Archives - Paule Maeght - Germaine Richier - Kandinsky - Picasso and Cocteau

In 2002, my mother, Paule Maeght, disappeared. A witty woman of rare intelligence. She married my father in 1954, photo at the exit of the town hall. We recognize, of course, my grandparents and the illustrious "witnesses", Georges Braque and Pierre Reverdy.

Few recognized women artists, but when they are, damn what talent, Germaine Richier photographed by Gordon Parks in 1951.
Aimé Maeght devoted an exhibition to him at the Galerie Maeght in 1948, accompanied by the publication of a DLM, Derrière Le Miroir.
It was at this point that Giacometti set a condition for his future collaboration with Aimé. Indeed, during the winter of 1948, the Maeght gallery presented the sculptures of Germaine Richier. Grandpa hopes a lot from this artist of whom André Pieyre de Mandiargues says: “She saves sculpture. But Giacometti is demanding and that's not to displease my grandfather. He forces Aimé to choose between Germaine Richier and him, it's not negotiable. Grandpa is faced with a difficult choice: to continue promoting an artist whose first exhibition has been well received or to venture into the unknown by exhibiting Giacometti, whose works Parisian dealers are reluctant to present. Here again, Grandpa knows how to decide and chooses the risk. This is how he will no longer expose the one in whom he believed so much.
Behind the Mirror published for the Germaine Richier exhibition at the Galerie Maeght in October 1948. Texts by Francis Ponge, Georges Limbourd and René de Sorlier.
Germaine Richier, Self-portrait, engraving from 1948, published in 1961.
Vassily and Nina Kandinsky in "The Music Room" of 1931.
Mies van der Rohe, director of the famous Bauhaus school, asks Kandinsky to participate in the Berlin Architecture Fair.

"The Music Room" of 1931 is one of the major works of Vassily Kandinsky. It was made of ceramic and responded to the desire for a livable environment, possessing plastic, harmonious and spiritual qualities identical to those of his paintings. The living room was reconstructed in 1975 and is now part of the collections of the Museum of Strasbourg.
I well remember Nina Kandinsky who often came to spend a few days in Saint Paul. I loved his accent and above all, hearing him discuss in Russian with Chagall.

Jean Cocteau and Pablo Picasso.
The estrangement of 1926, through Picabia, gave rise to a letter from Cocteau – dated October 25, 1926 – which alone sums up all the pain of the wounded friendship: "My dear Picasso, I measured yesterday at the collapse of my life the friendship I had for you After Raymond's death I thought I was incapable of such pain.
I know that one always distorts and my reason forces me to believe that the cruel words are from Picabia.
But the thing is done. You who never speak of anyone, you who refuse to “speak”, did you speak and of whom? Of me who adores you and who is ready to die for you and yours. You have lost me in the eyes of a whole youth who listen to you like the Gospel. You have given the finest weapon to my enemies. I'm in so much pain that I wanted to kill myself. Without Mom and the Church, I threw myself out of the window.
Fortunately the reconciliation did not take long and their friendship will last until the disappearance of Cocteau.