My father.
After, after the war in forty five, he had the chance to make
part of the group of people who left with the morning boat.
they are.
It was December 45.
They took the boat, they they went through there, I think.
And then they took the train went through.
They went through Italy, Switzerland Switzerland to arrive in Paris.
My father, my father, spoke very little about this.
and all these other people on the trip, we 00:00:54.370 and all these friends from the trip, we didn't talk much about that.
I remember especially the comradeship that they had between
them, that is to say all his friends that in ten beds Uh, and you?
create anonymous dad, dad one year ago.
Finally, all these people were really tight, very much in a
very nice atmosphere, I think.
That was a big part of the camaraderie when they
and they all lived in the, in the university campus, not far from here.
and in the smooth running of their lives here in Paris.
When he came here, he was part of of, he worked in the workshop
of Zadkine and then, following his his free spirit, I think he went on to
detached himself from any institution.
let's say academic, to start working work on his own and be part of the
in the uh different sculpture shows, which was which was a determining factor in
his arrival and his journey from let's say towards Finally, from forty seven
forty-eight, it was his meeting with Henri Laurence who
is a very very important sculptor who was part of the Louis Gallery
le Riz and who was among the cubists like Picasso, Braque, but he was a very important
again, the point of the fact that being nevertheless a sculptor among all
these painters, it was it is nevertheless unknown, that is to say that the role in
the sculpture at the time and I would say in in relation to the extent of the, of the of the
painting today is always less.
That is, we'll have Laurence, everybody knows Braque, Picasso
and we'll have Laurence very little.
people know him, but he's a very, very important a very, very important sculptor
and a very important artist in the history of Cubism.
His meeting with Laurence was, as I said before, decisive,
decisive because he worked with him, so I guess, in
the technique of which the work of the the sculpture, certainly on the artistic side.
even if it is not one does not feel the cubist influence in the work
of my father and a lot in the that is, in the human sense, that is to say, in the rice.
Laure, she was a very honest person very honest in his approach, in his
his work and in his approach.
In the, in the environment of of, of he worked a lot, he
wasn't the world at all, huh.
It was still pretty.
Uh, quite discreet is equal to himself himself, whose honesty of work.
And my father has followed this whole his whole life, kind of this line of
of work and mentality.
So, after his meeting with Laurence, he as I said, he
participate in trade shows, different shows in the Paris area
moreover one of the art critics who had organized salons at that time
whose name I don't remember.
We had done a retrospective on all the artists in
ninety-three, I think.
There was that took place in the convent of the Cordeliers.
There, we did the first retrospective of my father and I remember.
It was quite symbolic and moving because because my father having participated in all his
of this person who was organizing at that time in the fifties,
when he came out of the room he said to the curator of the exhibition and if I do
a retrospective, I'd like to do it here and so he died six months later.
And this person who was present at my father's funeral
said that we were going to do the retrospective in this place.
That was a parenthesis in the history the history of the salons at the time.
towards the end of the fifties, he meets Roger.
Roger was always uh to an important writer writer who publishes a lot, who uh and
who was an art critic at the same time.
Valiant rejection.
fall a little in love with work, of the suit.
And he is very very impressed by the manual genius already and also
by the magnitude, uh the artistic magnitude artistic breadth and so that's him.
that was decisive, that introduces my father and who introduces
my father to the Galerie de France, so the my father's production and the beginning of the
collaboration with the Galerie de France.
Well, it was decisive for his career as an artist.
He has his first exhibition.
that works very very well, especially with arms and you see I have a lot
of photos, we see a lot of photos in the catalogs of the des
the first ones of the first exhibition that he did, or it's only works
uh make some shaving in with in different metals but it's
mostly arm and and a lot of low reliefs, big works of the of the
quite important large works.
and so this collaboration with the Galerie de France him
leads to other exhibitions.
He becomes international and he and he starts to make exhibitions in
London and New York, in the United States.
where he worked, he made at least two exhibitions.
Hence the fact that we see from time to time works sold in the museums.
in auctions, especially American ones.
So at that time, according to my research, he did a lot of
orders in the United States for the furniture.
that is, the furniture, the, the pieces, the more, the
iron tables, arms and he made many different models.
And who was working then?
I don't know if he had them working here.
where he had the necessary material to work them in the United States.
This, I don't know if he had a workshop.
Now I'm in the dark I'm in the dark about that.
There is no archive that There is no archive that proves and gives, that enlightens
a little bit the whole period.