Art Paris Art Fair

We are featuring works by Hungarian artist Victor Vasarely (1906–1997), echoing the ongoing shows at our gallery and the Pompidou Center (to which we lent works). Another part of the stand will reflect our January show of Sole Sisters, devoted to the works of Ode Bertrand, Marcelle Cahn (1895–1981), Isabelle de Gouyon Matignon, and Aurelie Nemours (1910–2005). The catalogue raisonné of Nemours’ paintings in oil and in vinyl, edited by Serge Lemoine, has just been published, and to celebrate the event we will organize a signing of copies on our stand in presence of Serge Lemoine.
This is the year of Vasarely! After a show of his paintings at the Stadel Museum in Frankfurt from September 2018 to January 2019, to which we contributed works, another Vasarely exhibition is currently underway at the Pompidou Center in Paris. The latter show focuses above all on the “Vasarely phenomenon” when he was at the height of his fame in the 1960s and ‘70s. Vasarely’s output of prints and monumental works was a way to make himself visible and accessible to a wider public. Anne and Jean-Claude Lahumière were art publishers in those days, and they worked with Vasarely and his lithographer, Wilfredo Arcay. Op art was in full stride in Europe, yet that was the moment the Lahumières discovered a part of Vasarely’s oeuvre that was no longer seen at all—his works of the 1950s. They steadily acquired a major collection of works from that period. On our Paris stand we will we show several works from those days as well as a few later ones, reflecting the current show at the gallery.
Another part of the stand will evoke the Sole Sisters show of four women abstractionists, described by Céline Berchiche as follows:
“Almost half a century separates Marcelle Cahn’s early works (1950-60) from the latest series of works by Ode Bertrand and Isabelle de Gouyon Matignon. It might thus be tempting to see Cahn and Nemours (born, respectively, in 1895 and 1910) as pioneers with respect to their juniors (born in 1930 and 1964), but that is not the case, for their oeuvres echo and converse with one another. Permutations among these four artists are potentially infinite, independent of all notions of period and genre, because geometric abstraction—it should be stressed—is a movement that has included many women right from the start. In the Sole Sisters show, Gouyon Matignon’s sculptures and Bertrand’s latest canvases enter into a dialogue on space. Similarly, viewing the powerful unity of form and content in Nemours’ paintings through the prism of Cahn’s works reveals that art concret is a highly diversified movement, seemingly endless in it combinations and incessant in its development.”
For more information it’s here