GALERIE Wagner

Born in Paris in 1930
Niece and assistant of Aurélie Nemours
Choreographer
Autodidact
Lives and works in Paris

Public collection
France: Unterlinden Museum of Colmar, Museum of Mâcon, Museum of Montbéliard, Museum of Cambrai, Center Pompidou, Museum of Touquet
Germany: Hünfeld Museum, Bonn Museum
Italy: Civic Museum of Contemporary Art, Calaseta.
Switzerland: Neuchâtel Museum
Japan: Tome Museum
Poland: National Art Museum, Kielce
Argentina: MACBA Museum Contemporary Art Museum of Buenos Aires

The painterly work of the student, assistant and confidant of the great Aurelie Nemours over a period of 35 years is also based on concrete art, but is based on different premises: While Aurelie Nemours examines surface and color, Ode Bertrand feels connected to the line uses it as a symbol and structure at the same time to talk about the golden ratio, grids, triangles, labyrinths, etc. to change defined geometric figures.

Her works, which at first glance appear clear and orderly, reveal a surprising richness to the attentive viewer and seem filled with vibrant life.

• 1927: born in 1927 in Santiago, Chile
• 1940: first paintings
• 1949-1950: Studied at the School of Fine Arts in Santiago
• 1950: Move to Paris and meet Auguste Herbin, Jesús Rafael Soto, Max Bill…
• 1951: first steps towards abstraction
• 1957: Stays in New York - first kinetic works
• 1968: Co-founder of the CO-MO group (constructivism and movement)
• 1970: becomes a member of the committee of the Salon des Réalités Nouvelles
• 1972: represented Chile at the Venice Biennale
• 1978: member of the Salon Comparaisons committee and vice-president in 2004
• 2021: died in Vendôme

Public collection

• France: Center Pompidou, Museum of Art and History of Cholet, Museum of Modern Art of Dunkirk, Sandelin Museum of Saint-Omer, Museum of Modern Art of the City of Paris, Museum of Fine Arts of Cambrai, Museum Le Touquet
• USA: Museum of Geometric and MADI Art in Dallas, Stockton Pioneer Museum and Haggings Galleries, Stockton, California,
• Japan: Yomiuri Foundation, Nippon Television Network, Tokyo, Satoru Sato Museum
• Germany: Modern Gallery of the Saarland Museum, Saarbrücken, Mexico: Cuauhtemoc Museum, Chihuahua,
• Netherlands: Stedelyk Museumm Schiedam, Hedendaagse Kunst Museum, Utrecht,
• Venezuela: Jesús Soto Museum of Modern Art, Ciudad Bolívar,
• Belgium: Empain Museum, Brussels,
• Cuba: Casa de las Americas, La Habana

Iván Contreras-Brunet was interested in colors from a young age. Initially fascinated by the poetic atmosphere and play of light of the Impressionists, he turned to abstraction in the 1950s. After long stays in France, Austria and the USA, he finally settled in Paris in 1961. Close friendships developed with Herbin, Soto, Seuphor, Max Bill, Vantongerloo, Lohse and Marino di Teana. He read the treatises of Kandinsky, Le Corbusier and Seuphor and always remained a great lover of music, especially Debussy and Satie.

Contreras-Brunet is a culturally interested man who discusses, works and thinks. He creates miniatures as well as serial or kinetic works. In the presented works on paper, the vertical-horizontal structures play with the ambient light as well as with the movement of the viewer. Color gradients modulate the transparency of the work and create centers (or areas) of chromatic luminous intensity.

It's less about composition or construction, but rather about training the eye to experience new visual atmospheres, but also about the viewer discovering new perspectives, depending on the perspective, that preceded and accompany the contemporary digital age.

1929: born in Cambrai
1959: First solo exhibition at Galerie Colette Allendy, Paris
1969/1975: Associate director of the Denise René Gallery in Paris / New York
1982: Purchase of a work by the Montbéliard Museum - publication of the book “Traversée des Apparances”, published by OCD Paris
1983: Appointed to the board of the “Comparaisons” salon, Paris
1984: Selection for the FRAC Ile de France (purchase of important works), France
1986: Commissioned for a work by the Society of Friends of the Center Pompidou, France
1990: Commission for a tapestry – Mobilier National (Gobelins), France
1998: Dumas Miller Prize, awarded by the Institut de France - Academy of Fine Arts, France
2001: Purchase of a work by the Cambrai Museum, France
2001: died in Paris

Public collection:

• France: Musée du Touquet Paris-Plage (donation of André Le Bozec) – Musée des Ursulines, Mâcon – Musée Tavet-Delacourt, Pontoise (donation of André Le Bozec) – place of contemporary art and action, Dunkirk (donation of André Le Bozec) – museum of Fine Arts, Cambrai (donation from Eva-Maria Fruhtrunk) - Musée Matisse, Le Cateau-Cambrésis (donation from André Le Bozec) - Mobilier National, Manufacture des Gobelins - Friends of the Center Pompidou - Fondation Jeanne et Otto Freundlich - FRAC Iled- de -France – National Fund for Contemporary Art – Montbéliard Museum – Valenciennes Museum.
• Belgium: Catholic University of Louvain-La-Neuve (donation from André Le Bozec)
Germany: Museum Ritter, Waldenbuch
• Japan: Satoru Sato Art Museum, Tomé (donation André Le Bozec)
• Netherlands: Mondriaanhuis, Amersfoort
• Poland: Chelmskie Museum
• Italy: Calderara Foundation, Ameno, Italy


Guy de LUSSIGNY began painting in 1950. Initially figurative, he quickly followed the tradition of Mondrian and Malevich. What was crucial was his meeting in 1955 with Gino Severini, one of the founders of the Italian Futurist movement, who encouraged him to continue on the path of geometric abstraction he had chosen. Lussigny very quickly discussed the square, the straight line and then the color. His work on colors led him to meet the painter Auguste Herbin in 1956.
After his first solo exhibition in Paris in 1959, his active exhibition activity extended from France across Europe to Japan.
In 1967, Guy de Lussigny settled in the French capital and took part in numerous fairs and art salons. From 1969 to 1975 he worked with the gallery owner Denise René in Paris and New York. In 1974 he had another crucial encounter: with the Italian painter Antonio Calderara, with whom he eventually became close friends.
Guy de Lussigny's sober and precise paintings are nevertheless filled with poetry. For him, the square is “the most stable shape invented by the human mind” and the line is the “convenient concept of mathematical thought.” From these elements, Guy de Lussigny creates a sober and precise visual language that moves towards “a certain idea of perfection”. In 1998, the Academy of Fine Arts of the Institut de France awarded him the Dumas Miller Prize.

Born in Paris in 1929
1943: Painting lessons with Mme Buzinska, Saint-Germain-en-Laye 1947-1949: Studies at the decoration school of the city of Paris
1948-1950: Studies at the Ecole du Louvre
1955-1956: Studied drawing professorship in the city of Paris
1951-1955: Entry into Robert Lapoujade's studio in Paris
1966: Founds the Fanal studio with Marcel Mazar in Basel, Switzerland and opens a painting studio there
1978: Co-founder of the Fanal publishing house in Basel
1980: Appointed Knight of the Order of Arts and Letters
Lives and works between Bâle (Ch) and Griselles (Fr) since 1956

Public collection:

• Germany: Allianz, Berlin - Museum of Concrete Art, Ingolstadt - European Patent Office, Munich - Hexal AG, Holzkirchen
• France: Sights (donation) - Ursuline Museum, Mâcon - Donation of Eva-Maria Fruhtrunk, Donation of André Le Bozec, Musée de Cambrai - FRAC Bretagne - Musée du Touquet, Donation of André Le Bozec,
• Japan: Satoru Sato Art Museum, Miyagi
• Switzerland: Bank for International Settlements, Basel – Museum of Art and History, Neuchâtel (and the donation of Dc Francis Jeunet) – Alcatel, Cortaillod – Banque Bonhôte & Cie SA, Neuchâtel

Marie-Thérèse Vacossin began her artistic apprenticeship during her adolescence. Until 1956, she followed an academic education based on the mastery of drawing from copies of antiques and drawing from a live model.

From 1951 and until 1955, she also followed the courses of Robert Lapoujade who taught her to abandon the idea of representation and to see beauty everywhere around her, to consider the world as a repertoire of forms, of rhythms and color relationships.

For around twenty years, the work of Marie-Thérèse Vacossin has been eclectic. It reflects both the vogue for lyrical abstraction in the 1950s with the influences of Viera da Silva, Nicolas de Staël, Antoni Tàpies, and certain trends reflecting the new consumer society in the 1960s with a return to figuration.

Marie-Thérèse Vacossin, under the influence of Jean Gorin and following the discovery of Ad Reinhardt, found her way in 1973. She made a transition to a geometric abstraction entirely centered on issues of color perception. The work of Marie-Thérèse Vacossin is from then on, and to this day, very close to the Op art movement.