{"id":32,"date":"2019-12-16T22:11:01","date_gmt":"2019-12-16T21:11:01","guid":{"rendered":"http:\/\/127.0.0.1\/?page_id=32"},"modified":"2025-04-26T11:34:25","modified_gmt":"2025-04-26T09:34:25","slug":"actualites","status":"publish","type":"page","link":"https:\/\/colette-brunschwig.com\/?page_id=32","title":{"rendered":"Actualit\u00e9s"},"content":{"rendered":"\n

COMMUNIQUE DE PRESSE 18 avril 2025<\/strong><\/p>\n\n\n\n

La Galerie Jocelyn Wolff a la profonde tristesse d\u2019annoncer le d\u00e9c\u00e8s de Colette Brunschwig, survenu le 14 avril 2025, \u00e0 l\u2019\u00e2ge de 98 ans, apr\u00e8s plusieurs ann\u00e9es de retrait dues \u00e0 une sant\u00e9 fragilis\u00e9e.
Peintre abstraite du XXe si\u00e8cle, Colette Brunschwig laisse une oeuvre essentielle : des peintures et des oeuvres sur papier, aux qualit\u00e9s plastiques exceptionnelles, qui sondent des r\u00e9alit\u00e9s immat\u00e9rielles et philosophiques et explorent une \u00ab troisi\u00e8me dimension \u00bb du dessin. Intimement li\u00e9e \u00e0 l\u2019exp\u00e9rience de la destruction de la Seconde Guerre mondiale, nous rendons hommage \u00e0 la force de sa pens\u00e9e profond\u00e9ment humaniste, nourrie par ses recherches permanentes sur les traditions ex\u00e9g\u00e9tiques talmudiques, une r\u00e9flexion exigeante sur la modernit\u00e9 artistique occidentale, et son dialogue persistant avec la peinture chinoise lettr\u00e9e.<\/p>\n\n\n\n

Biographie
N\u00e9e en 1927 au Havre, Colette Brunschwig expose pour la premi\u00e8re fois \u00e0 Paris en 1949 \u00e0 la galerie Marcelle Berr de Turique avant de pr\u00e9senter son travail en 1952 \u00e0 la galerie Colette Allendy. Peintures acryliques, encres, gouaches, lavis, aquarelles dessinent une oeuvre plastique inlassablement travaill\u00e9e par les gris d\u00e9finis comme un interm\u00e9diaire pictural des couleurs, le surgissement d\u2019une forme prise dans l\u2019enjeu d\u2019une ind\u00e9finition du motif abstrait, et l\u2019inexorable dissolution de l\u2019image et de la repr\u00e9sentation.
Colette Brunschwig est une peintre du XXe si\u00e8cle, dont elle interroge de fa\u00e7on singuli\u00e8re la modernit\u00e9 artistique occidentale, et les traumas historiques que furent la Shoah et Hiroshima. Dans la proximit\u00e9 philosophique d\u2019Emmanuel Levinas, l\u2019artiste, proche du philologue Jean Bollack, joint ses recherches picturales li\u00e9es aux abstractions des ann\u00e9es 1950 \u00e0 l\u2019\u00e9tude des traditions ex\u00e9g\u00e9tiques talmudiques, avant d\u2019y associer, \u00e0 la fin des ann\u00e9es 1960, l\u2019enseignement des peintres lettr\u00e9s chinois des XIIe et XIIIe si\u00e8cles.
Assumant une double g\u00e9n\u00e9alogie avec Claude Monet et Kasimir Malevitch, Colette Brunschwig n\u2019a cess\u00e9 d\u2019explorer un espace dynamique, travers\u00e9 d\u2019un souffle int\u00e9rieur d\u2019expansion et de compression ; espace qu\u2019elle rend patiemment disponible pour recommencer la peinture apr\u00e8s l\u2019an\u00e9antissement, et y inscrire les strates r\u00e9flexives et sensibles d\u2019une revie des formes.<\/p>\n\n\n\n

Expositions, publications, collections
Depuis 2012, nous avons eu l\u2019honneur de pr\u00e9senter \u00e0 quatre reprises des expositions personnelles de Colette Brunschwig, ainsi que dans de nombreuses expositions collectives. La plus r\u00e9cente, en 2022, l\u2019exposition personnelle Colette Brunschwig & Claude Monet in conversation1, con\u00e7ue par la commissaire Marjorie Micucci, s\u2019articulait autour du texte Sur Claude Monet2 r\u00e9dig\u00e9 par l\u2019artiste elle-m\u00eame, et de son regard sensible port\u00e9 sur l\u2019oeuvre du peintre impressionniste \u2014 en particulier sur les Nymph\u00e9as. Cette exposition faisait suite \u00e0 la parution du premier ouvrage monographique consacr\u00e9 \u00e0 l\u2019artiste, Colette Brunschwig. Peindre l\u2019ultime espace3, r\u00e9unissant une importante iconographie, quatre essais critiques, des archives personnelles et des correspondances de l\u2019artiste, dans une \u00e9dition richement illustr\u00e9e.
Son travail a \u00e9t\u00e9 expos\u00e9 dans de nombreuses institutions en France et \u00e0 l\u2019\u00e9tranger telles que la galerie Colette Allendy (Paris), Galerie La Roue (Paris), Mus\u00e9e Soulages (Rodez), MuMa, Mus\u00e9e d\u2019art moderne Andr\u00e9 Malraux (Le Havre), Mus\u00e9e d\u2019art et d\u2019histoire du Juda\u00efsme (Paris), OSMOS (New York), et fait aujourd\u2019hui partie de collections publiques telles que le Centre national des arts plastiques, le Mus\u00e9e d\u2019Art Moderne de Paris, le Centre Pompidou \u2013 MNAM, le Mus\u00e9e des Beaux Arts de Caen, Les Abattoirs \u2013 Frac Occitanie<\/p>\n\n\n\n

Galerie Jocelyn Wolff is deeply saddened to announce the passing of Colette Brunschwig, who died on April 14,2025, at the age of 98, after several years of withdrawal due to declining health.
An abstract painter of the 20th century, Colette Brunschwig leaves behind an essential body of work: paintings and works on paper of exceptional formal quality, probing immaterial and philosophical realities and exploring a \u00abthird dimension\u00bb of drawing. Deeply tied to the experience of destruction during the Second World War, we pay tribute to the strength of her profoundly humanist thinking, nourished by her ongoing engagement with talmudical hermeneutics, a rigorous reflection on Western artistic modernity, and her sustained dialogue with Chinese literati painting.<\/p>\n\n\n\n

Biography
Born in 1927 in Le Havre, Colette Brunschwig exhibited for the first time in Paris in 1949 at the Marcelle Berr de Turique gallery, and later in 1952 at the Colette Allendy gallery. Acrylic paintings, inks, gouaches, washes, and watercolors form a body of work tirelessly shaped by greys\u2014understood as pictorial intermediaries of color\u2014by the emergence of forms suspended in the indeterminacy of abstract motifs, and by the inexorable dissolution of image and representation.
Colette Brunschwig is a painter of the 20th century, who questioned Western artistic modernity and the historical traumas of the Holocaust and Hiroshima in a singular way. In close philosophical proximity to Emmanuel Levinas and a friend of philologist Jean Bollack, she combined her pictorial research\u2014rooted in the abstractions of the 1950s\u2014with a study of Talmudical hermeneutics, later integrating, in the late 1960s, the teachings of 12th- and 13thcentury Chinese literati painters.
Embracing a double lineage with Claude Monet and Kazimir Malevich, Colette Brunschwig tirelessly explored a dynamic space, traversed by an inner breath of expansion and compression\u2014a space she patiently made available to resume painting after annihilation, inscribing within it the reflective and sensitive layers of a rebirth of form.<\/p>\n\n\n\n

Exhibitions, Publications, Collections
Since 2012, we have had the honor of presenting four solo exhibitions of Colette Brunschwig\u2019s work, as well as including her in numerous group shows. The most recent, in 2022, Colette Brunschwig & Claude Monet in conversation1, curated by Marjorie Micucci, was structured around the text On Claude Monet2, written by the artist herself, and her sensitive gaze upon the work of the Impressionist painter\u2014notably the Water Lilies. This exhibition followed the publication of the first monographic book dedicated to the artist, Colette Brunschwig. Painting the Ultimate Space3, which brought together significant iconography, four critical essays, personal archives, and the artist\u2019s correspondences, in a richly illustrated edition.
Her work has been exhibited in many institutions in France and abroad, such as the Colette Allendy gallery (Paris), Galerie La Roue (Paris), Mus\u00e9e Soulages (Rodez), MuMa \u2013 Mus\u00e9e d\u2019art moderne Andr\u00e9 Malraux (Le Havre), Mus\u00e9e d\u2019Art et d\u2019Histoire du Juda\u00efsme (Paris), OSMOS (New York), and is today part of public collections including the Centre national des arts plastiques, Mus\u00e9e d\u2019Art Moderne de Paris, Centre Pompidou \u2013 MNAM, Mus\u00e9e des Beaux-Arts de Caen, and Les Abattoirs \u2013 Frac Occitanie.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\u00ab Colette BRUNSCHWIG \u2013 PEINDRE L\u2019ULTIME ESPACE \/ PAINTING THE ULTIMATE SPACE \u00bb <\/h2>\n\n\n\n

Arieh et Rapha\u00ebl Brunschwig, Manuella Editions, maison d\u2019\u00e9dition en art contemporain, et la galerie Jocelyn Wolff sont heureux d’annoncer la publication de la premi\u00e8re monographie consacr\u00e9e \u00e0 l\u2019oeuvre peint et dessin\u00e9 de Colette Brunschwig.
L\u2019ouvrage en deux volumes d\u2019environ 300 pages, comporte une importante iconographie de son oeuvre, et quatre essais majeurs. Le texte de Marjorie Micucci, historienne de l\u2019art, donne une vision d\u2019ensemble de l\u2019oeuvre de Colette Brunschwig en multipliant les approches, biographiques, artistiques et intellectuelles. Romain Mathieu, sp\u00e9cialiste du mouvement Supports\/Surfaces et des abstractions en France, montre la singularit\u00e9 de son parcours dans le contexte artistique fran\u00e7ais depuis les ann\u00e9es 50. L\u2019int\u00e9r\u00eat de l\u2019artiste pour la peinture chinoise et la calligraphie est analys\u00e9 par Ma\u00ebl Bellec, sp\u00e9cialiste d\u2019art extr\u00eame-oriental. Jeffrey S. Librett, philosophe et germaniste am\u00e9ricain, montre l\u2019importance des influences philosophiques de l\u2019artiste, profond\u00e9ment attach\u00e9e au monde des id\u00e9es, et notamment sa relation \u00e0 l’oeuvre d\u2019Emanuel Levinas. La publication est enrichie de nombreux documents d\u2019archives, d\u2019\u00e9crits de l\u2019artiste, d\u2019extraits de sa correspondance et d\u2019une chronologie d\u00e9taill\u00e9e de ses expositions.<\/p>\n\n\n\n

Arieh and Rapha\u00ebl Brunschwig, Manuella Editions – publishing house in contemporary art – and Jocelyn Wolff gallery are pleased to announce the publication of the first monograph devoted to the painted and drawn work of Colette Brunschwig.
The book in two volumes of about 300 pages, includes an important iconography of her work, and four major essays. The text by Marjorie Micucci, art historian, gives an overview of the work of Colette Brunschwig by multiplying biographical, artistic and intellectual approaches. Romain Mathieu, specialist of the movement Supports\/Surfaces and abstractions in France, shows the singularity of his career in the French artistic context since the 1950s. The artist’s interest in Chinese painting and calligraphy is analyzed by Ma\u00ebl Bellec, a specialist in Far Eastern art. Jeffrey S. Librett, American philosopher and Germanist, shows the importance of the philosophical influences of the artist, deeply attached to the world of ideas, and in particular his relationship to the work of Emanuel Levinas.
The publication is enriched with numerous archival documents, writings by the artist, excerpts from his correspondence and a detailed chronology of his exhibitions.<\/p>\n\n\n\n

http:\/<\/a>\/www.manuella-editions.fr\/livre\/peindre-ultime-espace.html<\/a><\/p>\n\n\n\n

\"COLETTE_BRUNSCHWIG_PEINDRE_L'ULTIME_ESPACE\"<\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

COMMUNIQUE DE PRESSE 18 avril 2025 La Galerie Jocelyn Wolff a la profonde tristesse d\u2019annoncer le d\u00e9c\u00e8s de Colette Brunschwig, survenu le 14 avril 2025, \u00e0 l\u2019\u00e2ge de 98 ans, apr\u00e8s plusieurs ann\u00e9es de retrait dues \u00e0 une sant\u00e9 fragilis\u00e9e.Peintre … Continuer la lecture →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"showcase.php","meta":{"footnotes":""},"class_list":["post-32","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=\/wp\/v2\/pages\/32","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=32"}],"version-history":[{"count":35,"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=\/wp\/v2\/pages\/32\/revisions"}],"predecessor-version":[{"id":146,"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=\/wp\/v2\/pages\/32\/revisions\/146"}],"wp:attachment":[{"href":"https:\/\/colette-brunschwig.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=32"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}