I express myself in sculpture since I am not a poet.

Aristide Maillol

Maillol was born in Banyuls-sur-Mer, Roussillon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications, his enrollment in the École des Beaux-Arts was accepted in 1885, and he studied there under Jean-Léon Gérôme and Alexandre Cabanel. His early paintings show the influence of his contemporaries Pierre Puvis de Chavannes and Paul Gauguin.

Gauguin encouraged his growing interest in decorative art, an interest that led Maillol to take up tapestry design. In 1893 Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and esthetic quality gained him recognition for renewing this art form in France. He began making small terra cotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry.

The subject of nearly all of Maillol’s mature work is the naked female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore and Alberto Giacometti, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II.

His important public commissions include a 1912 commission for a monument to Cézanne, as well as numerous war memorials commissioned after World War I.

He died in Banyuls at the age of eighty-three, in an automobile accident. While driving home during a thunderstorm, the car in which he was a passenger skidded off the road and rolled over. A large collection of Maillol’s work is maintained at the Musée Maillol in Paris, which was established by Dina Vierny, Maillol’s companion during the last 10 years of his life. His home a few kilometers outside Banyuls, also the site of his final resting place, has been turned into a delightful little museum where a number of his works and sketches are displayed.

Three of his bronzes grace the grand staircase of the Metropolitan Opera House in New York City: Summer (1910-11), Venus Without Arms (1920), and Kneeling Woman: Monument to Debussy (1950-55). The third is the artist’s only reference to music, created for a monument at Saint-Germain-en-Laye, Claude Debussy’s birthplace.

http://en.wikipedia.org/wiki/Aristide_Maillol

There are two devices which can help the sculptor[artist] to judge his work: one is not to see it for a while. The other… is to look at his work through spectacles which will change its color and magnify or diminish it, so as to disguise it somehow to his eye, and make it look as though it were the work of another…

Gian Lorenzo Bernini

(born Dec. 7, 1598, Naples, Kingdom of Naples—died Nov. 28, 1680, Rome, Papal States) Italian architect and artist credited with creating the Baroque style of sculpture. He began his career working for his father, a sculptor. Among his early sculptures are Apollo and Daphne (1622–24) and an active David (1623–24). Under the patronage of Urban VIII, the first of eight popes he was to serve, he created the baldachin over the tomb of St. Peter in Rome. Bernini’s architectural duties increased after 1629, when he was appointed architect of St. Peter’s Basilica and the Palazzo Barberini. His works often represent a fusion of architecture and sculpture, as in the Cornaro Chapel, in Santa Maria della Vittoria, Rome, with its celebrated theatrical sculpture, The Ecstasy of St. Teresa (1645–52). His greatest architectural achievement is the colonnade enclosing the piazza before St. Peter’s. Among his many other contributions to Rome are his Triton Fountain and Fountain of the Four Rivers, noted for their architectural composition and detail.

http://www.biography.com/search/article.do?id=9210094

All I want to do I provoke thought and leave from for their [the viewer’s] response

Happy Birthday George Segal

George Segal was born in New York on November 26, 1924 to a Jewish couple who emigrated from Eastern Europe. His parents first settled in the Bronx where they ran a butcher shop. They later moved to a New Jersey poultry farm. George spent many of his early years working on the poultry farm , helping his family through difficult times. For a while George lived with his aunt in Brooklyn so that he could attend Stuyvesant Technical High School and prepare himself for a future in the math/science field. It was here that George first discovered his love for art. During World War II he had to curtail his studies in order to help on the family poultry farm. He later attended Pratt, Cooper Union and finally New York University where he furthered his art education and received a teaching degree in 1949. It was during these years that Segal met other young artists eager to make statements based on the real world rather than the pure abstractionism that was all the rage. He joined the 10th St scene, painting and concentrating on expressionist, figurative themes.

After marriage to Helen in 1946, they bought their own chicken farm. In order to support his family during the lean years he taught Art and English at the local high school and at Rutgers. In 1957 he was included in “Artists of the New York School: Second Generation” an exhibit at the Jewish Museum. For the next three years he showed annually at the Hansa. The path from painting to sculpture and the specific form of the sculpture is embodied in a series of events from the late 1950’s. In 1956, Segal was introduced to the Hansa Gallery and its’ artistic influence. The following year, Allan Kaprow chose the Segal farm as the scene of his first Happening – live art with an environmental sensibility. In 1958 Segal began to experiment in sculpture and had a one-man show at the Green Gallery in 1960, featuring several plaster figures.

In 1961, while teaching an adult education class in New Brunswick, a student brought to George’s class a box of dry plaster bandages. Segal took them home and experimented with applying them directly to his body. With the help of his wife, Helen, Segal was able to make parts of a body cast and assemble them into a complete seated figure. Segal provided an environment for his body cast by adding a chair, a window frame and a table. Man Sitting at a Table marked the discovery of a new sculptural technique and a turning point in the artist’s career.

In later years he perfected the technique and created real life tableaux, using many close friends and family members as models. He became known, along with Roy Lichtenstein, Robert Indiana, Andy Warhol and others as part of the “Pop Art” movement. Segal’s distinctive style separated his work from “Pop Art” by staying closely related to personal experience and human values. He once said that because he was from the proletariat, he wanted to deal directly with the places around and familiar to himself, rather than with “elegant” topics.

The last years of his life were filled with new creation and expression. His black and white photographs of the streets of New York & New Jersey and of people in his life were used to create new tableaux for his sculpture and to create close up drawings of human expression. He remained active, engaged and productive until his death on June 9, 2000. Throughout his life he was recognized around the world for his artistic work and his humanistic passion.

http://www.segalfoundation.org/bio.shtml

Appreciate the moment.

Happy Birthday Isamu Noguchi

Isamu Noguchi (pronounced as: sämoo nogooch)
was a sculptor, designer, architect, and craftsman.
he believed that through sculpture and architecture,
one could better understand the struggle with nature.

isamu noguchi was born in los angeles in 1904
to an irish-american teacher and editor,
and a japanese poet.
isamu noguchi was raised in japan until, at 13,
he was sent to the us to study.
after winning one of the first guggenheim fellowships
in 1927, noguchi travelled to paris where he worked
for six months as a studio assistant to the sculptor,
constantin brancusi.

returning to new york in 1932, he made his name as
a sculptor and portrait artist, as well as winning
commissions for memorials, monuments and
industrial designs.
with his long-time friend, the visionary engineer
buckminster fuller, he constructed models,
planned outdoor projects, and investigated the ways
in which people live and thrive in their environments.

his inventive work embraced alsosettings for the
martha graham dance company.

he is best known for his abstract sculptures designed
as adjuncts to architecture.
an example of his environmental work is his massive
red cube designed for the marine midland bank
building, new york city.

as a landscape architect, noguchi created a large
number of playgrounds, parks and gardens.
in the 1950s, he designed gardens for keio university
in tokyo, lever house in new york and unesco’s
headquarters in paris.
his 1960s projects include a sculpture garden for the
national museum in jerusalem and gardens surrounding
the connecticut general life insurance building designed
by skidmore, owings and merrill.
his entrance for the new museum of modern art,
tokyo, was completed in 1969.

during the 1980s, noguchi realized more public projects
and created his own museum in long island, new york,
where his large and varied collection of work is
exhibited today.
noguchi died in new york city in 1988.

the isamu noguchi foundation, inc. is dedicated to
maintaining and promoting the artistic legacy of
sculptor noguchi. the foundation operates the isamu
noguchi garden museum;
manages an extensive collection of noguchi sculpture,
models, furniture and drawings;
maintains records of the work of isamu noguchi
and an archive of correspondence, manuscripts and
photographs; organizes exhibitions of the work of
isamu noguchi; loans noguchi works to museums
and special exhibitions; monitors the condition of
noguchi’s works worldwide; encourages research and
publication on the life and work of isamu noguchi;
and manages the production and sale of noguchi’s
akari light sculptures.

http://www.designboom.com/portrait/noguchi/bio.html

The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.

Happy Birthday Auguste Rodin

Auguste Rodin is considered to be one of the greatest and most prolific sculptors of the 19th and 20th centuries. His artworks were so innovative and non-conventional that Parisian art critics had initially denounced them. Despite these rejections, Rodin’s works were well received outside of France and eventually won the recognition of his countrymen.

Born in Paris on November 12, 1840, Rodin expressed interests in art at an early age. When he was 14, he attended “la Petite Ecole”, a school for drawing and mathematics. However, devastated by the death of his beloved sister, Rodin turned towards religion and joined the Order of the Holy Sacrament in 1862. It was during this time that Rodin sculpted the bust of Father Piere-Julien Eynard. Realizing that religion was not his calling, he returned to Paris in 1963.

After a brief employment as a corporal in the French National Guard, Rodin traveled to Belgium and Italy, where he studied Michelangelo’s works. Rodin was greatly impressed and influenced by the Italian sculptor’s portrayal of muscles and human body. Contrary to artistic tradition of his time, Rodin believed that sculptures should reflect the subjects as they truly are, and not as the ideal that they should be.

In 1877, Rodin exhibited his nude masterpiece L’Age d’Airin (The Age of Bronze) in Brussels and Paris. Unfortunately, this realistic work of art was not well received. Critics accused Rodin of casting the statue directly from living models, instead of sculpting it. In time, Rodin’s true genius was recognized and the French government purchased The Age of Bronze as the first of many state acquisitions of his artworks.
The French government commissioned Rodin in 1880 to sculpt the entrance of the planned Museum of Decorative Arts. This project, called La Porte de l’Enfer (The Gates of Hell), was inspired by The Inferno, the first chapter of Dante’s Divine Comedy. The museum site was later moved from the bank of Seine to Louvre, and Rodin’s commission was then canceled. Despite the setback, Rodin continued to work on this project and created one hundred and eighty-six figures. These statues represented mainly scenes and characters from the famous poem. Some of them, such as The Thinker (a portrayal of Dante himself), Adam and Eve, are among Rodin’s most famous artworks. The Kiss was originally part of The Gates of Hell until Rodin realized that the sculpture’s joyful nature conflicted with the theme of The Gates of Hell. Unfortunately, Rodin never finished the project and the statues were cast in bronze only after his death.

Rodin’s most controversial artwork, The Nude Balzac, was created under commission in 1891. This sculpture of the famous French writer drew criticisms and hateful comments from French papers for the next 10 years. Eventually, the commission was given to another sculptor and the resulting statue was installed at the Avenue Friedland in 1902. Rodin refused to sell his Nude Balzac despite numerous offers. It was not until years after his death that the sculpture was placed at the intersection of Boulevards Raspail and Montparnasse and viewed as the masterpiece that it truly is.

By early 20th century, Rodin had become so well know that the Paris World Exposition gave him his own pavilion. Rodin displayed 170 sculptures at the 1900 Exposition. Major museums and collectors from around the world sought after his artworks and brought him both fame and fortune.

In 1908 Rodin moved his studio to the ground floor of the Biron Hotel, which was established as the official Rodin Museum in 1919. Rodin died in the Hotel on November 17, 1917 at the age of 77.

http://bronzedirect.stores.yahoo.net/rodinbio.html

Life … is never the way one imagines it. It surprises you, it amazes you, and it makes you laugh or cry when you don’t expect it

Happy Birthday Niki de Saint Phalle

TThe path to becoming an artist was not an easy one for Catherine Marie-Agn’s Fal de Saint Phalle. She had many personal obstacles to overcome, but she was able to do this and make a personal statement with her artwork that is a lasting tribute. She has been called an Outsider Artist, because she didn’t receive formal training.
The term Outsider Art may no longer be relevant because it implies an ‘insider art,’ that everyone agrees on, something that is less true now than at another time.Niki de Saint Phalle was self educated but she also learned from sophisticated artists she associated with. She met many of the Surrealists in Paris, such as Max Ernst, Rene Magritte, and Salvador Dali. She came to know the American painter, Hugh Weiss, who encouraged her personal style of painting. Her marriage to the talented Swiss artist, Jean Tinguely (pictured below right), was of great importance to her development. It would be difficult to see her as an Outsider Artist, and more accurately she would be described as a Symbolist and Surrealist, with Pop Art influence.

Niki de Saint Phalle was an artist ahead of her time and her artwork will gain in stature with time. She took on subjects about women before women dared to do so. Her Nanas were images of giant women, and this scared people in the 1960s; they looked too powerful, too sexual, and out of control. Niki de Saint Phalle was also revolutionary for her ‘Shooting Paintings.’ These were conceptual in design and dealt with the subject of aggression, in particular, aggression of the father. The concepts she brought up in the 1960s are vital today and have led to further investigation by young artists.
Niki de Saint Phalle was born in 1930, the second of five children in Neuilly-sur-Seine near Paris. Her parents were the French banker Andre Marie Comte de Saint Phalle and his wife Jeanne Jacqueline, n’e Harper. The same year she was born, Nikki’s father lost his entire fortune in the stock market and Nikki and her brother were sent to live with their grandparents for three years. Nikki de Saint Phalle suffered at least two

Shooting a Painting major tragedies in childhood, the first was being uprooted from her mother for the first three years of life. The second, according to her later writings, was being raped by her father at a young age.
In 1933, the family moved to Greenwich, Connecticut, and later to New York where Nikki attended convent school.
When she was 18 years old, she married Harry Mathews and moves with him to Cambridge, Massachusetts. While her husband studied music at Harvard University, Niki began to paint and experiment with various materials. In addition to this, from 1948 until about 1955, she also worked as a fashion model for “Vogue”, “Life”, “Harper’s Bazaar”, “Elle” and other French and American magazines.
In 1951, her daughter Laura was born. A few years later, the family moved to Paris, where Niki studied theatre science. Her husband continued his music studies and later becomes a writer. In 1953, Niki suffered from a nervous breakdown in Nice and was treated in a hospital – with electroshocks and psychiatric drugs. This personal catastrophe was an occasion for Niki to rethink her life’s plans and liberate herself.
In Paris, Niki met not only the Swiss artist couple Eva Aeppli and Jean Tinguely, but also the American painter Hugh Weiss, who encouraged her to remain true to her autodidactic painting style. Niki moved with her family to Deya, Majorca, where her son Philip was born in 1955. In 1956, she had her first solo exhibition in St. Gallen with plaster reliefs and material assemblages. She divorced Harry Mathews in 1960.
Niki lived and worked from this time on together with Jean Tinguely. Tinguely and Saint Phalle were married in 1971 and separated only two short years later in 1973. The couple never divorced but remained good friends and collaborated on many sculpture projects. Saint Phalle has described her husband as “my love, my work partner and also my rival.” Though the couple collaborated together she felt in competition with him for most of her career.
In Paris in 1962 de Saint Phalle exhibited ten works at a one-woman exhibition at Galerie Rive Droite. Among the visitors was Alexander Iolas, who invited Niki to exhibit in New York the following October. He supported her financially for many years and organized numerous exhibitions for her, even though few of the exhibits sold much. It was Iolas who introduced her to the Surrealist painters, Victor Brauner, Max Ernst and Rene Magritte. Niki de Saint Phalle took part in a large-scale installation at the Stedelijk Museum in Amsterdam, in which Robert Rauschenberg, Martial Raysse, Jean Tinguely and Per Olof Ultvedt were also involved.
In 1965, the first “Nanas” were exhibited in the Galerie Iolas in Paris. They were in no way seen by everyone as cheerful. On the contrary, critics labeled the seemingly lively and wildly dancing feminine figures with attributes such as “aggressive”, “satirical” and “feminist”. The “Giant Nana” realized in Stockholm one year later was even described as the “largest whore in the world”. The work – titled “Hon – en katedral” (She – A Cathedral) – lied there with thighs spread open, offering visitors entry through her vagina.
In 1967 In August, Niki de Saint Phalle’s first retrospective was held at the Stedelijk Museum, Amsterdam, under the title Les Nanas au pouvoi. For this exhibition she created her first Nana Dream House and her first Nana Fountain and planed her first Nana town.
In spite of all the critics and skeptics, Niki de Saint Phalle became triumphantly successful with her controversial art. Her collaboration in the 1980s with the Swiss artist Jean Tinguely on a landmark fountain for the plaza of the Centre Pompidou in Paris is world renowned. The voluptuous Nanas are on display in numerous cities in France, Germany, Israel, Italy, and Japan. The marketing success of Niki de Saint Phalle perfume allowed the artist to fulfill a dream to create a park in northern Italy full of giant sculptures based on Tarot cards. In the 1990s de Saint Phalle worked in Hanover on the development of this unusual, spectacular garden. She was called the Honored Citizen of Hanover, and was working on a large grotto for her garden when she died in May, 2002.

http://www.fantasyarts.net/desaintphalle_bio.html

Art doesn’t transform. It just plain forms.

Happy Birthday Roy Lichtenstein

Roy Lichtenstein, American painter, sculptor, and printmaker, startled the art world in 1962 by exhibiting paintings based on comic book cartoons.

Early life
Roy Lichtenstein was born in New York City on October 27, 1923, the son of Milton and Beatrice Werner Lichtenstein. His father owned a real estate firm. Lichtenstein studied with artist Reginald Marsh (1898–1954) at the Art Students League in 1939. After graduating from Benjamin Franklin High School in New York City, he entered Ohio State University. However, in 1943 his education was interrupted by three years of army service, during which he drew up maps for planned troop movements across Germany during World War II (1939–45; a war in which Great Britain, France, the Soviet Union, and the United States fought against Germany, Japan, and Italy). Lichtenstein received his bachelor of fine arts degree from Ohio State University in 1946 and a master of fine arts degree in 1949. He taught at Ohio State until 1951, then went to Cleveland, Ohio, to work. In 1957 he started teaching at Oswego State College in New York; in 1960 he moved to Rutgers University in New Jersey. Three years later he gave up teaching to paint full-time.

Early works
From 1951 to about 1957 Lichtenstein’s paintings dealt with themes of the American West—cowboys, Native Americans, and the like—in a style similar to that of modern European painters. Next he began hiding images of comic strip figures (such as Mickey Mouse, Donald Duck, and Bugs Bunny) in his paintings. By 1961 he had created the images for which he became known. These included advertisement illustrations—common objects such as string, golf balls, kitchen curtains, slices of pie, or a hot dogs. He also used other artists’ works to create new pieces, such as Woman with Flowered Hat (1963), based on a reproduction of a work by Pablo Picasso (1881–1973). He also created versions of paintings by Piet Mondrian (1872–1944), Gilbert Stuart’s (1755–1828) portrait of George Washington (1732–1799), and Claude Monet’s (1840–1926) haystacks.

Lichtenstein was best known for his paintings based on comic strips, with their themes of passion, romance, science fiction, violence, and war. In these paintings, Lichtenstein uses the commercial art methods: projectors magnify spray-gun stencils, creating dots to make the pictures look like newspaper cartoons seen through a magnifying glass. In the late 1960s he turned to design elements and the commercial art of the 1930s, as if to explore the history of pop art (a twentieth-century art movement that uses everyday items). In 1966 his work was included in the Venice (Italy) Biennale art show. In 1969 New York’s Guggenheim Museum gave a large exhibition of his work.

Tries different styles
The 1970s saw Lichtenstein continuing to experiment with new styles. His “mirror” paintings consist of sphere-shaped canvases with areas of color and dots. One of these, Self-Portrait (1978), is similar to the work of artist René Magritte (1898–1967) in its playful placement of a mirror where a human head should be. Lichtenstein also created a series of still lifes (paintings that show inanimate objects) in different styles during the 1970s. In the 1980s and 1990s, Lichtenstein began to mix and match styles. Often his works relied on optical (relating to vision) tricks, drawing his viewers into a debate over the nature of “reality.” The works were always marked by Lichtenstein’s trademark sense of humor and the absurd.

Lichtenstein’s long career and large body of work brought him appreciation as one of America’s greatest living artists. In 1994 he designed a painting for the hull of the United States entry in the America’s Cup yacht race. A series of sea-themed works followed. In 1995 the Los Angeles County Museum of Art launched a traveling exhibition, “The Prints of Roy Lichtenstein,” which covered more than twenty years of his work in this medium.

In a 1996 exhibition at New York City’s Leo Castelli gallery, Lichtenstein unveiled a series of paintings, “Landscapes in the Chinese Style,” which consisted of delicate “impressions” of traditional Chinese landscape paintings. The series was praised for its restraint (control), as common Lichtenstein elements, such as the use of dots to represent mass, were used to support the compositions rather than to declare an individual style. Lichtenstein died on September 29, 1997, in New York City, at the age of seventy-three.

http://www.notablebiographies.com/Ki-Lo/Lichtenstein-Roy.html

You begin with the possibilities of the material.

Happy Birthday Robert Rauschenberg

Robert Rauschenberg was born Milton Rauschenberg on October 22, 1925, in Port Arthur, Texas. He began to study pharmacology at the University of Texas at Austin before being drafted into the United States navy, where he served as a neuropsychiatric technician in the navy hospital corps in San Diego. In 1947, he enrolled at the Kansas City Art Institute and traveled to Paris to study at the Académie Julian the following year.

In the fall of 1948, he returned to the United States to study under Josef Albers at Black Mountain College, near Asheville, North Carolina, which he continued to attend intermittently through 1952. While taking classes at the Art Students League, New York, from 1949 to 1951, Rauschenberg was offered his first solo exhibition at the Betty Parsons Gallery. Some of the works from this period included blueprints, monochromatic white paintings, and black paintings. From the fall of 1952 to the spring of 1953, he traveled to Europe and North Africa with Cy Twombly, whom he had met at the Art Students League. During his travels, Rauschenberg worked on a series of small collages, hanging assemblages, and small boxes filled with found elements, which he exhibited in Rome and Florence.

Upon his return to New York in 1953, Rauschenberg completed his series of black paintings, using newspaper as the ground, and began work on sculptures created from wood, stones, and other materials found on the streets; paintings made with tissue paper, dirt, or gold leaf; and more conceptually oriented works such as Automobile Tire Print (1953) and Erased de Kooning Drawing (1953). By the end of 1953, he had begun his Red Painting series on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow. In late 1953, he met Jasper Johns, with whom he is considered the most influential of artists who reacted against Abstract Expressionism [more]. The two artists had neighboring studios, regularly exchanging ideas and discussing their work, until 1961.

Rauschenberg began to silkscreen paintings in 1962. He had his first career retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for Painting at the 1964 Venice Biennale. He spent much of the remainder of the 1960s dedicated to more collaborative projects including printmaking, Performance [more], choreography, set design, and art-and-technology works. In 1966, he cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers.

In 1970, Rauschenberg established a permanent residence and studio in Captiva, Florida, where he still lives. A retrospective organized by the National Collection of Fine Arts, Washington, D.C., traveled throughout the United States in 1976–78. Rauschenberg continued to travel widely, embarking on a number of collaborations with artisans and workshops abroad, which culminated in the Rauschenberg Overseas Culture Interchange (ROCI) project from 1985 to 1991. In 1997, the Solomon R. Guggenheim Museum, New York, exhibited the largest retrospective of Rauschenberg’s work to date, which traveled to Houston and to Europe in 1998.

http://www.guggenheimcollection.org/site/artist_bio_133.html

Art is skill, that is the first meaning of the word.

Eric Gill

Eric Gill was one of the most colourful figures in early 20th century art, despite the majority of his prints being in black and white. Sculptor, typographer, and writer, it was the unequalled clarity of line of his engravings that have made his work so sought after.

Gill’s subject matter swung between the deeply religious and the highly erotic, a direct echo of his eccentric life.

His prints first appeared invariably in tiny editions or as illustrations in limited edition books, such as those he illustrated for the Golden Cockerel Press. We are fortunate that in 1929 his friend and publisher, Douglas Cleverdon, produced a book of his prints, all printed from the original blocks. This was followed 5 years later by a second similar book, this time published by Faber.

Unless otherwise stated the prints available for purchase on this site are from one or other of these volumes.

http://www.ericgill.com/

Good art is not what it looks like, but what it does to us.

Roy Adzak

Adzak, who is best known for his plant and animal “dehydrations” and for the Anthropometric man series, built the studio with his own hands in the 1980s, along with the permanent sculpture garden. There are frequent temporary exhibitions of painting, drawing and sculpture by associated artists.

Birth 1927

Death 1987

http://www.discoverfrance.net/France/Paris/Museums-Paris/Adzak.shtml