, neither their harmony, nor their rigor, nor the extreme delicacy of their nuances would undoubtedly suffice to explain it. But I rather think that we are all caught, against our will, in a reasonable civilization, armed with machines and blocks of concrete, where science means less truth than industry, where the house is nothing more than a machine for living in, and the hand sometimes goes so far as to call itself a device for feeling: in short, deprived almost - I am not just saying, the thing goes without saying - of sacred; but precisely of this particular communion and these contacts which the slightest painting of Campigli provides us with a resolute timidity.

Jean Paulhan, 1950.

---

## Resources

[Images and photos](https://www.google.com/search?q=massimo+campigli&hl=fr&sxsrf=APq-WBvBYWUHmjGvkx1DouJ5sqxLn18JnA:1645391956525&source=lnms&tbm=isch&sa=X&ved=2ahUKEwj_stbYmo_2AhXhRfEDHZVUBhwQ_AUoAXoECAEQAw&biw=1488&bih=926&dpr=2)

[Massimo Campigli at the Center Pompidou](https://www.centrepompidou.fr/fr/ressources/personne/crbXnxj)

[Scrupoli di Massimo Campigli - video, Italian](https://www.youtube.com/watch?v=uhLQIfWKDgo)

[Massimo Campigli, RAI, Incontri a cura di Gastone Favero - video, Italian](https://www.youtube.com/watch?v=ZRAdiVv4aU4)

Massimo Campigli, de son véritable nom Max Hilenfeld est un peintre italien.

Massimo Campigli


<h2><small>Chagall in his true place</small></h2>

That marvelous green fish, those lovers in the night: we would like to give them flowers, to offer them a sacrifice of flowers. Chagall thought of it first. The bouquet even grew and became a whole tree sheltering the lovers. What joy, and one that reaches far! It is as if he were not ashamed to tell us what deep down we all think, what we keep imagining. He himself seems surprised by it: amazed. Yet this is not satisfied joy, not the sensual joy of a Rubens or a Renoir. It carries some melancholy within it (as if Chagall regretted cutting the flowers).  
That extraordinary joy - ah, that does not help us speak of him. On the contrary. Some people imagine it is easier to work if there is a pretty landscape outside the window. Well, that is not true. Nothing is more confusing. Better a small room with shadow, lots of shadow.

**1**

What is a color, what is a form? I do not know. Nobody knows. Like light or humanity, these are words clearer by themselves than anything one might say about them. But at least I can observe their changes. I can ask what the painter means to tell me, what he lets me hear through their variations.  
So Chagall is a painter, and a modern painter. He follows (when he does not invent them) all the principles of modern painting as they were fixed between 1900 and 1910 (and it is precisely in 1910 that Chagall, leaving his native Vitebsk, arrives in Paris). Which principles? It is not easy to say what they accept. But we see very clearly what they refuse, what they no longer want to hear of, what they purify us from. It is first evident that painting is deprived of its means. As far back as we can go in the history of European painting, it is characterized by a set of procedures - or illusions, if one prefers: illusion of matter, illusion of volume, linear perspective and color perspective, detailed drawing, anatomical correctness, local color. Not one of these procedures remains today. They disappeared one after another: linear perspective from Daumier and Manet onward; detailed drawing from Gauguin and Van Gogh onward; anatomical correctness from Ingres and Cezanne onward; local color from Monet onward; illusion of volume from Gauguin onward; illusion of matter from Matisse onward; and all these means at once from Braque and Picasso onward.  
Yet nature was not thereby better treated - since all those means aimed, after all, at rendering it (what, had we lost it then?). Abstract painting begins the day the painter - around 1907 - calls a canvas a portrait when no one can distinguish a mouth, a forehead, or eyes. What do we see in a non-figurative canvas? Reflections without mirrors, corridors without exits, stalactites without caves. In modern painting, everything strangely happens as if our world had been struck in its course by another world, leaving only fragments behind, sometimes recognizable and sometimes not. So what first strikes us is lack: crack and fault - as if there were no object in the world without a fissure. Also strangeness - as if there were no object fit to unsettle us. And all that follows: new strange objects, autonomous, deriving existence only from themselves and for which the painter is innocent, ambiguous moreover and open to a thousand meanings; or, when they are still natural objects, their order is lacking. They have lost contact, even the most fixed have been shaken and displaced, moved out. After what shock, what collision? They are no longer at their levels: a little higher, a little lower than they should be, showing us less spaces and distances than keeping us at a distance.  
Chagall accepts all these conditions, all these rules of modern painting. We see in him neither linear perspective nor color perspective, nor volume, nor of course anatomical correctness or local color. Add that he does not cheat: he is not one to slip into his images some "curious perspective," some realist line, and that somewhat crafty appeal to the viewer.  
But everything unfolds as if, at once, he had passed to the other side, into that world that came to break ours, and stood there firmly, perfectly resigned to sacrifices (he even seems to rejoice in them), not disoriented, at home there, as if he had foreseen that crack, had already slipped into that hiatus, had explored those abysses top to bottom.

**2**

Art has always been linked with religion. The ancient gods and goddesses are succeeded at the right time by the people of Christs and Virgins, saints and angels. This renewal of personnel proceeds regularly, as if arranged in advance. Later come Liberties and Justices, and kings and great captains, always ready to take themselves for gods. But modern painting, at the same time as it breaks with the means that had always been painting's means, breaks with so many sacred evocations; and the least that can be said is that it breaks with the sacred in order to become itself divine. Around 1910 in painting, in short, something equivalent to a religious awakening occurs. As if one were finally about to know what painting is and what art is. And as if around that new knowledge a whole new world had to be reconstituted. All young painters saw themselves at the threshold of an unforeseen era and civilization. From then on, it was less a matter of submitting to reality than of discovering truth.  
In short, in the midst of mystical adventure. And Chagall with them, just arrived from Vitebsk, where he had left his fish-merchant father and his grandfather the ritual slaughterer. That is to say he did not feel disoriented or disappointed in the least. Besides, the joy of images was never poisoned for him. At twenty, he was still in childlike drawing. No doubt it is excellent that imitation drawing and the rest are taught in schools. The point is to discourage children - there are some! - who would like to become painters. But Chagall hardly had to defend himself. No one ever explained to him the labor, the discouraging labor of resemblance: false volume, false matter, trompe-l'oeil, false distance, false color. What astonishes him in Cubists would rather be their scruples, their excessive realism.  
Yet these Cubists pursue their work. What work? We know well enough that mystical experience is first marked by refusal and negation: refusal of wealth and glory, refusal of fine clothes and beautiful bodies, refusal of pleasant sensations, refusal even of reflection and mind. So many absences at last compose in the mystic's life a landscape made of lacks and faults, like a modern painting. I do not think it has ever been noticed: the three stages that mystics have always distinguished in their path - purgative life, sleep of the faculties, illumination - correspond quite exactly to the three periods of modern painting, or, which is the same, Cubism: analytical Cubism, hermetic Cubism, crystal period.  
But it seems Chagall from the first moment sees himself carried to crystal illumination. Not without disturbance, certainly, nor without confusion. Sometimes reality assaults him and troubles him. Or it is the world of yesterday, with its flying peddlers, its snow and barricades, struggling to adapt to a world of blond forests and Eiffel towers: to lodge there without too much confusion.  
But from the first instant Chagall is attuned to the divine. Before his blue donkeys, flying clocks, flaming horses, only adoration is possible. He even dares speak without the slightest embarrassment of what has haunted us all since childhood: birth, marriage, death.

**3**

Mr. Meyer Schapiro remarked strangely last year that Chagall, by agreeing to illustrate the Bible, was going against modern painting, which "prefers spontaneity and immediate thrill to subject matter." But Chagall treating the Bible does so in a wholly spontaneous way too, without much concern for traditional interpretations. And thrill and spontaneity are themselves a subject. What subject? Precisely that one had to pass through thrill and the spontaneous. And why?  
Here one cannot avoid thinking of all kinds of old doctrines we had never quite understood (at least I had not). Have they become clear to me? Perhaps not, but they illuminate modern paintings very well. And Chagall's especially. I think of Plato holding that art is a means of knowledge. Of Mengs declaring that the mind is far more delighted by what is absent from the painting than by what is represented there. Of Quatremere de Quincy: "A work of art is beautiful only through what it lacks in order to appear reality." Of Victor Cousin: "Only what is not visible is beautiful." In short, allegorical painting. What then? Had lack and fault already come to reveal another world to us, that world in which Chagall from the first moment is so well installed? And if one tells me that painting of this kind has produced only rather pitiful children, I will not be embarrassed to answer that the beautiful children had to come a bit later and that modern painting would have had less success had it not been secretly called for, wished for, demanded. I would add - as painting today represents the sacred less than it is itself sacred - that modern art no doubt applies less some particular allegory than it figures the very principle of allegory. If that allegory seems to flee subject matter, it is because it addresses the subject of subjects, the reason for painting.

Here one can hardly avoid asking why, to enter the rapture of that world, deprivation and sacrifice were necessary. To which I would like to answer that there may be an original vice of the world, trees, and humans as we see them - and that it may well be precisely that we see them. An essential defect in our procedures and means - and it may be that they are precisely means and procedures, that we have invented them. Therefore they have only fragile truth, tied to our ideas (and could disappear with them), to our imagination (and would vanish if we were suddenly deprived of imagination), to our hands, to our action (and thus narrowly relative to that action); in short, nothing guarantees their truth. I think that is the reason behind reasons.  
Yet that is surely not how it presented itself to Chagall, in such abstract form. It must also have had a direct and childlike form, one able to touch us all.

It happens that reality reveals itself to us in flashes. There are waters so clear and running, meadows so green, night mists so blue, fish with eyes so grave, or little cows so moving in their nakedness, that we are first struck by them (as if they had just come to be, as if one moment before they had not been there), and we ask ourselves: "What must we do to deserve them? How can we obtain that they return to us?" More than one child, more than one adult, would be ready to forgo toys for a whole week, to stay a month in a dark room, to fast for five days in order to hear once more, as once heard, a titmouse singing or a mountain springing.

He is familiar with spring and rain. He treats the sun as an equal. He refuses nothing. He has visibly painted everything that occupies him, from flaming horses to the spirit with large eyes. He is equal to himself in joy and sadness. Or rather in that extreme happiness that does not ignore sadness and deprivation. Here one first thinks of the melancholy of a people persecuted above all others. No divinity lacks a dark face. And it was also from the day Paris was tortured that Chagall stopped approaching it timidly - and made it his second Vitebsk.  
But perhaps he had to pass through anxieties and sacrifices to be initiated into the joys of fascination. (Sacrifices are no doubt what we call the soul.) And so may it be for all of us, who are only in the first years of the history of gods.

Jean Paulhan, 1957.

---

## Resources

[Images of Marc Chagall](https://www.google.com/search?q=marc+chagall&sxsrf=ALeKk01mRDIPnQEaOex1IZK7SnXjvRZ2vw:1628332392454&source=lnms&tbm=isch&sa=X&ved=2ahUKEwji88_u2p7yAhWD4IUKHb0gCWMQ_AUoAXoECAEQAw&biw=1372&bih=983)

[Marc Chagall: Interview with Georges Charbonnier](https://www.youtube.com/watch?v=_ynYKYvcB5U)

[Marc Chagall, the acrobat angel: A life, a body of work, France Culture](https://www.youtube.com/watch?v=Osb1G30V9-Q)

[Chagall, video](https://www.youtube.com/watch?v=fkk6Tz_HY20)

[Interview with Marc Chagall in Saint-Paul de Vence in 1967, video](https://www.youtube.com/watch?v=SnEAS2aAc0o)


Marc Chagall, painter and printmaker, naturalized French in 1937

Marc Chagall

_Giorgio De Chirico, born July 10, 1888 in Vólos in Thessaly (Greece), and died November 20, 1978 in Rome (Italy), is an Italian painter, sculptor and writer whose works, unanimously admired by the surrealists until 1925, were then rejected just as unanimously. He is one of the founders of the metaphysical painting movement.

---

## Resources

[Images by Chirico](https://www.google.com/search?q=chirico&hl=fr&sxsrf=ALeKk03S_Je4A1WlGrAk1bO7raRKvYaSow:1628333508100&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjwt82C357yAhXwDGMBHQ0kD1UQ_AUoAXoECAEQAw&biw=1372&bih=926)

[Chirico Resources — André Breton site](https://www.andrebreton.fr/person/12362)

[Chirico Resources — Mélusine site](https://www.melusine-surrealisme.fr/auteurs/giorgio-de-chirico)

Giorgio De Chirico, peintre, sculpteur et écrivain italien.

Giorgio de Chirico

Christian Dotremont, born December 12, 1922 in Tervuren in Belgium, and died August 20, 1979 in Buizingen, is a Belgian painter and poet, co-founder of the CoBrA movement, famous for its logograms.

---

**Resources**

[BNF page of Christian Dotremont](https://www.bnf.fr/fr/christian-dotremont-1922-1979-bibliographie)

[Greatness and tenuity of poetry - Waiting for Nadeau](https://www.en-attendant-nadeau.fr/2025/02/10/grandeur-et-tenuite-de-la-poesie-christian-dotremont/)

[Page of Chritian Dotremont - CGP](https://www.centrepompidou.fr/fr/offre-aux-professionnels/enseignants/dossiers-ressources-sur-lart/de-la-lettre-a-limage/christian-dotremont)

[The works of Christian Dotremont at the Center Pompidou](https://www.centrepompidou.fr/fr/recherche/oeuvres?terms=Christian%20Dotremont&withImage=oui&display=Grid)

[Christian Dotremont, Royal Museums of Fine Arts of Belgium ](https://fine-arts-museum.be/fr/expositions/christian-dotremont)

[Christian Dotremont – A Life, a Work: writing words as they move (France Culture, 2002)](https://www.youtube.com/watch?v=wzlIcv1-ovo)

[Dotremont | Painter-Poet, video ](https://www.youtube.com/watch?v=L4ejKpQZ6ng)

[The CoBrA movement](<https://fr.wikipedia.org/wiki/Cobra_(mouvement)>)

Christian Dotremont, né en 1922 et mort en 1979, est un peintre et un poète belge

Christian Dotremont

_Jean Dubuffet (Le Havre, July 31, 1901, Paris, May 12, 1985) is a French painter, sculptor and visual artist, the first theorist of a style of art to which he gave the name “art brut”, productions of marginalized people or mentally ill people: paintings, sculptures, calligraphies, from which he acknowledges having largely drawn inspiration himself.

---

## Resources

[WikiArt](https://www.wikiart.org/fr/jean-dubuffet)

[Images and photos](https://www.google.com/search?q=jean+dubuffet&tbm=isch&ved=2ahUKEwil6aP315rpAhWOD-wKHd-2BVwQ2-cCegQIABAA&oq=jean+dubuffet&gs_lcp=CgNpbWcQAzICCAAyAggAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADICCAA6BAgjECc6BAgAEENQusIEWM3XBGCJ3wRoAHAAeACAAWSIAeYIkgEEMTIuMZgBAKABAaoBC2d3cy13aXotaW1n&sclient=img&ei=o0qwXuWLLY6fsAff7ZbgBQ&rlz=1C5CHFA_enFR810FR811)

[Jean Dubuffet page of the Galerie de la Présidence](https://presidence.fr/artistes/jean-dubuffet/)

[Portraits of Jean Paulhan](https://fr.wikipedia.org/wiki/Portraits_de_Jean_Paulhan)

[Portrait of Jean Paulhan at the MET](https://www.metmuseum.org/art/collection/search/489963)

[Portrait of Henri Michaux at MoMA](https://www.moma.org/collection/works/80037)

[MoMA, 745 works online](https://www.moma.org/artists/1633?=undefined&page=&direction=)

[Jean Dubuffet: A life, a work - France Culture](https://www.youtube.com/watch?v=_ECde5YhxVw&list=PLagEsBu5pFhGf8L4FlFS1sYW93xRMYdLo&index=361&t=0s)

[Jean Dubuffet answers questions from Jean Amrouche, Georges Limbour and René de Solier, 1954 - France Culture](https://www.franceculture.fr/emissions/les-nuits-de-france-culture/la-nuit-revee-de-daniel-cordier-2013-211-des-idees-et-des-hommes-quelques-propos-sur-la-peinture)

[Art brut and Paulhan, Mathieu Lindon - Libération](https://www.liberation.fr/livres/2003/11/20/l-art-brut-et-paulhan_452518/)

[Jean Dubuffet Foundation](https://www.dubuffetfondation.com/home.php?lang=fr)

[Jean Dubuffet Foundation - Portraits of Jean Paulhan](http://www.dubuffetfondation.com/oeuvre.php?quelle_oeuvre=363&lang=fr&chrono=1)

[Audiovisual biography](https://www.dubuffetfondation.com/savie_videolistplayer.php?soundtoplay=36&lang=fr)

[Jean Dubuffet - Artsy](https://www.artsy.net/artist/jean-dubuffet/works-for-sale)

[Jean Dubuffet finds contemporary architecture “depressing”, 1969 INA video](https://www.ina.fr/contenus-editoriaux/articles-editoriaux/1969-jean-dubuffet-trouve-l-architecture-contemporaine-deprimante)

[Jean Dubuffet talks about art brut, 1976 RTS](https://www.rts.ch/play/tv/cles-du-regard/video/jean-dubuffet?urn=urn:rts:video:11610716&startTime=81)

[Society of Friends of the Dubuffet Foundation](https://www.dubuffetfondation.com/fondation.php?menu=22&lang=fr#:~:text=La%20Soci%C3%A9t%C3%A9%20des%20Amis%20de,l'%C5%93uvre%20de%20Jean%20Dubuffet.)

[Jean Dubuffet - FranceArchives](https://francearchives.fr/fr/commemo/recueil-2001/39283)

Jean Dubuffet, peintre, sculpteur et plasticien français, le premier théoricien d'un style d'art auquel il a donné le nom d'art brut

Jean Dubuffet


_Jean Leon Fautrier, born on May 16, 1898, in the 8th arrondissement of Paris and died on July 21, 1964, in Chatenay-Malabry, was a French painter, engraver, and sculptor._

---

## Resources

[WikiArt](https://www.wikiart.org/fr/jean-fautrier)

[Images and photos](https://www.google.com/search?q=jean+fautrier&rlz=1C5CHFA_enFR810FR811&sxsrf=ALeKk01Slqx1hvzqHtVYKvTJ2SWH1ZNkRg:1588606403031&tbm=isch&source=iu&ictx=1&fir=3bWPAiqBtZvMrM%253A%252CJaoPS9qXy9M6pM%252C%252Fm%252F02rc7fl&vet=1&usg=AI4_-kRFMkPpschnL3Agt-qGsE15Vq5J6w&sa=X&ved=2ahUKEwjrmdyCxJrpAhXDGuwKHZEeAm8Q_B0wFHoECBUQAw#imgrc=3bWPAiqBtZvMrM:)

[Photos and images of Jean Fautrier](https://www.gettyimages.fr/photos/jean-fautrier?mediatype=photography&phrase=jean%20fautrier&sort=mostpopular)

[Jean Fautrier page on Galerie de la Presidence](https://presidence.fr/artistes/jean-fautrier/)

[Philippe Baraduc, Fautrier l'enrage, with Jean Fautrier and Jean Paulhan (video)](https://fresques.ina.fr/artsonores/fiche-media/InaGrm00828/philippe-braduc-fautrier-l-enrage.html)

[Des idees et des hommes, Jean Amrouche hosts Paulhan and Fautrier, 1951](https://www.franceculture.fr/emissions/les-nuits-de-france-culture/des-idees-et-des-hommes-les-originaux-multiples-1ere-diffusion)

[Jean Fautrier l'enrage (video)](https://www.youtube.com/watch?v=YJrXKFmOcNQ)

[Jean Fautrier, Matiere et lumiere (video)](https://www.youtube.com/watch?v=dYG2lPN1BOc)

[Jean Fautrier at the Musee d'Art Moderne (video)](https://www.youtube.com/watch?v=2ZUEgVA7VA4)

[Jean Fautrier collection at the Musee d'Art Moderne](https://www.mam.paris.fr/fr/collections-en-ligne#/artworks?filters=query%3Afautrier&page=1&layout=grid&sort=by_author)

[L'encrier (by Jean Paulhan)](https://www.parismuseescollections.paris.fr/fr/musee-d-art-moderne/oeuvres/l-encrierde-jean-paulhan#infos-principales)

[Jean Fautrier at the Kunstmuseum Winterthur (video)](https://www.youtube.com/watch?v=yz1o076EahE)

[Jean Fautrier, Grand Nu (video)](https://www.youtube.com/watch?v=ocLv7YIVK3s)

[Les Otages by Jean Fautrier, 1962 - ORTF](https://enseignants.lumni.fr/fiche-media/00000001731/les-otages-de-jean-fautrier.html)

[Jean Fautrier - Artsy](https://www.artsy.net/artist/jean-fautrier/works-for-sale)

[Des idees et des hommes, Jean Amrouche hosts Paulhan and Fautrier, 1951](https://www.franceculture.fr/emissions/les-nuits-de-france-culture/des-idees-et-des-hommes-les-originaux-multiples-1ere-diffusion)

[Jean Fautrier, "the eternal returnee" - France Culture, the exhibition "Jean Fautrier, matiere et lumiere" at MAM, 2018](https://www.franceculture.fr/emissions/linvite-culture/visite-de-lexposition-jean-fautrier)

[Tete d'otage 1945](https://fr.wikipedia.org/wiki/T%C3%AAte_d%27otage_1945)

[Association des Amis de Jean Fautrier](https://www.gralon.net/mairies-france/paris/association-association-des-amis-de-jean-fautrier-paris_W751243724.htm)

[Jean Fautrier - France Archives](https://francearchives.fr/fr/commemo/recueil-2014/38932)


Jean Fautrier, French painter, engraver, and sculptor

Jean Fautrier

_Gaston Chaissac, born August 13, 1910 in Avallon (Yonne) and died November 7, 1964 in La Roche-sur-Yon (Vendée), is a French painter and poet_.

---

## Resources

[Gaston Chaissac website](https://www.gaston-chaissac.org/)

[Gaston Chaissac - Singularity of art - video](https://www.youtube.com/watch?v=OvmcO1oGnGo)

[(Ostinato) Gaston Chaissac - video](https://www.youtube.com/watch?v=id8TVmbnkEk)

[Presence of the arts - In search of Gaston Chaissac - France Culture](https://www.franceculture.fr/emissions/la-nuit-revee-de/presence-des-arts-la-recherche-de-gaston-chaissac)

[Gaston Chaissac, naive painter or modern artist? - France Culture](https://www.franceculture.fr/emissions/les-jeudis-de-lexpo-ete-10/gaston-chaissac-peintre-naif-ou-artiste-moderne)

Gaston Chaissac est un peintre et poète français

Gaston Chaissac

_Josef Šíma (Frenchified as Joseph Sima), born in Jaroměř, region of Hradec Králové, on March 19, 1891 and died in Paris on July 24, 1971, is a French painter of Czechoslovak origin_.

---

## Resources

[Images](https://www.google.com/search?q=joseph+sima&sxsrf=APwXEdcVraKS1VkA-C1nR_HAyiuvc7X89g:1686159409466&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi31oql2bH_AhUYVqQEHVR_AQ0Q_AUoAXoECAEQAw&biw=1510&bih=983&dpr=2)

[wikiArt](https://www.wikiart.org/fr/joseph-sima)

[Joseph Sima at the Center Pompidou](https://www.centrepompidou.fr/fr/ressources/personne/cMdkp5X)

[Joseph Sima, The Road to The Great Game](https://artpil.com/news/the-road-to-le-grand-jeu/)

[Jacques and Thessa Herold Collection](http://www.thessa-herold.com/pages/les-artistes/joseph-sima.html)

Josef Šíma, né le 19 mars 1891 et mort le 24 juillet 1971, est un peintre français d'origine tchécoslovaque

Joseph Sima

Karskaya leads two different lives: in the first, she takes their bark from innocent trees: birches, oaks, laburnums, and glues it on her canvas. She also sticks dead leaves, leather scraps, plywood splinters. She obviously prefers this little rubbish to paint. So that the amateur — the contemplator — first says to himself: she is generous. She wants to save a whole piece of rubbish that we usually neglect.  
But this is immediately belied by the ferocity with which Karskaya tears the skin from still living trees.  
In the second life, Karskaya paints brief washes with Indian ink that she calls “unanswered letters” or “daily grays”. These are accents, commas, bone splinters, fights of reflections, points of light and points of shadow. Ah! and above all points of grayness. It would seem that she encountered, between evening and morning, this same twilight which we are not sure whether it heralds day or night.
It creates a kind of net streaked with lightning, a dust of stones, a few glimmers on the side of the abyss. And we look at them with the same feeling of freedom that comes to us from the images that come to us in droves as soon as we close our eyes. However, it also seems to us that these new figures are true, as if Karskaya simply gave free passage to the signs that play in nature, and it is for lack of attention that we do not distinguish them.

There are quite a few people who stupidly complain that life is short. Foolishly, since no man has ever known anything longer than life. Yet there is wisdom in this stupidity: it is that although we reach the age of fifty, or even a hundred, we are not done with surprises and surprises. So we have every right to complain, not that life is short, but that our life is a little too short.
I am not thinking in particular of the latest discoveries of science, which certainly have their charm (it is a charm which no one thinks of rejoicing in). But, taking only painting, we have seen for half a century artists replace their prisons with an abyss, their constructions with lightning, and — to put it quite simply — their volumes with space. It's not that they discovered some new reasons. No. This is because they took advantage of a certain fact – if you like, a certain mystery – which until then had gone unnoticed.
The old painting, with its vanishing points and distance, its horizon line, in short, its perspective, was based on a banal event: that a distant object seems smaller to us than a neighboring object. Trivial, but all in all strange: it could be the opposite. We know that an illustrious character (among others) does not seem less great to us from afar than up close; and the Moon, larger even though it is more distant.  
It is no less strange — nor less obvious — that it is enough for us, to make space, to place a black or green point on a white sheet (because the point immediately takes its distance and moves in front of the sheet); What ! without even using a pen or brush, place colored paper, a piece of bark, a dead leaf on white paper. And if the new paper bears some sign of relief (as happens with tapestry braid) the new space is all the more striking: more convincing. Thus begins, with glued paper, modern painting. This is his condition and his remedy.

All I wanted to say is that Karskaya finds herself placed at the very center of this condition. She accepts the exchanges and servitudes better than anyone. She stands as close as possible to the event, from which the painting comes out today. She refreshes herself there and regains her strength not every ten or twenty years (like most painters), but every day, and not for a moment deceives us. Did I say the main thing? This is the great feeling of escape that Karskaya's double life throws us into. And I see the reason very clearly: if it is possible to lead two different lives, why not three? Why not seven or nine?

Jean Paulhan, 1959.

---

## Resources

Karskaya est une peintre et collagiste française d’origine russe

Karskaya

Marie was hardly made for a time when paintings became reflections, and views, rather than visions. It was given to us all the same. Like pure grace.  
Everyone knows that the ordinarily sensual look cold, the cruel look tender, and the intelligent look stupid. Thus men only show their neighbors the features they wanted to get rid of, already very close to detaching themselves from them.  
Too bad for those who let themselves be deceived. What wise Mary shows you here is not men. But rather their guardian angels.

Jean Paulhan, 1949.

---

## Resources

Marie Laurencin, artiste-peintre figurative française, mais aussi graveuse et illustratrice, étroitement associée à la naissance de l'art moderne et de l'École de Paris.

Marie Laurencin

_Henri Matisse, born December 31, 1869 in Cateau-Cambrésis and died November 3, 1954 in Nice, is a French painter, draftsman, engraver and sculptor_.

---

## Resources

[Images by Henri Matisse](https://www.google.com/search?q=henri+matisse&sxsrf=ALeKk01JNOU565r-4R6XLGPWn0YBOVyFOg:1628458895719&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi3sIqQsqLyAhWJyoUKHU-xBl0Q_AUoAXoECAEQAw&biw=1372&bih=926)

Henri Matisse, peintre, dessinateur, graveur et sculpteur français.

Henri Matisse

_Max Ernst, born April 2, 1891 in Brühl and died April 1, 1976 in Paris, is a German painter and sculptor naturalized American in 1948 then French in 1958, whose work is linked to the Dadaist and Surrealist movements_.

---

## Resources

[Images by Max Ernst](https://www.google.com/search?q=max+ernst&sxsrf=ALeKk02qfrignD8XGQVMqlTYGgy5tgcSvA:1628361020290&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjaobjBxZ_yAhVT14UKHe4MBscQ_AUoAXoECAEQAw&biw=1372&bih=983)

[Max Ernst: Interview with Georges Charbonnier (1950-1953)](https://www.youtube.com/watch?v=ql6mLtee-SY)

[Max Ernst (Gérard Patris 1972)](https://www.youtube.com/watch?v=jP3xNxKrios)

[Max Ernst and the Surrealist Revolution](https://www.youtube.com/watch?v=BFeQ7aIuApk)

[The Life and Art of Max Ernst](https://www.youtube.com/watch?v=-TKoztwgocs)

[Exhibition "Max Ernst. Magical worlds, liberated worlds" at L'Hôtel de Caumont-Centre d'art (Aix-en-Provence)](https://www.radiofrance.fr/franceculture/evenements/exposition-max-ernst-mondes-magiques-mondes-liberes-a-l-ho-tel-de-caumont-centre-d-art-aix-en-provence-4914861)

[Max Ernst resources — André Breton site](https://www.andrebreton.fr/fr/person/11916)

[Max Ernst resources — Mélusine site](https://www.melusine-surrealisme.fr/auteurs/max-ernst)

Max Ernst, peintre et sculpteur allemand naturalisé américain en 1948 puis français en 1958

Max Ernst

_Michel Faublée, born December 8, 1938 in Morzine and died January 7, 2025 in Bezons, is a French painter, sculptor and writer_.

---

## Resources

[Michel Faublée, "Summary biography"](http://www.faublee-art.com/fr/biographie.html)

[The Mûrisserie de Bezons](http://www.faublee-art.com/)

Michel Faublée, né en 1938 et mort en 2025, est un peintre, sculpteur et écrivain français

Michel Faublée

I met Paul Klee in Weimar in 1927. He mainly talked to me about music about which I didn't hear much. Nor, I hope, does he make all music useless. He lives closer to men and unborn animals than to the living: this makes a silent kingdom, where we get along very well.

Jean Paulhan

---

## Resources

[Images and portraits](https://www.google.com/search?q=paul+klee&rlz=1C5CHFA_enFR878FR878&sxsrf=ALeKk03ghhteL5RkR5kUQAl16ngK_BN-MA:1590253443045&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiM_czcu8rpAhVS2aQKHRrdBYgQ_AUoAXoECCQQAw&biw=1292&bih=1017)

[Paul Klee - wikiArt](https://www.wikiart.org/fr/paul-klee)

[Paul Klee - artnet](http://www.artnet.fr/artistes/paul-klee/)

[Paul Klee: modern art - audio](https://www.youtube.com/watch?v=TZ15uCTYdIE)

[Paul Klee, A life, a work -France Culture, Video](https://www.youtube.com/watch?v=TLOoCeNld4Q&list=PLagEsBu5pFhGf8L4FlFS1sYW93xRMYdLo&index=285&t=0s)

[Paul Klee, irony at work](https://www.youtube.com/watch?v=9rEAbgO4AFk)

[Ad Parnassum, by Paul Klee](https://www.kunstmuseumbern.ch/fr/voir/la-collection/videos-higlights-collection/klee-ad-parnassum-716.html)

[The Paul Klee Center in Bern](https://fr.wikipedia.org/wiki/Centre_Paul-Klee)

[Zentrum Paul Klee, Bern](https://www.zpk.org/)

Paul Klee est un peintre d'origine allemande, mais d'identité culturelle suisse.

Paul Klee


_Pablo Ruiz Picasso, born in Malaga (Spain) on October 25, 1881, and died on April 8, 1973, in Mougins (Alpes-Maritimes, France), was a Spanish painter, draftsman, sculptor, and printmaker who spent most of his life in France._

---

## Resources

[Picasso images](https://www.google.com/search?q=picasso&sxsrf=ALeKk03ZpuTNhsL6qgIFcenecbD7SApuVw:1628457787992&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiFjPD_raLyAhVCgRoKHcWMCDAQ_AUoAXoECAEQAw&biw=1372&bih=926)


Pablo Picasso, Spanish painter, draftsman, sculptor, and printmaker who spent most of his life in France

Pablo Picasso

_Jackson Pollock, born January 28, 1912 in Cody, Wyoming, and died August 11, 1956 in Springs, New York, is an American painter of abstract expressionism, known worldwide during his lifetime_.

---

## Resources

[wikiArt](https://www.wikiart.org/fr/jackson-pollock)

[Images and portraits](https://www.google.com/search?q=jackson+pollock&rlz=1C5CHFA_enFR878FR878&sxsrf=ALeKk02p5kAOVZEJQ8V-y0cKFBLiLUcJ4g:1589730483815&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjozprGn7vpAhXSCOwKHTIuC_MQ_AUoAXoECCUQAw&biw=1054&bih=1017)

[Images and portraits - Getty](https://www.google.com/search?q=jackson+pollock+getty&tbm=isch&ved=2ahUKEwjAveDHn7vpAhWD_IUKHQnaAUEQ2-cCegQIABAA&oq=jackson+pollock+getty&gs_lcp=CgNpbWcQAzIECAAQEzoCCAA6BAgAEB46BggAEB4QEzoICAAQCBAeEBNQzfIBWJD7AWC4gAJoAHAAeACAAd0BiAHxBZIBBTEuNC4xmAEAoAEBqgELZ3dzLXdpei1pbWc&sclient=img&ei=t1zBXoCGA4P5lwSJtIeIBA&bih=1017&biw=1054&rlz=1C5CHFA_enFR878FR878)

[Jackson Pollock and dripping](https://www.youtube.com/watch?v=1F3mGRh1oJ0)

[Jackson Pollock: A life, a work - France Culture](https://www.youtube.com/watch?v=AdXvOvss4FE&list=PLagEsBu5pFhGf8L4FlFS1sYW93xRMYdLo&index=392&t=0s)

Jackson Pollock, peintre américain de l'expressionnisme abstrait, mondialement connu de son vivant.

Jackson Pollock

_Germaine Richier, born September 16, 1902 in Grans (Bouches-du-Rhône), and died July 31, 1959 in Montpellier (Hérault), is a French sculptor_.

---

## Resources

[WikiArt](https://www.wikiart.org/fr/germaine-richier)

[Images and photos](https://www.google.com/search?q=germaine+richier&tbm=isch&ved=2ahUKEwihs_uc2JrpAhUR7qQKHeyGA6AQ2-cCegQIABAA&oq=germaine+ri&gs_lcp=CgNpbWcQARgAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADICCAAyAggAMgIIADoECCMQJzoECAAQQzoFCAAQgwFQ66cCWMjEAmC83AJoAHAAeACAAXCIAbIHkgEEMTAuMZgBAKABAaoBC2d3cy13aXotaW1n&sclient=img&ei=8kqwXqHyLpHckwXsjY6ACg&rlz=1C5CHFA_enFR810FR811)

[Germaine Richier - Artsy](https://www.artsy.net/artist/germaine-richier/works-for-sale)

[Works by Germaine Richier at the Center Pompidou](https://www.centrepompidou.fr/fr/ressources/personne/cejzR4d)

[Germaine Richier retrospective at the Center Pompidou, from March 1 to June 12, 2023](https://www.centrepompidou.fr/fr/programme/agenda/evenement/AQyCGJA)  
<small>The exhibition tour reveals how Richier revitalized the figure, forging new images of man and woman after the war. </small>

Germaine Richier

_Georges-Henri Rouault (Paris, May 27, 1871 – Paris, February 13, 1958) is a French painter and engraver_.

---

## Resources

[Georges Rouault - TV5 Monde - The Masters of Modern Painting](https://revoir.tv5monde.com/toutes-les-videos/culture/les-maitres-de-la-peinture-moderne-georges-rouault)

[Georges Rouault, Christ, the clown and Zen / 1st part](https://www.dailymotion.com/video/x7foto)

[Georges Rouault, Christ, the clown and Zen / part 2](https://www.dailymotion.com/video/x7fy9c)

[Georges Rouault, Christ, the clown and Zen / 3rd part](https://www.dailymotion.com/video/x7lxrb)

[Georges Rouault, Christ, the clown and Zen / part 4](https://www.dailymotion.com/video/x7r9pi)

Georges-Henri Rouault est un peintre et graveur français

Georges Rouault

_Georges Seurat, born in Paris on December 2, 1859 and died on March 29, 1891, in the same city, is a French painter and designer, inventor of the so-called divisionist technique, of division of tone, also called optical painting or chromo-luminarism, and more commonly pointillism_.

---

## Resources

[Images by Georges Seurat](https://www.google.com/search?q=georges+seurat&sxsrf=ALeKk01tcr1TXhccDNMLBdkxao3X4gwG_A:1628437155302&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi72biR4aHyAhUV14UKHX-OCYUQ_AUoAXoECAEQAw&biw=1372&bih=926)

Georges Seurat, peintre et dessinateur français, inventeur de la technique dite divisionniste, de division du ton, appelée également peinture optique ou chromo-luminarisme, et plus couramment pointillisme.

Georges Seurat

_Chaïm Soutine (in Russian: Хаим Соломонович Сутин, Khaïm Solomonovitch Sutin; in Yiddish: חײם סוטין, Ḥaïm Soutin) is a Russian Jewish painter who emigrated to France, born in 1893 or 1894 in the village of Smilovitchi, at that time in the Russian Empire, and died on August 9, 1943 in Paris._

---

## Resources

[images](https://www.google.com/search?q=soutine&sxsrf=AOaemvLeH--NXuSg8OLWp6lyVZnVFBedFA:1640639653944&source=lnms&tbm=isch&sa=X&ved=2ahUKEwil8Jv-8oT1AhX5gc4BHRbhBrMQ_AUoAXoECAEQAw&biw=1589&bih=967&dpr=2)

[Presentation of the exhibition “Soutine / De Kooning, painting incarnate”](https://www.youtube.com/watch?v=aZPUA9gr7mo)

[The Orangery in motion: The School of Paris](https://www.youtube.com/watch?v=A_K_ajwPn64)

Chaïm Soutine est un peintre juif russe émigré en France, né en 1893 ou 1894 dans le village de Smilovitchi, à cette époque dans l'Empire russe, et mort le 9 août 1943 à Paris

Chaïm Soutine

_Robert Wogensky is a French painter and engraver (lithographer and etcher) born November 16, 1919 in Paris and died March 22, 2019 in La Cadière-d’Azur_.

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## Resources

[Images by Wogensky](https://www.google.com/search?q=robert+wogensky&hl=fr&sxsrf=ALeKk011KFibC7SnGYWmL_t-sov9WMW6zw:1628426261001&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjLitHGuKHyAhUixIUKHcPdAeUQ_AUoAXoECAEQAw&biw=1372&bih=926)

Robert Wogensky est un peintre et graveur (lithographe et aquafortiste) français

Robert Wogensky

“_When looking, we must not persist in what we could do with what we see. You have to see what is.” (Wols)

Alfred Otto Wolfgang Schulze, better known from 1937 under his artist name WOLS (an acronym resulting from the abbreviation of his name in a telegram), left Germany in 1932 to immerse himself at the age of 19 in the Parisian artistic ferment. In contact with the great artists and poets of Paris in the 1930s, this autodidact chose photography as a medium to launch an artistic career. Under the influence of surrealism, he produced his first drawings and watercolors, which contain the seeds of his desperate quest for new pictorial universes and creative processes. Over the years, Wols' pictorial language has become increasingly abstract.

In 1946, he turned to oil painting on the advice of art dealer René Drouin, who presented 40 of his paintings in his gallery, thus revealing him to a relatively wide audience. It is in the surface textures modeled in relief that his extraordinary pictorial language is at its zenith. These works owe their singularity to the superposition of layers of paint and the scratching of the surface layer. Wols's paintings in some ways prefigure informal art, notably Tachism, which dominated the European art scene in the 1950s and beyond.

Born in 1913 in Berlin, Wols died in 1951 from food poisoning. He is buried in the Père Lachaise cemetery. In the wake of Wols' posthumous participation in the first three documentas (1955, 1959 and 1964) and the Venice Biennale in 1958, his works were the subject of numerous personal exhibitions in prestigious institutions. On the occasion of his 100th anniversary, the [Menil Collection](/expositions/wols-menil-houston-2013) in Houston and the [Kunsthalle Bremen](/expositions/wols-kunsthalle-bremen-2013) paid tribute to Wols' important work by presenting a vast retrospective.

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## Resources

[Images and portraits](https://www.google.com/search?q=wols&rlz=1C5CHFA_enFR878FR878&sxsrf=ALeKk03oWlQlJy5weg3wZ_89QvVs5EMM5g:1589661340906&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjNp6b8nbnpAhWyBGMBHRSAAhsQ_AUoAXoECCgQAw&biw=1051&bih=1017)

[Wols - The Abstract Expressionist](https://www.youtube.com/watch?v=SbfPXISE21k)

[Wols - Artnet](http://www.artnet.fr/artistes/wols/)

["The Veil of Veronica" (1946-47), by Wols - FranceCulture](https://www.franceculture.fr/emissions/les-regardeurs/le-voile-de-veronique-1946-47-de-wols)

[Wols - Center Pompidou](https://www.centrepompidou.fr/fr/ressources/personne/cbqLrd6)

[Wols, Center Pompidou Exhibition - video](https://www.youtube.com/watch?time_continue=12&v=iasrV1P3vfQ&feature=emb_logo)

[Wols, Natural Stories, Center Pompidou - video](https://www.centrepompidou.fr/fr/ressources/media/tY35XyQ)

[Wols, Natural Stories, exhibition, CGP](https://www.centrepompidou.fr/fr/programme/agenda/evenement/cXE7dRr)

[Wols - Catalog of the exhibition at the Center Pompidou](https://boutique.centrepompidou.fr/fr/monographie-et-mouvements-artistiques/wols-catalogue-de-lexposition/2084.html)

[Wols, Galerie Karsten Greve, Paris 2023](https://galerie-karsten-greve.com/ausstellungen/detail/11821-wols)

Wols

**The oneiroscope**

It's nice to follow the movements of the clouds in all directions: those that rise, those that descend, and there are even some that seem to be spinning on the spot. It happens that in the same place in the sky some rise and others descend: they flee to the right as well as to the left. It's also nice to watch a rough sea. Or soap bubbles that fly away as soon as they are inflated, from any side. For no apparent reason. Or rather for so many reasons and winds that we quickly give up looking for them. Besides, the winds are not visible.  
It's nice, because so much inexplicable agitation makes us feel that our ordinary worries are a little frivolous, and so are our thoughts, and of course our beliefs; it is a great void that arises within us. And why do they give it to us? Did we have so many worries? We don't know anything about it. Why are we happy to find ourselves frivolous? Were we too serious? Did we dream of passing through life without leaving the slightest trace? We are like that.

With a little sand, two or three threads, a wallpaper star, strong cardboard and sticky paper, Yolande Fièvre makes curious toys, which make us think of peaks, polar shores, black and white expanses over which a hot air balloon flies. But no sooner have you taken the toy in hand than the shore melts into ashes and the hot air balloon turns into a spider, under a cascade of fog; the peak becomes reindeer, swan, wave, frigate or bubble.  
Because the sand is both the sea and the clouds: changing like them, and like them pleasing to the eye. The wind, as soon as it is brisk, agitates it and carries it away. However, it defends itself better than waves or clouds: it is more awkward and heavier. It is also that it is held back in its movements by all sorts of invisible roots and rootlets, and the sands of Fever also advance in fits and starts, so that it mixes with the frivolity of some unknown feeling of courage or resistance.

It's a game that we happily spend hours on, and I sincerely recommend it to anyone who has neither waves nor clouds at hand.  
I mentioned a toy. It is because we must give things their most modest name.

Jean Paulhan, 1957.

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## Resources

[Images by Yolande Fièvre](https://www.google.com/search?q=yolande+fi%C3%A8vre&tbm=isch&ved=2ahUKEwju5cLCxZ_yAhWN0uAKHSDCDwAQ2-cCegQIABAA&oq=yolande+fi%C3%A8vre&gs_lcp=CgNpbWcQAzIFCAAQgAQ6CAgAEIAEELEDOgQIABBDOgsIABCABBCxAxCDAToICAAQsQMQgwE6BwgAELEDEEM6BAgAEB46BggAEAgQHlDx8QFY85UCYKedAmgAcAB4AIABeIgBnAmSAQQxMi4ymAEAoAEBqgELZ3dzLXdpei1pbWfAAQE&sclient=img&ei=PtEOYe7OIY2lgweghD8&bih=983&biw=1372)

[Works by Yolande Fièvre (Nathalie Seroussi site)](https://www.natalieseroussi.com/artists/96-yolande-fievre/works/)

Yolande Fièvre est une peintre et sculpteur française

Yolande Fièvre

_Zao Wou-Ki (Zao, from his last name, Wou-Ki or Wou-ki from his first name; simplified Chinese: 赵无极; traditional Chinese: 趙無極; pinyin: Zhào Wújí), born February 1, 1920 in Beijing, and died April 9, 2013 (in 93 years old) in Nyon, is a Chinese painter and engraver naturalized French in 1964_.

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## Resources

[Images by Zao Wou-Ki](https://www.google.com/search?q=zao+wou-ki&hl=fr&sxsrf=ALeKk034WfK7Q17cdCR2VM60v8aZriaw5g:1628370288916&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjDvoiF6J_yAhVO6RoKHYUCAKgQ_AUoAXoECAEQAw&biw=1372&bih=983)

[Zao Wou-Ki - Very Very Strong Red](https://www.youtube.com/watch?v=DqjY2O9w44Y)

[Zao Wou-Ki - From thought to gesture](https://www.youtube.com/watch?v=1AofGfeVKYQ)

[Zao Wou-Ki, space is silence | Museum of Modern Art of the City of Paris](https://www.youtube.com/watch?v=dIcQbp9zhCU)

[François Michaud, "Zao Wou-Ki", Museum of Modern Art of the City of Paris](https://www.youtube.com/watch?v=iSVtqlAfW1o)

["Henri Michaux and Zao Wou-Ki: in the empire of signs" | Exhibition film](https://www.youtube.com/watch?v=tHtVec95Jv0)

[Zao Wou Ki paints in his Parisian studio](https://www.youtube.com/watch?v=ca0j0YtWHkY)

[Zao Wou-Ki (1/5): “Each color, each brush: there is an effect in it, there is a necessity, an explanation”](https://www.franceculture.fr/peinture/zao-wou-ki)

[Zao Wou-Ki 2/5: "Civilization is a kind of crystal, each one adds a small surface to shine a little more"](https://www.franceculture.fr/peinture/zao-wou-ki-0)

[Zao Wou-Ki (3/5): "I always try to walk around in my own painting"](https://www.franceculture.fr/peinture/zao-wou-ki-1)

[Zao Wou-Ki (4/5): “When I paint, I never think about nature”](https://www.franceculture.fr/peinture/zao-wou-ki-2)

[Zao Wou-Ki (5/5): “My painting is a bit like a diary for me”](https://www.franceculture.fr/peinture/zao-wou-ki-55)

Zao Wou-Ki, peintre et graveur chinois naturalisé français en 1964.

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