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From 30 October to 28 November 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 29 October 2026, 5 to 9 pm

Tuesday to Saturday, 2 to 7 pm, and by appointment.

The gallery presents 70 original works by Jacques Moreau, known as Le Maréchal (1928-2016): some twenty paintings, temperas and watercolours, and around fifty prints, some hand-coloured or out of print.

Born Jacques Moreau in Paris in 1928, Le Maréchal came to art through poetry. Close to Surrealism, he kept his distance from the group; André Breton praised his painting in 1960. He is best known for his “inextricable drawings” and “transparent paintings”. As a printmaker, he belongs to the line of “visionary engravers” who claim descent from Rodolphe Bresdin.

“Writing and painting merge into one and the same vision.” Louis Janover, “Dédicaces pour L’Œuvre de Le Maréchal”, in L’imperceptible abîme, Venus d’ailleurs éditeurs

Event

• Saturday 14 November 2026 at 3 pm: talks and screening of the documentary Le Maréchal, un autre monde dans celui-ci, at the Halle Saint-Pierre.

Artist: Jacques Le Maréchal

Works on view

• Le Maréchal, Espérance, illusion, l’ordure officielle, 1963, egg tempera and oil on wood, 58 x 48 cm

From 18 September to 23 October 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 17 September 2026, 5 to 9 pm

As a prologue to the retrospective exhibition at the Musée des Beaux-Arts de Quimper, from June to November 2027.

Before the Musée des Beaux-Arts de Quimper devotes a major retrospective to him, we are delighted to welcome Endre Rozsda back to the gallery, for an exhibition conceived as a prologue to that event.

Born in 1913 in Mohács, Hungary, Rozsda discovered Paris and the Surrealist circle at the end of the 1930s. After the war he took part in Budapest in the adventure of the European School, then left Hungary after the 1956 revolution to settle in Paris. André Breton praised his work from his very first Paris exhibition.

His painting does not reveal itself at a single glance. His canvases are woven from a multitude of tiny touches and coloured fragments which, as the eye lingers, reveal faces, bodies, architectures and hybrid creatures. Nothing is fixed: forms are born from one another, come apart and reappear elsewhere in the composition.

“Around time I braid the ivy of my memories”

Owing to transport and traffic difficulties in Paris, the exhibition closed on Friday 23 October 2026, instead of 24 October as planned. You will find his work again in June 2027 at the retrospective at the Musée des Beaux-Arts de Quimper, and on request at the gallery.

Artist: Endre Rozsda

Works shown

• Endre Rozsda, Le Château de Barbe Bleue, 1965-1979, oil on canvas, 130 x 162 cm
• Endre Rozsda, Valamint, 1947, oil on canvas, 50 x 40 cm
• Endre Rozsda, Dans le soir, 1980, oil on canvas, 55 x 36 cm
• Endre Rozsda, Le jardin de l’au-delà, 1983, oil on canvas, 16 x 24 cm

From 26 June to 25 July 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 25 June 2026, 5 to 9 pm

The Galerie Les Yeux Fertiles is pleased to invite you to the exhibition devoted to Guylaine, on the publication of her monograph L’Ymagier de Guylaine, published by Les éditions L’Or aux 13 îles.

A teeming, colourful world, peopled with animal and plant figures, in which the imagination unfolds with rare freedom. Guylaine’s inks and paintings draw us into a lush jungle, that of innocence and the marvellous, carried by a sense of detail and colour all her own.

The book brings together texts by Annie Le Brun, Jean Benoît, Louis Pons, Konrad Klapheck, François-René Simon, Roger Renaud, Pierre Peuchmaurd, Alain Joubert, Guy Cabanel, Georges-Henri Morin, Étienne-Alain Hubert, Henri Robert, Marine Degli, Luc Barbaro, Alexandre Pierrepont and Jean-Christophe Belotti.

Artist: Guylaine

Works shown

• Guylaine, Le Tragopan, oil on canvas, 81 x 65 cm
• Guylaine, Le Bec en sabot, oil on canvas, 116 x 89 cm
• Guylaine, Le grand Argus, oil on canvas, 97 x 130 cm
• Guylaine, L’Aigle et le Varan, Indian ink on paper, 75 x 104 cm
• Guylaine, Le Faucon de Camacho, Indian ink on paper, 98 x 69 cm

From 22 May to 19 June 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 21 May 2026, 5 to 9 pm

On 1 June 2001 the Galerie Les Yeux Fertiles opened its doors. Twenty-five years later, it celebrates the anniversary with an exhibition that retraces its history through the artists who have built it.

For it is they who tell the story of these years: their works, their worlds, the encounters and loyalties that have forged the gallery’s identity, exhibition after exhibition. More than 120 hangings, as many moments shared with a public whose trust has never ceased to sustain us.

For this anniversary the gallery brings together names dear to it: M. Baskine, H. Bellmer, A. Breton, S. Dali, F. Deux, C. d’Orgeix, G. Erro, J. Ferrer, J. Hérold, J. Le Maréchal, S. Lepri, H. Michaux, O.O. Olivier, E. Rozsda, B. Saby, B. Schultze, C. Verlinde, as well as Mr. Djub, Lou Dubois, D. Mazuru, J-P. Nadau, J. Rispal, O. Saban, C. Sefolosha, J-C. Silbermann and V. Tentindo, and Valentine for young contemporary creation.

An exceptional hanging, a journey through time, a tribute to art and to those who bring it to life.

“On 1 June 2001 the Galerie Les Yeux Fertiles opened its doors at 27 rue de Seine. Betty, my wife, and I, passionate collectors, were embarking on a new adventure: to become passers-on of dreams through the artists and works we would exhibit. Benoît, at our side for twenty years, has also contributed with his expertise to the success of our more than 120 exhibitions at the Galerie Les Yeux Fertiles. Thank you all for your loyalty. Art transcends us!” Jean-Jacques Plaisance

Paris Gallery Weekend, Saint-Germain-des-Prés route: the gallery was open on Friday 29 and Saturday 30 May 2026 from 11 am to 7 pm, and on Sunday 31 May from 2 to 6 pm.

Works shown

• Jacques Hérold, Le Grand Transparent, 1947/1971, bronze, mirror, quartz crystals, 183 x 92 x 53 cm
• André Breton, Paul and Nusch Éluard, Cadavre exquis, 1929, coloured pencils on black paper, 32 x 25 cm, lent to and reproduced in the catalogue of the centenary exhibition “Surréalisme”, Centre Pompidou, September 2024
• Maurice Baskine, Sans titre, oil and plaster on panel, 116 x 89 cm, signed “Baskine” lower right, countersigned “Maurice Baskine” on the reverse, provenance Arturo Schwarz collection, lent to and reproduced in the catalogue of the centenary exhibition “Surréalisme”, Centre Pompidou, September 2024
• Erro, Temple mexicain, 1962-63, oil on canvas, 46 x 55 cm
• Stanislao Lepri, Jeux d’enfants, 1949, oil on panel, 54 x 65 cm
• Hans Bellmer, Nu à la feuille, 1937, double-sided drawing, 29 x 25 cm
• Claude Verlinde, Jeu d’échecs, 1970, oil on canvas, 38 x 55 cm
• Bernard Schultze, Sans titre, 1957, mixed media on paper laid down on canvas, 42 x 60 cm, reproduced in colour in B. Schultze, Hirmer, 1991, p. 246
• Henri Michaux, Sans titre, circa 1936, pastel on paper, monogrammed lower left, 24.5 x 30.5 cm, exhibition “Henri Michaux, peintures récentes”, Galerie Rive Gauche, Paris, 16 November to 16 December 1944 (label of this exhibition, no. 9 on the reverse), inventory no. HM36.71 of the catalogue raisonné of the H. Michaux Archives, reproduced p. 32 of the review Quadrige no. 10, October-November 1946

From 24 April to 8 May 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 23 April 2026, 5 to 9 pm

Born in Paris in 1996, Valentine grew up surrounded by art in all its forms: a mother who is a photographer, a father who is an expert in decorative arts and Italian glass, grandparents who are gallerists. After a preparatory course in applied arts, she trained at the Esmod school in Paris, where she obtained a double degree in Fashion Design & Pattern Making with a specialisation in Haute Couture.

Driven since childhood by an artistic vocation and since adolescence by an ardent attraction to writing, in 2025 she chose to devote herself fully to her art and her pen.

“En Liens” (Bound Together) is the fruit of six months’ work: an assemblage of 30 canvases exploring the dynamics of the couple. It all begins with two forms, one representing the woman, the other the man, alike and opposed, inverted mirrors of each other. The twenty-eight canvases that follow unfold what these two entities do to each other, how they meet and become entwined, at times restraining or freeing, oppressing or supporting each other. The bond is constantly called into question, utterly unstable or equal. These are the workings of love between two beings who could not exist without each other.

Late openings and meetings with the artist on Thursdays 30 April and 7 May 2026, 6 to 8 pm.

Artist: Valentine

From 13 March to 18 April 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 12 March 2026, 5 to 9 pm

The Galerie Les Yeux Fertiles is honoured to announce the seventh exhibition devoted to the masterly work of Bernard Saby. On this occasion we shall have the privilege of unveiling a selection of previously unseen works, offering a fresh look at one of the most singular worlds of the twentieth century.

A celebration and a remembrance

Originally planned for the autumn of 2025 to celebrate the centenary of the artist’s birth, forty years after his historic retrospective at the Musée d’Art Moderne de la Ville de Paris, this exhibition now takes on a particular dimension.

It is intended as a double tribute: to Bernard Saby, of course, but also to the memory of Stéphane Gatti, who died suddenly in 2025. Stéphane played an essential part in the rediscovery and passionate exploration of this unique body of work; his influence and dedication pervade this programme.

Exploring depth

Saby’s work is an invitation to an inner journey. As he confided to Michel Butor in 1963:

“One day a depth began to appear in my paintings, and I went into it, I threw myself headlong into exploring it.”

Through his casein gouaches and dense compositions, Saby invites us into that interstice where form is born of the void, creating a fascinating mental topography.

“One must be Klee, Wols, Saby or nothing!” Claude Roy

The Musée national d’art moderne, Centre Pompidou, acquired 5 drawings from our 2012 exhibition, then devoted exclusively to drawings. His works can also be seen at the Musée d’art moderne de la Ville de Paris (2 acquisitions in 2008, after those made at the time of the 1986 retrospective), as well as at the Château de Rochechouart, contemporary art centre of the Haute-Vienne (gift of J. de la Casinière), the Musée de l’Hospice Saint-Roch in Issoudun (Zao Wou-ki donation) and the Musée Unterlinden in Colmar (Person donation).

On Friday 17 April 2026 at 6 pm, a presentation of his work through quotations from some illustrious writings on his painting, including those of Pierre Boulez, Michel Butor, Armand and Stéphane Gatti, André Berne-Joffroy, Jean-Jacques Lebel, André Pieyre de Mandiargues and Xavier-Gilles Néret.

Artist: Bernard Saby

Works shown

• Bernard Saby, Sans titre, c. 1955, black casein gouache, 65 x 81 cm
• Bernard Saby, Sans titre, c. 1955, tempera and gouache, 19 x 24 cm, exhibited at the Musée d’art moderne de la Ville de Paris, 1986
• Bernard Saby, Sans titre, circa 1956, oil on canvas, 100 x 81 cm
• Bernard Saby, Sans titre, 1966, oil on canvas, 97 x 130 cm
• Bernard Saby, Sans titre, 1963, pastel on paper laid down on panel, 97 x 130 cm
• Bernard Saby, Sans titre, 1958, charcoal drawing on paper, 72 x 105 cm
• Bernard Saby, Sans titre, 1951, graphite and charcoal drawing, 12.8 x 16.5 cm
• Bernard Saby, Sans titre, 1951, charcoal and wax crayon drawing, 13 x 18.4 cm
• Bernard Saby, Sans titre, 1951, charcoal and graphite, 25 x 32 cm
• Bernard Saby, Sans titre, 1950, graphite drawing on paper, 50 x 65 cm

From 23 January to 7 March 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 22 January 2026, 5 to 9 pm

Jean-Pierre Nadau, Dessins à dessein & Christine Sefolosha, Songes et vertiges

The Galerie Les Yeux Fertiles is pleased to present a joint exhibition bringing together Christine Sefolosha and Jean-Pierre Nadau, two singular artists whose works explore inner territories, between the writing of gesture, mental visions and creative necessity.

Jean-Pierre Nadau, born in 1963, has since the 1980s developed a graphic body of work of rare intensity. Trained outside academic circuits and marked by his encounter with Chomo, he works with a Sergent-Major nib with almost obsessive precision.

His drawings, of vibrant density, arise from an instinctive, jubilant writing in which the sign becomes language. Neither Art Brut nor Surrealism, his work occupies an autonomous space, nourished by the rigour of gesture and surrender to creative impulse. A free, almost incantatory visual writing, in which the hand seems guided by an inner necessity.

Also exhibited by the Cavin-Morris Gallery in New York, Jean-Pierre Nadau’s work can be seen notably at the Folk Art Museum in New York, the Collection de l’Art Brut in Lausanne and the Abbaye d’Auberive (Volot collection). Book available: Dessins à dessein, art book, 2025, preface by C. Berst.

Christine Sefolosha, born in Montreux, has developed a deeply inhabited body of work, born of dream, insomnia and inner experience. Marked by her years in South Africa, her work summons animal figures, hybridisations and totemic presences.

Her world oscillates between gentleness and vertigo, in which drawing becomes an almost shamanic act. Art there is exorcism, crossing, a projection of the unconscious. Through her figures she questions memory, the body and a kind of personal mythology, on the border between dream and the archaic.

Christine Sefolosha is included in the exhibition L’étoffe des rêves at the Halle Saint-Pierre, Paris, until August 2026, and her work can be seen notably at the Musée Jenisch and the Nestlé Collection in Vevey. Book available: Timeless wanderer, 2015, preface by Roger Cardinal.

Brought together here, Sefolosha and Nadau converse through drawing, each in their own way, in a fertile tension between mastery and letting go, structure and sudden emergence, writing and vision.

On Friday 20 February 2026 at 6 pm, Jean-Jacques Plaisance gave a double presentation: “Christine Sefolosha, at the edges of cave art according to Roger Cardinal” and “Jean-Pierre Nadau, the sign as jubilant language”.

Artists: Christine Sefolosha, Jean-Pierre Nadau

Works shown

• Christine Sefolosha, Cadet Rousselle, 2013-14, inks and pigments on paper laid down, 110 x 160 cm
• Christine Sefolosha, Totémique, 2024, heightened mixed media with powder, 50 x 35 cm
• Christine Sefolosha, Paname, 2024, monotype heightened with oil and pigments on paper, 56 x 41 cm
• Christine Sefolosha, Galop, 2025, inks and pigments on Japan paper, 31 x 39 cm
• Jean-Pierre Nadau, La cataracte du Qatar act, Indian ink on paper, 50 x 65 cm
• Jean-Pierre Nadau, Rêve de Gustave, Indian ink on paper, 65 x 50 cm
• Jean-Pierre Nadau, Citée compliquée, Indian ink on paper, 65 x 50 cm
• Jean-Pierre Nadau, Écriture Yllinahc n° 7, Indian ink on canvas, 126 x 97 cm

From 27 November 2025 to 8 January 2026
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

In collaboration with Maître Aymeric Rouillac

From Josette Rispal’s L’Humanité to Chomo’s Bois brûlés (Burnt Woods).
L’Humanité was shown in 2016 for nine months in the church of La Madeleine.
The Bois brûlés were Chomo’s only exhibition, at the Galerie Jean Camion, in 1960.

“Sculptor, what’s all this? It’s crap!” Chomo shouted in July 1984 at the woman who dared to cross the fences of his Village d’Art Préludien at Achères-la-Forêt. Yet since 1975 Josette Rispal had been sculpting bronze, iron, terracotta and Murano glass. Both artists share a will to transform rejects into works of art, to transmute matter. This mutual recognition would therefore become a singular friendship between Josette Rispal and Chomo. For “the Hermit of Achères”, then without much means, Josette Rispal became accomplice and patron, and in 1991 organised an exhibition for Chomo throughout Milly-la-Forêt, which was a great success. It is the story of this very close, affectionate relationship between two artists of great generosity, two kindred spirits, that we tell in the exhibition presented at the Galerie Les Yeux Fertiles.

Chomo (Roger-Edmond Chomeaux, known as), 1907-1999. His Burnt Woods, the story of a break

At fifty-three, in 1960, Chomo broke with the contemporary art of his time, which for him was a formatted art, as a true radical secessionist. Michel Thévoz says that he prefigures in a utopian mode a dissolution of art through its extension into reality, illustrating in advance the May 68 slogan “Art will be alive when the last artist is dead”. Salvage and recycling lie at the heart of his new practices. For Chomo, every fragment of a discarded object then becomes raw material (cut, slashed, burnt), generating a new vocabulary (see the analytical text by Françoise Monnin in Chomo, ed. Aymeric Rouillac). From this point of view the burnt woods are his most accomplished expression. Fascinated by lightning and the combustion of wood, Chomo fixes the incandescent matter, lets fire carve into the wood, which he will then tar and later paint.

Sixty-five years on, let us bring back to life the first and last exhibition of Chomo’s Burnt Woods, then called “Expressions noires”, at the Galerie Camion, 8 rue des Beaux-Arts. 40,000 people visited it in six weeks, but Chomo the rebel, furious at the commercial success that was looming, torpedoed the exhibition. In 1961 Chomo, now “the Hermit of the Fontainebleau forest”, built the sanctuary of the Burnt Woods in his Village-Centre d’Art Préludien. The constructions were completed in 1963, and part of them can still be visited today.

Thanks to Télérama and Bénédicte Philippe for their review of the exhibition (TTT).

Artists: Josette Rispal, Roger Chomeaux

Works shown

• Josette Rispal, Témoins de l’Humanité, 2013-2015, brushed metal, Murano glass, from 160 to 207 cm
• Chomo, Fétiche à clous, circa 1960, burnt wood and metal, reworked in the 1990s, height 123 cm, Chomo collection
• Chomo, Totem, circa 1960, burnt wood, 87 x 35 x 26 cm

From 18 September to 20 November 2025
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Wednesday 17 September 2025, 5 to 9 pm

A highlight took place at 7 pm with the presentation of the exhibition by Jean-Jacques Plaisance, followed by a reading of a unique book by Fred Deux, De l’autre, le cristal, from André Breton’s personal collection.

“All art is exorcism.” This statement by the German artist Otto Dix, made during the Nazi period, challenges us. Without being so categorical, what if certain artists, through their words, their writings and above all their works, also expressed an anxiety, even a suffering, and delivered a message to us?

Fred Deux (1924-2015), a singular figure in twentieth-century art and literature, developed a teeming body of work nourished by the exploration of the unconscious and the imagination. His graphic work, often close to automatism, sets organic forms and inner worlds in dialogue. Also a writer, he left a rare and inhabited literary body of work, in which poetry, memory and vision meet.

On Saturday 18 October 2025 at 5.30 pm, a new reading by Jean-Jacques Plaisance of Fred Deux’s unique book De l’autre, le cristal, followed by a presentation of the exhibition, in particular “The Coloured Sperms of 1973 and 1974, from the memory of events to a new, sublimated interiority”. A visual staging of the reading was made by the Amis de Cécile Reims et Fred Deux. A few new works joined the hanging for the last two weeks of the exhibition.

Artist: Fred Deux

Works shown

• Fred Deux, La Membrane, 1972, series of coloured sperms, graphite and cellulose paint on paper, 43.5 x 37 cm
• Fred Deux, Sans titre, 1969, Indian ink on paper, 54 x 37 cm
• Fred Deux, L’Inexistence, 1973, series of coloured sperms, graphite and cellulose paint on paper, 73 x 42.5 cm
• Fred Deux, L’Élan, 1974, series of coloured sperms, graphite and cellulose paint on paper, 58 x 41 cm
• Fred Deux, Maîtresse, 1970, Indian ink and watercolour on paper, 84 x 60 cm, Chave reference on the reverse
• Fred Deux, Sans titre, 1960, Indian ink on paper, 70 x 100 cm, provenance Galerie Daniel Cordier, exhibited 1963 Galerie Charpentier

From 5 June to 4 July 2025
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 5 June 2025, 6 to 9 pm

A double exhibition at the gallery: Didier Mazuru, Fragmentations surréalistes, and a small cabinet by Mr. Djub, Charivari, alongside his exhibition with the artist 13bis, Paname Rendez-vous, all summer at the neighbouring Galerie Roger-Viollet, 6 rue de Seine.

Didier Mazuru, born in Paris in 1953, is a polymorphous French artist whose work combines painting, printmaking, music and philosophical reflection. Trained in architecture at the École des Beaux-Arts in Paris, he soon turned to the visual arts, influenced by figures such as Érik Desmazières and Yves Doaré. Based in Stockholm since 1981, he gave up architecture and music to devote himself fully to artistic creation. His work, initially linked to the Visionary Art movement, has evolved towards more abstract and meditative forms, incorporating elements of spontaneity and improvisation. Mazuru has exhibited in many galleries in France and Sweden, and continues to develop a singular body of work, imbued with spirituality and inner quest.

Talk with Yves Giry on the work of Didier Mazuru, Friday 20 June 2025 at 6 pm.

Artists: Didier Mazuru, Mr. Djub

Works shown

• Didier Mazuru, Léda ancienne et moderne, 1991, oil on canvas laid down on wood, 162 x 144 cm
• Didier Mazuru, À ceux qui se promènent, 1986-88, oil on melamine, 145 x 90 cm
• Didier Mazuru, Lieu transitoire de l’âme, 1987-88, oil on wood, 50.2 x 120.1 cm
• Didier Mazuru, À la frontière des songes, 1988-91, watercolour and Indian ink wash, 44 x 47 cm