Turgot: close relationships between art and real estate


Magazine N°2

At the heart of the 9th, a property embellished by decorative and artistic choices of quality.

Opened in 1833, Turgot Street enjoys a prime location in the heart of the 9th district.

On the lower flank of the Montmartre hill, set back from the rue de Rochechouart with commercial accents, rises a beautiful Louis Philippe style building, with porch, inner courtyard, transom and ashlar.

Then, you reach by elevator to a floor flanked by two blue black lacquered doors, under the watchful eye of the guardian of the place.

We must push one of them to discover Le Turgot, an arty and contemporary apartment, where I have the conviction from the entrance, that the boundaries between art, real estate, heritage and decorative style are no longer justified.

We must push one of them to discover Le Turgot, an arty and contemporary apartment, where I have the conviction from the entrance, that the boundaries between art, real estate, real estate and decorative style are no longer justified.

Then, we discover the living room framed by the door window and two niches with variable lighting. Two convex mirrors give the whole balance and measured rhythm.

In this dandy and friendly atmosphere at the time of chatting with friends, the pieces and motifs of Fornasetti permeate their style of their passionate passion for materials: cushions, boxes or wallpapers.

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Opposite, the open kitchen with a dining area for up to 8 guests fully ensures its practical and festive function. Without violating the harmony of the room, and behind high black and matte facades, all the elements of the passionate cook overhang a discrete and gourmet marble floor.

On the nearby wall, hung in white, is a painting by Michel Thompson that questions the viewer. His canvas, Paysage, carré blanc of 1992, “by the mere ratio of surfaces and colored lines suggests both space and atmosphere,” as the critic Maugis already recalled in 1957.

This atmosphere of Turgot, absolutely quiet because entirely on the courtyard, has the perfume of elegance carried even in the most private rooms.

A corridor thus separates the sleeping area, with at its end the parental room, which gives way to a large bedding. On the headboard, we note furtively another delicate work of Thompson (Café, 1976).

Just before the bedroom, the double bathroom with bath, shower and storage recalls unequivocally the mineral and contrasting notes of the neighboring kitchen.

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Finally, opposite the apartment, a second large guest room, with a discreet dressing room and furnished, is used in reading room and television.

Decorative thread of the places, the treatment of the mural color sports the deep shade of the Mediterranean resinous or the aquatic imaginary (depending on our sensibility) in a mosaic of photographic and artistic portraits.

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Pierre-François Garcier et sa galerie d’art

In an interior like that of Turgot, the volume of rooms, the spatial layout, the color treatment gives a lot to see the temperament of the owners. And the paintings that are there too.

As such, paintings are "a sensitive and silent beacon of the most confidential places" as Klee said. In front of the two paintings of Thompson discovered here, focus on Pierre-François Garcier, inhabitant of the district like the owners of Turgot, and whose gallery in the 8th district proposes the most beautiful collection of his works.

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The Pierre-Francois Garcier Gallery was born from the desire to create an intimate, accessible and friendly space, where friends, former clients and new followers he advises and accompanies in their collection can come and discuss around paintings, drawings and sculptures in a a place that simply welcomes them.

It is in a beautiful Haussmanian apartment with clear walls and suitable for hanging works that Pierre-François Garcier has managed to recreate this place of sharing and discovery of modern art.

After studying law, he formed his taste at Sotheby’s, then Christie’s, and finally with an antique dealer of the prestigious Rive Gauche square, quai Voltaire, in Paris. He decided to start in 2004 as a merchant and independent broker. He began to buy workshop funds, and specialized in post-war schools in Paris and Lyons.

He gathers funds and works Jean Coulot, Philibert Charrin, Alexander Garbell. He does not forget the post-war abstract painting by presenting the work of René Roche, selected here and below. The Swedish painter Gustav Bolin, making the perfect link between figuration and abstraction, is also permanently exposed to the gallery.

 

 

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But it is around Michel Thompson that he constitutes an important fund permanently visible and which covers the entire career of the artist.His gallery is an opportunity to rediscover the career of this artist who, spotted by Aimé Maeght in 1946, was one of the major actors of Figuration in the 1950s.

Active until his death in 2007, Michel Thompson is today honored through several publications on the Hive and Young Paintings group.A few glasses, a fork, a bottle, all suddenly animated by a bright and vibrant element. these are the recurring motifs of Michel Thompson’s work. Opposite is a fragment of Café, 1976, a painting hanging on Turgot.

Open to the intersection of collective intelligences, he collaborates in the feature film “Un Illustre Inconnu” with Mathieu Kassovitz, directed by Matthieu Delaporte, by renting 25 works by artists from the gallery for the sets of the film.

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