Florence Monnier

Bernard Moninot. Chambre d’écho Listen Bernard Moninot Bernard MONINOT (1949, Le Fay) Two arrangements are positioned facing each other, a few metres apart. On one side, a cabin resembling the mechanism of a ski lift houses the suspended “sound chandelier”; on the other is stretched the “curtain of patience”, a large transparent screen with an […]

Bernard Moninot. Décalage vers le rouge Listen Bernard Moninot Bernard MONINOT (1949, Le Fay) The form of this mural composition is inspired by an optical phenomenon. In astrophysics, this concept refers to the light emitted by the stars: decomposed by a prism, the color of the light shift toward red, that testifies the cooling of

Joan Miró, La Meneuse de lune, lithographie originale, 1975 5 lithographs of 1975 published by Maeght Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated

Jörg IMMENDORFF, Sans titre, huile sur toile, 2006 No Title In this large canvas, with a grid-like background, art historical depictions are mixed with contemporary imagery from magazines. The simian-painter, Immendorff’s alter-ego, dispenses images to the world in handfuls. Scenes of torture and conflict, as well as of wars by Goya, are all images of

Fernand Léger, La partie de campagne, huile sur toile, 1954 La partie de campagne This painting is the final version of three variations on this theme that meant a lot to the painter which celebrates social news in this case, paid holiday having been introduced. Léger also took on Le déjeuner sur l’herbe by Edouard

Alberto Giacometti, Paris sans fin, Tériade Editeur, Paris, 1969, 149 pages Paris Without End In the last years of his career, Giacometti was tied up finishing a commission from his friend Tériade, for a book of lithographs about Paris: Paris Without End. While the greater part of Giacometti’s œuvre was produced in his studio, this

Diego Giacometti – Mobilier Furniture Diego appropriated and completely refreshed the use of contemporary materials such as patinated bronze and clear glass. This lightened the structure visually and allowed him to develop his unexpected plant and animal designs. He enjoyed undercutting the relative rigour of his models by adding a few of his favoured motifs.

Portrait of Aimé Maeght Diego was reticent to do portraits of his friends. Perhaps Alberto’s quest in the subject had an influence. In choosing to limit himself to designing furniture and creating a partly secret bestiary, Diego kept a subject that became his. Five attempts remain, spread out over thirty years. In 1960, he drew

Diego Giacometti – Café de la Fondation Maeght Café de la Fondation Maeght Marguerite and Aimé Maeght asked Diego, like many other artists, to contribute to the project creating their Foundation at Saint-Paul de Vence. He designed the famous outdoor bar, with its stools, counter frame and the large outdoor lights. They commissioned him to