What was Yvon Lambert was for me hermetic

Didier Grumbach is one of the world of fashion gurus. The President of the Union of French couture fell early in the crucible. The nephew of Pierre Mendès France was already twenty-three years as General Director of a family group, Mendès, which manufactured the apparel for brands such as sandstone. The remainder of the adventure was the Presidency of Yves Saint Laurent United States and that of the House of Thierry Mugler. The man is elegant in its appearance as in his own way to express themselves. It is rather discreet and sensitive but without too the reveal. "I have led a very young company and it made me want to see something else in the field of art." Home appreciated rather old Flemish painters, Louis XVI furniture or porcelain and until then I had no critical mind in this regard. But of course, when it opens in the world, are beginning to look for something else. It find its autonomy.

Whether she will be offered by a young virtually unknown Gallery, today one of the references in the field, Yvon Lambert. Both are young and in search of new horizons. In art, Didier Grumbach appreciates the idea to be guided by initiates. "For me, the merchant is the catalyst." I also met little artists directly, apart from Miguel Barcelo. "His first purchase date from 1965, Yvon Lambert, then installed rue de Seine. He acquired a piece of a French conceptual artist today tends to be rediscovered, Malaval (1). "In the first time a collection, the belief of the galleries for artists they advocate is a major element in their own artistic choices."

Didier Grumbach buys slowly. "I am not compulsive." What was Yvon Lambert was for me hermetic. It took me at least ten years to accept the work of Cy Twombly (2). "Among the privileged interlocutors, there was also the art dealer Jean Fournier, who died last March, who defended painters such as French Hantaï or the American Joan Mitchell. "He could convince you, because the emotion he felt was really physical." It the transmitted you. It was a drug dealer. He sold in a traditional manner out tables each turn. When he was at the top of to give you a canvas of Hantaï, for example, it was difficult to escape.

Didier Grumbach also refers the couple of the during-Dessert Gallery specialists owners of conceptual art, now removed. "They were not selling." Should feel alone, a kind of meteoric vision or not. This impression is that, during moments, believed that artwork from itself is absolutely brilliant.

"Every Saturday, for years, I did galleries." There is nothing more pleasant. I was exposed to the temptation, but I didn't have to buy rage. This makes almost despite myself. "That said, in the fashion as art, it was guided by the quest for the unpublished. "It is there that the two areas converge." It is constantly seeking opening, surprises, innovations.

Didier Grumbach does not hide his attachment to a now derelict conceptual French painting of the market. "Jean-Pierre Pincemin for example, which I have several works, was very interesting." He was of the nobility. And Malaval, who showed his excellence on the duration or Viallat. I can't think that all these French artists of the period of the Supports/Surfaces movement will not rediscovering and estimated fair value.

But the collector appreciates very different proposals. Since 1965, it elected works now have an international audience. This is of course the case of the American Cy Twombly. "At the time of the acquisition of the Twombly, I was still very conservative." But, over time, it is impossible to understand a very good artist.

Since 1978, he purchased at Dessert during a piece of Arte Povera of Italian Mario Merz, still not popular in the market. "Her conceptual approach is very mature and his work is pleasant to watch."

He discovered the Spanish Miguel Barcelo, one of the stars of the current European painting at Leo Castelli in New York. Very early on, he also notes Ernesto Neto, the author of giant, whimsical and sensual facilities, currently exhibited at the Pantheon in Paris.

In his Office, a pan of entire wall is occupied by a painting of Fabrice Hybert, that the artist had designed for the Venice Biennale in 1997. It is composed in bulk, a calendar, drawings or words then posed as to give material for reflection. One of them is: "overexposure." A concept which should not remain indifferent to the patron of Paris fashion shows. But miraculously, in art, it does not care for the vogues. He keeps in mind the charm of the first moment and says nothing to sell its acquisitions if different. "The more difficult it is hooking, this way to make coexist different worlds at home."

A piece is however out of class. It is a monumental bronze by artist Erik Dietman (3), purchased after his disappearance in 2002, and that he has placed in the garden of his house. "" The brother of God"is a character in bronze with patina green, misshapen, strange but very generous," explains the collector. "It in is a great strength." "To hold together a sculpture with an oak it is not easy", concludes Didier Grumbach, always sensitive to the look of a whole, with the elegance in short.