Colette Creuzevault collection
Henri Creuzevault, strong of his reputation as an immense bookbinder of the Art Deco period, friends of writers and artists opens his first gallery in the effervescence of the post-war period. He then celebrated in prestigious exhibitions the quintessence of contemporary painting, from Picasso to Braque, Juan Miro, Giacometti, Poliakoff or Staël, while giving a prominent place to sculptors such as Degas or Arp. Qualifying his time as the "century of sculpture" 1st, Henri Creuzevault will engage with verve and passion in the defense of this medium, which is still very little shown.
Henri Creuzevault's other great encounter remains César,that he will show, as a pioneer, from 1957, the É>acquiring state during this first exhibition La Tortue, sublime fer soudé. From then on, a close and fruitful collaboration between the two men continued, culminating in the exhibition, under the title César sculpteur, of irons and bronzes, Henri Creuzevault being considered one of the main instigators of the artist's work at the foundry.
After the death of her father in 1971, Colette, fascinated by this artistic and creative universe since her earliest childhood, took over and brilliantly continued the gallery's adventure. A great friend of Caesar, in the spring of 1973 she organized the mythical exhibition Tête à têtes, devoted to the artist's self-portraits. This considerable event remained in the collective memory for its extraordinary opening, where guests could taste self-portraits of Caesar made in bread by his friend the baker Poîlane. Colette Creuzevault's loyalty to Caesar is exemplary, as evidenced by a last tribute exhibition in 2005, Masques 1968-1973.
Member, just like César, of the Nouveaux réalistes group, Nikki de Saint Phalle,also close friend of Colette Creuzevault will seduce the gallery owner with her feminine universe, furniture with languid and colorful shapes inviting her to a dreamlike journey with fantastic nuances.
Subtle echo to Caesar's Self-Portrait Mask, Theater Mask II, from Jean Dubuffet dated 6 March 1969 and belonging to a series of only 5 variants, illustrates a perfect compromise between sculpture and painting and underlines the passion