Sculptor Germaine Richier returns to the market
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He passed away in 1959 at the age of 55, and Germaine Richier has it all as a pioneer. The first French female sculptor to be awarded the Blumenthal Prize, in 1936, she would also be the first living artist to be exhibited at the National Museum of Modern Art. Its jagged, pierced and fractured statue devours the void and embraces the tragedies of the century. However, its history could be one of erasure, despite continued interest by a handful of French merchants, such as Jacques de la Pérodière, now in Brussels.
The Germaine Richier market has grown slowly and steadily over the past 30 years, Paul Nizam, Director of Post-War Art at Christie’s France sums it up. It is powerful because it reveals that this market is neither speculative nor artificial. Quite simply: this is a market for true collectors. ” ” but, adds the specialist, It is also a weakness because a stronger and more exciting launch would have shed more light on his work and contribute to bringing new players into this market. » Three weeks before the study assigned to her by the Pompidou Center 1any March, at both Clavé Fine Art and Dina Vierny exhibitions at the same time in his honor through April 22nd.
In Bourdelle’s studio, Germaine Richet rubbed shoulders with the Swiss sculptor Alberto Giacometti (1901-1966) in 1926-1927, with whom she was often likened. However, their methods diverge from one another, one working by subtraction of matter, the other by aggregation. Germaine Richer invented during the war, spent in Switzerland, a sculpture creating balance, populated by hybrid creatures, female insect, man forest, depicting the work of Louise Bourgeois (1911-2010) or Eugène Daudeny (1923-2015), silent sculptor from the North, exhibited Recently at the Christophe Gaillard Gallery.
Prices remain low
Cesare (1921-1998), who is nearly twenty years his junior, has a complete admiration for him. Decades later, their posthumous paths bring them closer together. Either way, a complex series of cascades put the market under glass. When historian Valerie da Costa published a study of Germaine Richier’s prints of Norma in 2000, the sculptor’s heirs refused to allow the images to be reproduced.
Caesar’s offspring will be burdened by the long war of succession between his wife and the sculptor’s latest companion. Twelve years into the procedure, they each ended up putting water in their wine to ensure consistency in publishing the artist’s work.
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