Marta Grassi

Born in Montevideo, Uruguay, lives in Paris since 1990. My work takes place serial, sometimes figurative, sometimes abstract, and as much drawing than painting. I love to explore new techniques, to improve my work.

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Pauline Zenk

Artist and illustrator, she obtained a Master of Visual Arts, History, and English Literature from the University Christian – Albrechts – Universitaet, Kiel, and the Muthesius Academy of Arts Kunsthochschule Kiel, Germany.

She studied Visual Arts and followed a master’s degree course in painting at the Gerrit Rietveld Academy of Arts, in Amsterdam, the Netherlands. She studied Latin American history at the Universidad Complutense in Madrid Ciudad University, Spain.

She was awarded the scholarship “Freemover” by the Academy of Fine Arts, the Muthesius Kiel Germany and Gerrit Rietveld Academy in Amsterdam, the Netherlands. Her work is in the collection of the Academy of Fine Arts, Muthesius Kunsthochschule Kiel in the hall for new media. (*)

She was artist in residence in the “Drawing Center Taller 7” ( ) in Medellin | Colombia, in “Estudio Lamina” in Sao Paulo | Brazil, and “Les Ateliers du Plessix-Madeuc” (, Corseul (Bretagne) | France, where she researched the collective visual memory of the regions, using Photography and Public/Private Archives as starting points.

Since 2012 Pauline Zenk works in the field of interdisciplinary artistic research projects combining history and art.

Her research is based around the notion of the collective memory. She investigates which images we retain as part of our collective memory, and which images are lost or newly interpreted. Using the traditional mediums of paint and drawing she questions our relation to photographs as part of our collective and cultural memories.

By (re-)working images in paint or drawing she is researching the impact an image can still have today in our image-dominated culture.

She researches and finds these images in archives, museums or private collections. By painting and drawing the found images she reveals the psychological, social and political meaning of the images, often mixing the personal and the political, pointing to the intersection between the history of great events and small men in her depiction and choice of images.

Her work often deals with found imagery (as in magazine ads, TV Screen shots, antique newspapers and old photographs) and deals with the notions of body – portrait – identity as well as the aspects of public versus private and the commercialization of the body; the works in their conjunction – create a dialogue between photography, digital culture and traditional painting.

She often works in the format of artistic research projects which have a cross-cultural and/or regional focus. By visually exploring and re-interpreting cultural and collective memory she reflects on and questions the concept and creation of social and cultural identity.

She is currently researching the interrelationships between portrait, memory and identity in Europe.

Since january 2015, she is working and living in Toulouse, France.

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Julien Mandel

Julian Mandel is the identity given to one of the best-known commercial photographers of female nudes of the early twentieth century.

Signature photography bearing that name became known in the 1910s and was published in Paris through the mid-1930s by such firms as Alfred Noyer, Les Studios, P-C Paris, and the Neue Photographische Gesellschaft.Biographical information on Mandel is scarce and there has been speculation that the name is only a pseudonym.

The models often are found in highly arranged classical poses, photographed both in-studio and outdoors. The images are composed artfully, with exquisite tones and soft use of lighting—showing a particular texture created by light rather than shadow.Reportedly, Mandel was a member of, and participated in, the German avant-garde “new age outdoor” or “plein air” movement.

Numerous pictures sold under this name feature natural settings, playing on the ultra pale, uniform skin tones of the women set against the roughness of nature.The nude photographs were marketed in a postcard-sized format, but as “A Brief History of Postcards” explains, “A majority of the French nude postcards were called postcards because of the size.

They were never meant to be postally sent. It was illegal to send such images in the post. The size enabled them to be placed readily into jacket pockets, packages, and books.

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Henri de Toulouse-Lautrec

Henri Marie Raymond de Toulouse-Lautrec-Monfa (24 November 1864 – 9 September 1901), also known as Henri de Toulouse-Lautrec (French: [ɑ̃ʁi də tuluz lotʁɛk]) was a French painter, printmaker, draughtsman and illustrator whose immersion in the colourful and theatrical life of Paris in the late 19th century allowed him to produce a collection of enticing, elegant and provocative images of the modern, sometimes decadent, life of those times. Toulouse-Lautrec is among the best-known painters of the Post-Impressionist period, with Cézanne, Van Gogh and Gauguin. In a 2005 auction at Christie’s auction house, La Blanchisseuse, his early painting of a young laundress, sold for US$22.4 million and set a new record for the artist for a price at auction.

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The Eternal Idol

François Auguste René Rodin (12 November 1840 – 17 November 1917), known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture,[1] he did not set out to rebel against the past. He was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition,[2] although he was never accepted into Paris’s foremost school of art.

Sculpturally, Rodin possessed a unique ability to model a complex, turbulent, deeply pocketed surface in clay. Many of his most notable sculptures were roundly criticized during his lifetime. They clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodin’s most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, and celebrated individual character and physicality. Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community.

From the unexpected realism of his first major figure – inspired by his 1875 trip to Italy – to the unconventional memorials whose commissions he later sought, Rodin’s reputation grew, such that he became the preeminent French sculptor of his time. By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin’s work after his World’s Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. He married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, but within a few decades, his legacy solidified. Rodin remains one of the few sculptors widely known outside the visual arts community.

Like so many others, the two figures of this group came from The Gates of Hell. Circa 1890, Rodin combined them to form a new independent work, which must have been an instant success, since a bronze was cast in 1891 and an enlargement, carved in marble,was commissioned in 1893 by Rodin’s friend, the painter Eugène Carrière. The plaster shown here is a cast of this marble, made at Rodin’s request because he liked to keep track of his works in this way – or possibly because he wanted to rework the group in other versions.

The title, The Eternal Idol, is very much in the Symbolist vein explored by Rodin at this time. For him, however, the form was always more important than the subject, and poetic titles like these were only given after the work was completed, sometimes in the course of discussions with writer friends.

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Antoine Peluquere


Photographer reporter for daily newspaper, and french magazines corresponding to different press agencies I have been published in almost all newspapers and news magazines in France.

I then turned to the tourism issue, I published three books. All this time I work for « Charme » magazines calendars etc… (Play-Girls, PM, Penthouse Australia) I now have my own photo studio In Nantes France.

I mainly do industrial and advertising photography. My aesthetic and erotic creation. I always keep time for my research and creation for my aesthetic and erotic world.

I expose my work for years in art galleries in France, Canada and in Australia.

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The Origin of the World, Courbet


“L’Origine du monde” is an oil-on-canvas painted by French artist Gustave Courbet in 1866. It is a close-up view of the genitals and abdomen of a naked woman, lying on a bed with legs spread. The framing of the nude body, with head, arms and lower legs outside of view, emphasizes the eroticism of the work.