I can still remember, as it were yesterday…

…the first time I met Robert Helman in his Montparnasse studio. As I entered the gardens at 45 Rue Boissonade, I found myself surrounded by century-old trees and glimpses of the windows of artists’ studios. I was accompanied by birdsong. What a poetic place! On the threshold of a studio stood a handsome man with a white mane and intense, kindly eyes. He opened his arms to welcome me as his daughter.1

Inside, the canvases were neatly arranged, and a few exhibition posters lined the walls; there were brushes bathing in jars that smelled of turpentine and tubes of colour heaped haphazardly on the workbench, with palettes and spatulas piled high. One painting in particular on the large easel caught my eye. The painter gave me a chance to get to grips with the work. It was a forest, predominantly in orange, a symphony of colours. The firm, decisive brushstrokes had formed a sensual paste of intertwining trunks and branches bathed in a soft, spring light. The longer I looked at the piece, the more it took hold of me, transporting me into a poetic and penetrating world. The silent dialogue that took shape between Robert Helman, his painting and me created a magical moment that I will never forget. Seeing my emotional response, he broke the silence and gifted me the painting. The work has never left me and never will. It has become part of my life.

Today, fortunate as I am to live surrounded by Robert Helman’s works, my sense of wonder has only naturally been extended by the Catalogue Raisonné of his work, which I began writing a few years ago. Every day, I consider the richness of his pictorial universe as I discover new paintings from all four corners of the world, appearing at the whim of a sale or from collectors making themselves known. I observe the constancy with which Robert Helman committed himself body and soul to a well-thought-through pictorial project, the culmination of which was the creation of a personal cosmogony

1 – I became part of Robert Helman’s family when I married his son, the director and screenwriter Henri Helman.

The more I learn about his work, the more I realise the incredible connection between the artist and his art. It is a work in perpetual motion, as was the life of this man of action. For although Robert Helman lived a great deal in his studio, he did not pick up his paintbrushes every day. This handsome man, who was gifted with a wild sense of energy, lived life to the full, frequenting the most diverse circles. He did not content himself with just meeting up with painter friends at the Coupole or at the Dôme in Montparnasse. He was just as fond of exchanging ideas with his poet, writer and philosopher friends in the Latin Quarter as he was spending evenings at Castel or on Rue Saint-Benoit in Saint-Germain-des-Près. A man of both East and West, Robert Helman spoke eight languages and travelled widely, meeting famous foreign critics, dealers and collectors and thus creating the conditions for his work to be exhibited in every corner of the globe.

The genesis of the world is the matrix of his work. His Imaginary Landscapes of Genesis form a coherent whole, made up of Germinations, Branches, Roots, Trees, Forests, Flights and Suns, telluric spaces in which he would sometimes place symbolic figures (such as the dancer, the musician, the prophet, the couple in love, or the woman and child). Some critics use the term “series”, but I find it somewhat reductive when talking about Helman; his work is more a question of “cycles”, a term that suggests a notion of creation in the process of “becoming”. While working on the Catalogue Raisonné, I have observed how certain works, which I call “transition” pieces, show how Robert Helman moves from one theme to another, one cycle to another.

The painter, who revisited his themes throughout his life, constantly renewed his interpretation of the subject, each canvas enriching the one before it. He would sometimes take a detail from an earlier painting and turn it into the essential element of a new cycle, ensuring the continuity of his cosmogony. As such, he constructed a lyrical universe that was unique to him, to which he remained true. He never deviated from his original project.

As so, as more paintings are added to the Catalogue Raisonné, the sincerity that forms the foundation of this vast cosmogony becomes ever more apparent, as does the overall coherence that demonstrates the loyalty of the artist to his project. The unity of his work across an exceptional range of compositions says something to us, it is never the same painting, never the same emotion; the markings are always new and unexpected, and the colours are always charged with a potent sense of lyrical power. The vital force of the work brings us back to the man. Sometimes, when I am bent over examining a painting in the midst of my painstaking archiving work, I see Robert Helman again in his studio, standing in front of his easel (he always painted standing up). The white canvas would come to life under his brush, and he would tell me where he had started from and where he wanted to get to, why he had chosen a particular medium or a particular colour… Then, in the silence that took hold, a dialogue would develop between the work and its creator, a miracle that I would witness with great emotion. His words and those precious moments still guide me today. In my eyes, Robert Helman lives up to Elie Faure’s wonderful definition of the artist: “The artist recounts man to us, and, through him, the universe. He goes beyond the moment, he lengthens the duration of time, he widens the comprehension of man, and extends the life and limit of the universe. He fixes moving eternity in its momentary form.”2

Isabelle Helman, daughter-in-law of the artist
President of the Robert Helman Archives
Author of the Catalogue Raisonné

2 – Elie Faure, Histoire de l’art, Vol. 1 L’art antique [History of Art, Vol. 1, Ancient Art], D’Histoire et d’art, Paris, Plon, 1939, p. 6

“When I paint a tree, a branch, flight, the forest, the human figure, all things that cannot be made in a factory, all things that are not manufactured, all of that fascinates me. It is in that place that I find a spiritual field in which I resonate, in which I surpass myself, and in which I can give expression to a certain poetry.”

This is how the painter Robert Helman described the themes that punctuate his work. He was interested in living elements and sought to capture the essence of nature. He expressed the urgent need for a new relationship with the world, for a state of osmosis between humankind and its environment. His work is universal: “Take a detail and try to give it the power of generality. That is the secret, the essential rule of my painting.”

Robert Helman’s work is structured around a series of defining themes that run through his entire creative output. They give rise to one another, overlapping and melding into each other. Each theme is all encompassing, transcending time, techniques and media. The artist used oils, acrylics, gouache, pastels, and more, also exploring stained glass, tapestry and metal. Helman particularly appreciated living materials that echoed his own themes. In his own words: “I turned to tapestry at a certain point because wool is a warm, living element that comes from animals. If I paint on tree bark, it is because it is yet another material that has lived. I have this need for life, for a kind of life that vibrates.”

This exhibition, titled after an expression by Jean Cocteau about Robert Helman, invites the viewer on a journey through the painter’s work, examining its themes with a view to capturing its richness and harmony.

Mathilde Gubanski
Diane de Polignac Gallery, Paris

GENESIS

The seminal cycle of Robert Helman’s work was the Genesis series, which the artist began in 1945, on his return to Paris after a period of exile in Barcelona. As Helman explained to his friend Max-Pol Fouchet, “It means to give birth. The creation of the world.” For this cycle, the artist kept his Spanish palette: “I worked, and I still work, with the palette of Velázquez, i.e. the seven colours (…). In general, I used earth tones, red earth tones, ochre tones and broken earth tones, so as not to use hard, metallic colours.”

Helman painted the rebirth of the world after the trauma of war. These Genesis works are organic masses, shifting forms of magma that cannot be stopped by anything. They are the very substance of the world, in a perpetual state of becoming: “It is the process of life.” The Genesis paintings depict an original fusion, a marriage of the “reveries of the earth with the reveries of fire”, as Gaston Bachelard once put it.

ROBERT HELMAN
(1910-1990)

ROBERT HELMAN: FROM CHILDHOOD IN ROMANIA TO STUDIES IN PARIS
Robert Helman was born on 9 February 1910 in Galati, Romania, where the Danube joins the Black Sea. His mother, meanwhile, was the president of an orphanage. She played a key role in his education, first hiring a violin teacher for her son – who showed no interest in music – and then an art teacher to give instruction in drawing and painting, lessons that would spark a real passion in the child.

Helman, who had been immersed in French culture through childhood, obtained his baccalaureate at the age of 17, at which point he expressed a desire to go to France for a university education. Quotas had been introduced in Romania at that time limiting the number of Jews that could be admitted to universities in the country. Helman’s parents accepted his decision on the condition that he studied law or medicine, which he did, enrolling at the Faculty of Law on his arrival in Paris in July 1927. The young student quickly became an activist, developing close connections with Trotskyist students such as the future writer and editor Maurice Nadeau, whose portrait Helman would later paint.

Robert Helman graduated with a law degree in 1931. During a trip back to his hometown, the young graduate met Zéna Jolles, who was also a student in Paris. Back in the French capital, they campaigned for political causes together, engaging in lengthy discussions about the Spanish war and the rise of Nazism in Germany. Zéna and Robert married in Romania in 1936, after which they returned to Paris where the latter worked for some time as a lawyer.

ROBERT HELMAN’S EXILE IN BARCELONA
In September 1939, Robert Helman volunteered for the French Army but was not enlisted because he was a Romanian citizen. Thanks to their connections with Trotskyist circles, Zéna and Robert were warned in advance of Hitler’s offensive in France and decided to leave Paris immediately to take refuge in Barcelona. The couple were able to cross the border with the help of false baptismal certificates obtained from the parish priest of the Saint-Germain-des-Prés church in Paris.

The couple found themselves destitute and had to sell their personal possessions and wedding rings. It was particularly difficult for them to find work because neither Zéna nor Robert could speak Spanish. Zéna found a job as an assistant in a hospital nonetheless, while Robert had to take on casual work waiting tables and delivering goods, among other odd jobs, despite his law degree. The couple met many refugees
in Barcelona who were settling in Spain or travelling to Portugal or South America. Just as it had during the First World War, Barcelona welcomed many European artists during this period. It was in this climate that Robert Helman began experimenting with painting. Looking for work, he entered a cobbler’s shop to make inquiries. The cobbler asked him what he liked to do, and Helman replied that he liked to paint but had no money for materials. The cobbler gave him some money and commissioned him to create a work of art. Helman painted a still life of flowers, which the cobbler immediately sold for twice the amount given to the artist. As the artist recalled, “That was the beginning of my career as a painter.”

An excellent portrait painter, Robert Helman thus began to earn a living in Barcelona through his painting. He met the painter Jaime A. Colson, a professor at the Barcelona School of Fine Arts, who taught him fresco techniques and invited him to join the artists’ collective “Los artistas de la Campana de San Gervasio”. The group, which took its name from the café where its members met, included the artists Joan Vilató and Josep Vilató (nephews of Pablo Picasso), Joan Ponç, Antoni Tápies, Modest Cuixart, José María de Sucre and the poet Joan Brossa, as well as the art critic Arnau Puig. In 1945, Helman’s work was shown for the first time in Barcelona in several galleries. The artist had his first solo exhibition in the city at the Galerias Pictoria in November.

THE PAINTER’S RETURN TO PARIS
After the Liberation of France, Zéna and Robert Helman returned to Paris, where the latter devoted himself entirely to painting. Robert moved into the former studio of a friend – the painter Emmanuel Mané-Katz, whom he had met in Barcelona –, taking up residence at 255 Boulevard Raspail in Paris’ Montparnasse district. Zéna Helman, meanwhile, joined Professor Henri Wallon’s child psychobiology team. The
couple had lost many friends during the war but were reunited with the publisher Maurice Nadeau, who wrote texts for Robert’s exhibitions. The couple’s son Henri was born in 1947. That year, Robert Helman had solo exhibitions in Paris at the Galerie Berri-Raspail and in Algeria at the Galerie Alsace-Lorraine in Oran and the Galerie Le Nombre d’Or in Algiers.

The year 1948 was marked by a number of important encounters for Robert Helman, who met the Spanish painters Óscar Domínguez and Antoni Clavé as well as the Romanian painter Victor Brauner and the French-Algerian painter Jean-Michel Atlan. This community of artists met at Le Dôme, La Coupole, Le Select, and other cafés in the French capital, which was playing host to numerous foreign artists at the time. That year, Robert Helman exhibited several times at the Galerie Breteau, notably alongside Jean-Michel Atlan, Pierre Soulages, Hans Hartung, Óscar Domínguez and
Henri Goetz, among others.

In 1949, Robert Helman and Emmanuel Mané-Katz created a mural – The Tree, 1.30 x 2.10 m – for the Botanical Library in Netanya, Israel. Robert Helman then moved to Saint-Paul-de-Vence in the south of France, where he became friends with the poet André Verdet. The painter only stayed there for eight months, prevented from painting, he said, by the light of the south.

Zéna and Robert Helman became naturalised French citizens on 15 July 1950. Zéna joined the French National Centre for Scientific Research as a research associate at the Hôpital Sainte-Anne in the electroencephalography department..

ROBERT HELMAN’S PIVOTAL ENCOUNTERS AS AN ARTIST
Robert Helman’s first monograph was published in 1951 by Les Gémeaux as part of a collection entitled “Les Artistes du temps présent” written by Jean Bouret. In 1952, the painter met the Italian art critic Giuseppe Marchiori who organised a solo exhibition for him at the Galleria Sandri in Venice.

Robert Helman and his son Henri travelled to Canada in 1953. Robert’s parents had moved there after the war and the artist wanted to be with his father, who was undergoing an operation at the time. In Montreal, Robert met the collectors Romeck and Lorette Shefner, who would acquire many of Robert Helman’s works over the next thirty years, creating the largest body of his work in Canada. The painter also had numerous solo exhibitions in Canada.

Robert Helman met Alexander and Stella Margulies in 1955 through his friend Emmanuel Mané-Katz. The prominent London collectors would make annual acquisitions of Robert’s work for more than fifteen years. In the same year, Robert Helman participated in the Salon de Mai and took part in group exhibitions at the Galerie Charpentier and Galerie 73 in Paris. Jean Cocteau – a friend of the artist – bought one of his works, saying: “Your canvas is a landscape where nature and the mind have intimately entwined their essential rhythms.” Robert Helman also met the gallery owner Henri Bénézit, who showed his work on many occasions.

In 1958, Robert Helman moved into the former studio of his friend, the painter Óscar Domínguez, at 83 Boulevard du Montparnasse. During the same period, he became friends with the art critic Pierre Restany, who helped to promote his work in France and Italy. In October 1959, Robert Helman’s second monograph was published by Georges Fall as part of a collection entitled “Le musée de poche” written by Philippe Soupault. The Tate Gallery in London acquired a work by Robert Helman in that same year.

In 1961, Robert Helman met the dealer Gualtieri di San Lazzaro, who would become a friend and show his work at the Galerie du XXème Siècle. The dealer Beno d’Incelli showed Helman’s artwork many times at his Paris gallery from 1962 onwards, alongside works by Jean Dubuffet, Jean Fautrier, André Lanskoy and Serge Poliakoff. In 1963, the artist developed a relationship with Jean Bauchet, the owner of the Moulin-Rouge and several casinos. An art connoisseur, Bauchet built up the largest collection of Robert Helman’s work in France. Helman also met Harrison and Sonia Eiteljorg – American patrons of the arts whose collection would form the Indianapolis Museum of Art – who acquired many of the painter’s works. From 1964 onwards, the painter’s artworks were regularly exhibited at the Galerie Renée Laporte alongside works by artists such as Olivier Debré, Ladislas Kijno, André Marfaing and Joseph Sima.

THE ARTIST’S STUDIO IN CHAMPAGNE
In 1962, Robert Helman visited the Champagne region of France with his friend, the painter Albert Bitran, who wanted to buy a house there. Helman fell in love with the forest of Othe, which reminded him of landscapes from his childhood on the banks of the Danube. He bought a property in the region, which became his summer studio and then his main residence towards the end of his life.

In 1966, Helman met the art dealer Allan Rich who invited him to participate in the opening of his new gallery – the Stewart-Verde Gallery – in San Francisco. Robert Helman then travelled to Mexico where he discovered wood bark paper, the ideal material for an artist inspired by nature and the forest in particular. He brought a hundred leaves of bark paper back to France and used them for a series of works on trees.

Robert Helman then moved into the former studio of the painter Antoni Clavé at 45 Rue Boissonade – in the 14th arrondissement of the French capital – which he occupied until the end of his life. He left his  former Paris studio at 83 Boulevard du Montparnasse to his son Henri, who was then a film student at the Louis-Lumière film school.

In 1969, the Museum of Modern Art in Tel Aviv dedicated a retrospective exhibition to Helman’s work with a catalogue containing texts by Philippe Soupault, Jacques Lassaigne, Giuseppe Marchiori, Georges Boudaille and Pierre Restany. During this stay in Israel, the artist created a series of tapestries which he exhibited in New York at the Greer Gallery in 1972. Helman created a second series of tapestries in 1973 at the Aubusson tapestry workshop.

In 1975, a third monograph devoted to Helman and written by Max-Pol Fouchet was published by Cercle d’Art. In 1981, the artist met the German gallery owner Wolfgang Gunther who gave him the opportunity to exhibit his work regularly in Germany for many years. In 1983, Robert Helman had his first major retrospective exhibition at the Orangerie de Bagatelle in Paris, organised by Françoise Marquet, curator at the Musée d’Art Moderne in Paris.

Robert Helman lost his left eye while opening a bottle of champagne at the age of 73 in 1983. Greatly impaired by the surgical procedures that followed, the artist resumed painting a few months later – once again depicting suns, a theme of his early works. In 1987, the painter received the art historian Lydia Harambourg at his studio as she was preparing her Dictionnaire des peintres de l’École de Paris, which was published in 1993.

In 1988, Robert Helman took up permanent residence in his house in Champagne, where he created metal sculptures that were then exhibited at the Galerie Michèle Heyraud and the Galerie La Pochade in Paris. The following year, Helman signed a contract with the Galerie Eterso in Cannes, which bought some of his artworks and showed them alongside works by Olivier Debré, Hans Hartung and Gérard Schneider. On 9 February 1990, the artist Robert Helman celebrated his 80th birthday at the Fondation Cartier pour l’Art Contemporain at the invitation of the foundation’s director Marie-Claude Beaud. Robert Helman died on 7 November 1990 at his home in Champagne, France.

SELECTED COLLECTIONS
Cagnes-sur-Mer, France, Château-Musée
Carros, France, Centre international d’art contemporain
Chiasso, Suisse, Spazio Officina – Max Museo
Colmar, France, Musée Unterlinden
Dijon, France, Musée des beaux-arts
Indianapolis IN, États-Unis, Indianapolis Museum of Art
Jérusalem, Israël, Musée d’Israël
Londres, Royaume-Uni, Ben Uri Gallery and Museum
Londres, Royaume-Uni, Tate Modern Gallery
Paris, France, Fonds d’art contemporain – Paris collection
Paris, France, Fonds national d’art contemporain
Paris, France, Musée d’art moderne de Paris
Paris, France, Musée national d’art moderne – Centre Pompidou
Sens, France, Musées de Sens
Stuttgart, Allemagne, Stadtmuseum
Tel-Aviv, Israël, Musée d’art moderne
Troyes, France, Musée d’art moderne
Turin, Italie, Galleria Civica d’Arte moderna e contemporanea

SELECTED EXHIBITIONS
Exposition de groupe, Bayon, Rutta Block de Rosenstingl, Calderon, E. Castells, J. Colson, M. Fargas, Fret, Gabino, Grandara, Helman, Hubert Vallmitjana, J.O. Jansana, T. Kurimoto, Olive Busquets, Sanjuan, José M. de Sucre, Galerias Reig, Barcelone, Espagne, 1945
Exposition personnelle, Galerias Pictoria, Barcelone, Espagne, 1945
Exposition personnelle, Galerie Berri-Raspail, Paris, France, 1947
Exposition personnelle, Galerie Alsace-Lorraine, Oran, Algérie, 1947
Exposition personnelle, Galerie Le Nombre d’or, Alger, Algérie, 1947
Exposition personnelle, Galerie Breteau, Paris, France, 1948
Exposition de groupe, Les Six Jours, Atlan, Boumeester, Smadja, Soulages, Bertholle, Beyer, Le Moal, Manessier, Bott, Dominguez, Hartung, Picasso, Guita, Goetz, Loubchansky, Shoffer, Helman, Moisset, Parra, Vanier, Jacobsen, Gilioli, Leleu, Étienne-Martin, Galerie Breteau, Paris, France, 1948
Exposition personnelle, Galerie Colline, Oran, Algérie, 1948
Exposition personnelle, Galerie Louis Manteau, Bruxelles, Belgique, 1949
Exposition personnelle d’aquarelles, Galerie Mouradian et Valloton, Paris, France, 1952
Exposition personnelle, Incontro con Robert Helman, Galleria Sandri, Venise, Italie, 1952
Exposition personnelle, Galerie Agnès Lefort, Montréal, Canada, 1954
Exposition personnelle, Galerie Elisabeth Nelson, Chicago IL, États-Unis, 1954
Artistes d’aujourd’hui : Évolution, Musée d’art moderne de la ville de Paris, Paris, France, 1955
Exposition de groupe, L’École de Paris, Galerie Charpentier, Paris, France, 1955
Exposition de groupe, Aïzpiri, Beaulieu, Calmettes, Clavé, Condoy, Cortot, Dominguez, Nita Flores, Helman, Galerie 73, Paris, France, 1955
Exposition personnelle, Galerie Octobon, Saint-Paul-de-Vence, France, 1955
Exposition personnelle, Galerie Henri Bénézit, Paris, France, 1955, 1957
Exposition de groupe, Atlan, Chapoval, Garbell, Janson, Helman, Lanskoy, Pichette, Tal Coat, Galerie Henri Bénézit, Paris, France, 1956-1957
Exposition de groupe, Henri Bénézit et Éraste Touraou présentent : Atlan, Chapoval, Helman, Lanskoy, Pichette, Tal Coat, Galerie Ex-Libris, Bruxelles, Belgique, 1957
Exposition de groupe, Galerie Dina Vierny, Paris, France, 1957
Exposition de groupe, Anthoons, Chapoval, Chavignier, Corneille, Doucet, Garbell, Guitet, Helman, Pichette, Sugaï, Galerie Muratore, Nice, France, 1957
Exposition de groupe, Atlan, Chapoval, Garbell, Janson, Pichette, Caillaud, Duault, Helman, Lanskoy, Tal Coat, André Verdet, Galerie Sous-Barri, Saint-Paul-de-Vence, France, 1957
Exposition de groupe, Artistes juifs contemporains de France, Atlan, Chagall, Mané-Katz, Michonze, Zack, Helman, Ben Uri Gallery, Londres, Royaume-Uni, 1957
Exposition personnelle, Galleria Apollinaire, Milan, Italie, 1958
Exposition personnelle, Galleria Blu, Milan, Italie, 1958
Exposition personnelle, Nicole Gallery, New York NY, États-Unis, 1958
Mostra Internazionale de Pittura – XI Primo Lissone 1959 (Exposition internationale de Peinture – XI Primo Lissone), Museo Del Premio Lissone, Lissone, Italie, 1959
Exposition personnelle d’encre, gouaches et dessins, La Hune, librairie-galerie, Paris, France, 1959
Exposition de groupe, L’École de Paris : cinq critiques désignent sept artistes, Buffet, Pignon, Masson, Istrati, Helman, Galerie Charpentier, Paris, France, 1959
Exposition de groupe, Sept peintres de l’École de Paris, Adamoff, Helman, Abidine, Arbas, Lan-Bar, Orazi, Klieman, Galerie Pego’s, Montréal, Canada, 1960
Exposition personnelle, Nicole Gallery, New York NY, États-Unis, 1960
Exposition itinérante à travers le Royaume-Uni, (The Towner Art Gallery, Eastbourne ; The ArtGallery, Southampton ; The National Museum of Wales, Cardiff ; The Art Gallery, Aberdeen ; The Kelvingrove Art Gallery and Museum, Glasgow ; The Ferens Art Gallery, Kingston-upon-Hall ; The City Museum & Art Gallery, Birmingham ; The Walker Art Gallery, Liverpool) organisée par le Arts Council, The Margulies Collection: New Paintings From Paris, Royaume-Uni, 1960-1961

Exposition de groupe, Bellegarde, Halpern, Helman, Krajcberg, Orazi, Cave-Galerie Jeanne Fillon, Paris, France, 1961
Exposition personnelle, Galerie du XXe siècle, Paris, France, 1961
Exposition personnelle, La Forêt, Galleria Blu, Milan, Italie, 1961
Exposition de groupe, Galerie Jacques Martin, Saint-Paul-de-Vence, France, 1961
Exposition personnelle, Galerie Parti-Pris, Grenoble, France, 1961
Exposition de groupe, Exposition des artistes de la galerie : Atlan, Dubuffet, Fautrier, Helman, Lanskoy, Maryan, Messagier, Poliakoff, Rebeyrolle, Riopelle, Tal Coat, Wols, Galerie Beno d’Incelli, Paris, France, 1962
Exposition de groupe, La Collezione di un Bambino, Galleria Il Traghetto, Venise, Italie, 1962
Exposition itinérante, Exhibition of recent acquisitions, seventh collection 1962 Prior to dispatch to Israel, Ben Uri Gallery, Londres, Royaume-Uni, Musée de Tel-Aviv, Tel-Aviv, Israël, 1962
Exposition personnelle, La Forêt, Galleria Il Canale, Venise, Italie, 1962
Exposition de groupe, Helman, Music, Pignon Poliakoff, Galerie II Centro, Naples, Italie, 1962
Exposition de groupe, Aïzpini, Beaulieu, Calmettes, Clavé, Condoy, Cortot, Dominguez, Flores, Nita Flores, Helman, Enriguez, Labasgue, Mané-Katz, Newman, Peinado, Elsa Pelayo, Tejero, Vines, Wogensky, Taborda, Galerie 73, Paris, France, 1962
Mostra Mercato Nazionale d’Arte Contemporanea (Exposition nationale d’art contemporain), Palazzio Strozzi, Florence, Italie, 1963
Exposition personnelle, Galleria Il Centro, Naples, Italie, 1963
Exposition personnelle, Robert Helman, Jardins et Forêts, Casino du Liban, Beyrouth, Liban, 1963
Exposition personnelle, La Forêt, Galerie Cavalero, Cannes, France, 1963
Exposition personnelle, Galerie Hilt, Bâle, Suisse, 1963
Exposition de groupe, Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis IN, États-Unis, 1964
Exposition personnelle, Galerie Lutz et Meyer, Stuttgart, Allemagne, 1964
Exposition de groupe, Caillaud, Chavignier, Clavé, Dumitresco, Helman, Istrati, Galerie Beno d’Incelli, Paris, France, 1964
Exposition personnelle, La Sala Gaspar, Barcelone, Espagne, 1964
Exposition personnelle, Galerie Beno d’Incelli, Paris, France, 1965, 1968, 1972
Exposition personnelle, Galerie Stewart-Verde, San Francisco CA, États-Unis, 1966
Exposition personnelle, Musée municipal de Saint-Paul-de-Vence, France, 1967
Exposition de groupe, Robert Helman et Marcello Avenalli, Galleria Santa Maria, Rome, Italie, 1967
Exposition personnelle, L’Entracte, Lausanne, Suisse, 1969
Exposition personnelle, Musée d’art moderne, Tel-Aviv, Israël, 1969
Exposition de groupe, Présence européenne, Galleria La Bussola, Turin, Italie, 1971
Exposition de groupe, Pintores de Paris, Bryen, Dufy, Fautrier, Helman, landskoy, Pignon, Vieira da Silva, Ateneu commercial do Porto, Galeria Dinastia Lisbonne, Galeria Alvarez , Porto, Portugal, 1971
Exposition de groupe, Un peintre Robert Helman (peintures et tapisseries), un sculpteur Nardo Dunchi (marbres), Allan Rich Gallery, New York NY et Greer Gallery, New York NY, États-Unis, 1972
Exposition personnelle, Galleria Procolo, Castellana Grotte, Italie, 1972
Exposition personnelle, Peintures et tapisseries sur le thème de la forêt : 1957-1972, Château-Musée, Cagnes-sur-Mer, France, 1973
Exposition personnelle, Galleria La Seggiola, Salerne, Italie, 1973
Exposition personnelle, Robert Helman : Peintures et Gouaches, Galerie Albert Verbeke, Paris, France, 1974
Exposition personnelle, Robert Helman : Tapisseries et Écorces, Galerie Jacques Verrière, Paris, France, 1974
Exposition personnelle, Kar Gallery, Toronto, Canada, 1974
Exposition personnelle, Galleria Interarte, Gênes, Italie, 1974
10th Exhibition of Anglo-French Contemporary Portraiture, Ben Uri Gallery, Londres, Royaume-Uni, 1974
Exposition personnelle, Robert Helman, Galerie Sapone, Nice, France, 1974
Exposition personnelle, Helman, Galerie la Seggoli, Salerne, Italie, 1974
Exposition personnelle, Musée de l’Outil, Troyes, France, 1975
Maestri contemporanei : Appel, Brindisi, Calabria, Cassinari, Corneille, Dorazio, Guerricchio, Guttuso, Hartung, Helman, Lam, Migneco, Treccani, Vespignani, Galleria La Seggiola, Salerne, Italie, 1975
Exposition personnelle, Galerie Albert Verbeke, Paris, France, 1975
Exposition personnelle, Galerie Frédéric Gollong, Saint-Paul-de-Vence, France, 1975
Exposition itinérante, Trente créateurs, Sélection 76, Trente créateurs d’aujourd’hui pour comprendre l’art qui se fait, Galerie Convergence, Nantes, Galerie Expression – Claude Bollak, Strasbourg, Galerie Cimaise , Bourg-en-Bresse, Galerie Frédéric Gollong, Saint-Paul-de-Vence, Musée d’Avallon, Avallon, Musée de Melun, Melun, Centre Léonard de Vinci , Bordeaux, Galerie Protée, Toulouse, Galerie Yvon Gay, Honfleur, France, 1976-1977
Exposition personnelle de gravures et de gouaches, Artcurial, Paris, France, 1977
Exposition de groupe, Meubles Tableaux, Centre national d’art contemporain, Musée Beaubourg, Paris, France, 1977
Exposition personnelle, Galerie Gordon, Tel-Aviv, Israël, 1977
Exposition personnelle, Galleria Guglielmo Tell, Chiasso, Suisse, 1977
Exposition de groupe, Le paysage intérieur, aujourd’hui, Château de Vesvres, France, 1978
Exposition de groupe, Jewish Art : peintures et sculptures d’artistes juifs du XXe siècle de l’école française et britannique (Atlan, Zadkine, Soutine, Modigliani, Chagall, Helman), Kelvingrove Art Gallery and Museum, Glasgow, Écosse, 1979

Exposition personnelle, Figure humaine – peintures et écorces, Galerie Bellint, Paris, France, 1979
Exposition personnelle, Château de Mont-Saint-Jean, France, 1980
Exposition personnelle, Genèses, Galerias Rayuela, Madrid, Espagne, 1981
Exposition personnelle, Galerie Limmer, Fribourg, Allemagne, 1981, 1984, 1985, 1987, 1989
Exposition personnelle, Quatre Éléments, Galerie Siete Siete, Caracas, Venezuela, 1981
Exposition personnelle, Greer Gallery, New York NY, États-Unis, 1981
Exposition personnelle, Galerie Becher, Wuppertal, Allemagne, 1982, 1985
Exposition personnelle rétrospective, Helman – Peintures 1943-1983, Musée d’art moderne de Paris, Orangerie de Bagatelle, Paris, France, 1983
Exposition personnelle, Galerie Michèle Heyraud – Nadine Bresson, Paris, France, 1983, 1988
Exposition de groupe, Matisse, Picasso, Chagall, Fautrier, Bellmer, Dali, Karskaya, Fini, Helman, Galerie Scherer, Fribourg, Suisse, 1983
Exposition de groupe, Charles Estienne & l’Art à Paris 1945-1966, Centre national des arts plastiques, Paris, France, 1984
Exposition de groupe, Aspect de l’art en France de 1950 à 1980, collection de Christie et Lionel Cavalero, Musée Ingres, Montauban, France, 1985
70e anniversaire Picture Fair 1985, Ben Uri Art Society, Londres, Royaume-Uni, 1985
Exposition personnelle, Robert Helman, Paysages de Genèses, Galerie Mayanot, Jérusalem, Israël, 1986
Exposition personnelle, Galerie La Pochade, Paris, France, 1986, 1987, 1988
Exposition de groupe, Accrochage 50, Galerie Nickel-Odéon, Paris, France, 1986
Exposition de groupe, Propositions pour une collection de petits formats, Galerie La Pochade, Paris, France, 1988
Exposition personnelle, La Genèse de la Lumière, Palais des Congrès, Megève, France, 1988
Exposition de groupe, D’hier à aujourd’hui : Arnal, Doucet, Debré, Hartung, Helman, Schneider, Galerie Eterso, Cannes, France, 1989
Philippe Soupault, le voyageur magnétique, Centre des Expositions, Montreuil, France, 1989
Fonds national d’art contemporain : Acquisitions 1989, Fondation nationale des arts graphiques et plastiques, Paris, France, 1990
Exposition personnelle, Helman – 50 ans de peinture, Galerie Eterso, Cannes, France, 1990
Exposition personnelle, Hommage à Robert Helman, Galerie Duras-Martine Queval, Paris, France ; Galerie Valsyra Lausanne, Montreux, Suisse ; Galerie Eterso, Cannes, France, 1991
Exposition personnelle rétrospective, Helman 1910-1990, peintures et sculptures, Musée d’art moderne, Troyes, France, 1994
Exposition personnelle, Galerie Nicolas Deman, Paris, France, 2000
Exposition personnelle, Robert Helman – Paysages imaginaires de la Genèse, Musée Unterlinden, Colmar, France, 2007
Exposition personnelle, Galerie 53, Paris, France, 2007
Exposition personnelle, Robert Helman, Orangerie des Musées de Sens, Sens, France, 2010
Exposition personnelle, Galerie 53, Paris, France, 2010
Exposition collective, Gris…Ouverture sur la couleur, Asse, Bitran, Helman, Lindström, Arpad Szenes, Vieira da Silva…, Galerie 53, Paris, France, 2010
Exposition collective, La Lettre secrète, Helman, Karskaya, Vieira da Silva, Jan Voos.., Galerie de Buci, Paris, France, 2015
Exposition de groupe, Collections du musée, Musée Unterlinden, Colmar, France, 2016
Donazioni I. Percorsi della creatività dal Novecento al nuovo Millennio (Donation 1. Chemins de la créativité du XXe siècle au nouveau millénaire), Spazio Officina Max Museo, Chiasso, Suisse, 2016
Exposition collective, Orient Express… de Paris à Istanbul, Abidine, Dumitresco, Hantaï, Helman, Herold, Vasarely, Galerie Courtage, Paris, France, 2018
Exposition de groupe, Collection#1, Braque, Bran van Velde, Chagall, Fautrier, Helman, Landskoy, Moore, Picasso, Soulages…, Bibliotheca Wittockiana, Woluwe-Saint-Pierre, Belgique, 2019

Exposition collective, Le paysage imaginaire, Huguette Arthur Bertrand – Robert Helman, Galerie Diane de Polignac, Paris, France, 2022- 2023
Exposition personnelle, Robert Helman, la Genèse – Eternité en devenir, Galerie Diane de Polignac, Paris, France, 2023
Exposition de groupe, Symphonie en bleu, Gérard Schneider, Hans Hartung, Pierre Soulages, Georges Mathieu, Huguette Arthur Bertrand, Robert Helman, Marie Raymond, Sergio de Castro, Guy de Rougement, Pierre Fichet, Galerie Diane de Polignac, Paris, France, 2023 -2024
Exposition anniversaire, 170 ans ça se fête, Musée Unterlinden Colmar, Bryen, Helman, Poliakoff, Soulages, Verdier, Vieira da Silva…, Musée Unterlinden, Colmar, France, 2024
Exposition personnelle, Robert Helman – Les Rythmes essentiels de la vie, Genèses, Germinations, Forêts, Envols, Galerie Diane de Polignac, Paris, France, 2025

INTERNATIONAL ART FAIRS
Salon des Surindépendants Quatorzième exposition, Parc des expositions, France, 1947
Salon des peintres de leur temps : « Le dimanche », Musée d’art moderne de la ville de Paris, Paris, France, 1953
Salon de Mai, Paris, France, 1955, 1958, 1962, 1963
Mostra Internazionale de Pittura – XI Primo Lissone 1959, Museo Del Premio Lissone, Lissone, Italie, 1959
Mostra Mercato Nazionale d’Arte Contemporanea, Firenze Palazzo Strozzi, Florence, Italie, 1963
FIAC (Foire Internationale d’art contemporain), Galerie Verbeke, Paris, France, 1974, 1975
FIAC (Foire Internationale d’art contemporain), Galerie Michèle Heyraud – Nadine Bresson, Paris, France, 1983
Arte Fiera Bologna, Galleria La Seggiola, Bologne, Italie, 1978
Art Basel, Galerie Limmer, Bâle, Suisse, 1982, 1983, 1984, 1985, 1986, 1987
Querschnitt 83, (Foire d’Art internationale), Galerie Limmer, Fribourg, Allemagne, 1983
Lineart, (Foire d’art internationale), Galerie Eterso, Gand, Belgique, 1989
Art Elysées, Galerie 53, Paris, France, 2010 Moderne Art Fair, Galerie Faidherbe, Pavillon Ephémère Champs-Elysées, Paris, France, 2024

SELECTED BIBLIOGRAPY
MONOGRAPHIES
Jean Bouret, Helman, Paris, Les Gémeaux, coll. « Les artistes du temps présent », 1951
Philippe Soupault, Helman, Paris, Georges Fall, coll. « Le musée de poche », 1959
André Verdet, Forêts de Helman, Saint-Paul-de-Vence, Parler, 1961
Giuseppe Marchiori, Helman, Paris, Impriludes-Bernard Lucas, 1965
André Verdet, Vers une République du Soleil, Paris, Jean Oswald, 1968
Max-Pol Fouchet, Helman, Paris, Le Cercle d’art, 1975
Lydia Harambourg, Robert Helman, Musée Unterlinden, Paris, Somogy ed. d’art, 2007
Lydia Harambourg, Helman, Paris, Cercle d’Art, coll. « Découvrons l’art du XXe siècle », 2010
Robert Helman, Max Pol Fouchet, Clotilde Scordia (préf.), Entretiens Robert Helman – Max-Pol Fouchet, Paris, Editions Déclinaison, 2023

OUVRAGES COLLECTIFS
Jean Cassou, Les Peintres témoins de leur temps, Paris, Musée d’art moderne, 1953
Raymond Cogniat, L’Histoire de la peinture, Paris, Fernand Nathan, 1955
Raymond Nacenta, École de Paris, son histoire, son époque, Neuchâtel, Ides et Calendes, 1958
Pierre Restany, Lyrisme et Abstraction, Milan, Apollinaire, 1958
Luigi Malle, Il Dipinti della Galleria d’Arte Moderna catalogo, Turin, Museo Civico di Turino, 1968
Michel Ragon, Philippe Seuphor, L’art abstrait, 1939- 1970 en Europe, vol.3, Paris, Maeght, 1973
Ronald Alley, Catalogue of the Tate Gallery’s collection of modern art other than works by british artists, Londres, Tate Gallery & Sotheby Parke-Bernet, 1981

Jianou Ionel, Gabriela Carp, Anna Maria Covrig et Lionel Scantéyé, Romanian artists in the West, Los Angeles CA, American Romanian Academy of Arts and Sciences, 1986
Françoise Armengaud, Titres, entretien avec Robert Helman du 24 mars 1986, Paris, Méridiens Klincksieck, 1988
Lydia Harambourg, L’École de Paris, 1945-1965, Dictionnaire des peintres, Neuchâtel, Ides et Calendes, 1993
Emmanuel Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, Paris, Gründ, 2006

CATALOGUES ET ARTICLES
Jaime A. Colson, Helman Pinturas, cat. exp., Galeria Pictoria, Barcelone, 1945
Tristan La Rosa, « Helman en Galerias Pictoria », Arte y Artistas, Barcelone, 1945
Alberto Del Castillo, « Helman in Pictoria », Arte, Diaro de Barcelona, Barcelone, 14 novembre 1945
Soler, « Helman in Pictoria », Arte, Diaro de Barcelona, Barcelone, 1945
Maurice Nadeau, Helman, cat. exp., Galerie Berri-Raspail, Paris et Galerie Alsace-Lorraine, Oran, 1947
Georges Arout, « Robert Helman », Arts, Paris, 1948
René Guilly, « Helman », La Revue Internationale, Paris, 1947
Frédéric Delanglade, « De Maillol à Picasso », Les Lettres Françaises, Paris, 1947
La vie artistique : Une conférence de l’artiste Helman à la Galerie Alsace-Lorraine, Paris, 1947
Georges Boudaille, Helman, cat. exp., Galerie Breteau, Paris, 1948
Maximilien Gauthier, « Helman », Les Nouvelles Littéraires, Paris, 1948
Georges Turpin, « Helman », Le courrier des arts et des lettres, Paris, 4 juin 1948
Henri Schinezer, « Renouveau de l’art abstrait », Combat, Paris, 1948
Guy Dornand, « L’Offensive Helman », Franc-Tireur, Levallois-Perret, 1948
Pierre Descargues, Helman, cat. exp., Galerie Louis Manteau, Bruxelles, 1949
Giuseppe Marchiori, Incontro con Robert Helman, cat. exp., Galleria Sandri, Venise, 1952
Salon des peintres de leur temps, le Dimanche, cat. exp., Musée d’art moderne de la ville de Paris, Paris, 1953
Jean Cassou, Les peintres témoins de leur temps, Musée d’art moderne, Paris, 1953
Claude Lacombe, Une peinture lumineuse, Montréal, 1954
Claude Lacombe, « Robert Helman à la galerie Agnès Lefort », L’Autorité, Montréal, 16 janvier, 1954
Paul Gladu, Robert Helman ou le peintre aux soleils, Montréal, 1954
Paul Gladu, L’univers d’un homme, Chicago IL, 1954
Charles Doyon, Les Arts, L’Œil en Coulisse, Paris, 28 janvier 1954
Rodolphe de Repentigny, Lyrisme et plasticité se rejoignent chez Helman, 1954
« Une redécouverte de la couleur : l’œuvre de Robert Helman », L’Autorité, Montréal, 13 février, 1954
Marcelle Barthe, Entretien avec Agnès Lefort et Robert Helman, Radio-Canada, 1954
Jean Bouret, La jeune génération à la conquête de la peinture, 1955
Jean Bouret (préf.), Edouard Rodoti (intr.), Les artistes juifs contemporains de France, cat. exp., Ben Uri Gallery, Londres, 1957
Jacques Lassaigne, Pierre Restany, Mostra personale di Robert Helman, cat. exp., Galleria Apollinaire, Milan, 1958
Pierre Restany, Helman, ce Signifiant organique, cat. exp., Galleria Blu, Milan, 1958
Jean Bouret, L’Ecole de Paris, cat. exp., Galerie Charpentier, Paris, 1959
Giulio Carlo Argan (préf.), Francesco Santambrogio,
Guido Le Noci, Premio Lissone 1959, Mostra Internazionale di Pittura, cat. exp., Museo di Lissone, Lissone, 1959
Jean-François Chabrun, « L’école de Paris à la Galerie Charpentier : quarante-deux champions défendent leurs clubs », L’Express, Paris, 23 octobre, 1959
Denys Chevalier, « Robert Helman », France Observateur, Paris, 23 octobre 1959
Raymond Cogniat, « A la Galerie Charpentier, L’Ecole de Paris », Le Figaro, 16 oct. 1959

Fernande Saint-Martin, « Le public se méfie trop de ses goûts instinctifs », La Presse, Montréal, 19 mai, 1960
Denys Chevallier, « Robert Helman », XXe Siècle Nouvelle série, XXII année, Paris, 14 juin 1960
Giuseppe Marchiori, Helman, cat. exp., Galleria Blu, Milan,1961
André Verdet, Helman, Forêts, cat. expo. (1-31 mars 1961), Paris, Galerie XXe siècle, Paris, 1961
La peinture française d’aujourd’hui, Association des musées d’Israël, Israël, 1961-1962
Pierre Restany, « Un demi-siècle d’Ecole de Paris », La Revue des Ambassades et des relations internationales, Paris, février 1961
Marie-Claude Lamarche, « A travers les galeries, Helman », Le Monde, Paris, 7 avril 1961
Michel Courtois, « Expositions à Paris », XXe Siècle, Paris, 1961
Barnett Stross, Charles Spencer, Marcus Margulies, Exposition des récentes acquisitions avant d’aller au Musée de Tel-Aviv en Israël du 6 au 22 juin, Ben Uri Gallery, Londres, 1962
Giuseppe Marchiori, La Collezione di un Bambino, cat. exp., Galleria Il Traghetto, Venise, 1962
Giuseppe Marchiori, « Le Foresta di Robert Helman : la Pittura di un artiste independante e isolato, armato di fantasia e di tenacia, fuori da ogni filone o movemento », Metro supplément biennale METRO 6, Série 1, Annata III, Numéro 6, Milan, 1962
« Helman, Galleria II Canale », Metro, Série I, Annata III, Numéro 6, Milan, 1962
Georges Boudaille, « Robert Helman, Deux points de vue sur l’oeuvre de Courbet, Face à face devant le micro, un abstrait et un réaliste Robert Helman Boris Taslitzky », Les Lettres Françaises, Paris, n°943, 1962
Georges Boudaille, Denys Chevalier, Marie-Henriette Foix, Alain Gheerbrant, Giuseppe Marchiori, « Helman », revue Parler, Paris, n°15, printemps 1963
Carlo Barbieri, Robert Helman, cat. exp., Galleria Il Centro, Naples, 1963
Denys Chevalier, Robert Helman, cat. exp., Galerie Hilt, Bâle, 1963
Raffaello Torricelli, Mostra Mercato Nazionale d’Arte Contemporanea. Firenze Palazzo Strozzi 23 marzo – 28 aprile 1963, Libreria Editrice Fiorentina, Florence, 1963
« Paris Original », The Indianapolis News, Indianapolis IN, 11 décembre, 1963
Jacques Lepage, « Helman à Cannes », Lettres Françaises, Paris, 1963
Georges Boudaille, « Pourquoi deux peintres sur une cimaise », Les Lettres Françaises, Paris, 14-20 mai, 1964
Guido Marinelli, « Notizario Parigino », D’Ars Agency, Serie I, Annata V, Numéro 2, 1964
Beno d’Incelli, Caillaud, Chavignier, Clavé, Dumitresco, Helman, Istrati du 6 mai au 6 juin 1964, Paris, Impriludes, 1964
Marchiori Giuseppe, Robert Helman, Paris, Livre d’art, Impriludes, 1965
Giuseppe Marchiori, « Robert Helman : un livre, une exposition », Lettres Françaises, Paris ,11-17 mars, 1965
Walter Feldern, « A Stoccarda si e’ chiusa Galleria Lutz and Meyer », D’ars Agency, Série I, Annata 6, Numéro I, Mois I, 1965
Charles Estienne, « Chronique du jour : Robert Helman », XXe Siècle, n°XXVIe année, N°25, Paris, Juin 1965
Kent Kay, « A Concern With Nature », San Francisco Chronicle, San Francisco CA, 10 novembre 1966
Frances Moffat, « Things Are Looking Up », San Francisco Chronicle, San Francisco CA, 6 novembre 1966
André Verdet, Helman, cat. exp., Musée municipal de Saint-Paul-de-Vence, 1967
Georges Boudaille, « Robert Helman », Lettres Françaises, Paris, 1967
Georges Peillex, Helman, cat. expo., Galerie L’Entracte, Lausanne, 1969
Haïm Gamzu, (intr.), Philippe Soupault, Jacques Lassaigne, Guiseppe Marchiori, Georges Boudaille, Pierre Restany, Robert Helman, Peintures, gouaches, lithographie, cat. exp., Musée de Tel-Aviv Beit Dizengoff, Tel-Aviv, 1969
Denys Chevalier, Présence Européenne, cat. exp., Galleria d’Arte La Bussola, Turin, 1971

Pintores de Paris, cat. exp., Galerias Dinastia, Lisbonne, Galerias Alvarez, Porto, 1971
André Verdet, Jacques Lassaigne, Philippe Soupault, Guiseppe Marchiori, Pierre Restany, Haïm Gamzu, Georges Boudaille, Pierre Cabanne, Un peintre Robert Helman, un sculpteur Nardo
Dunchi, cat. exp., Allan Rich Gallery et Greer Gallery, New York NY, 1972
André Parinaud, « Helman ou la haute exigence de soi », La Galerie, Paris, n°120, octobre 1972
Pierre Cabanne, « Helman nous rapprend les éléments », Combat, Paris, 5 juin 1972
Pierre Cabanne (intr.) ; André Parinaud (préf.) ; André Verdet et al., Thème de la forêt, 1957-1972, cat. exp., Cagnes-sur-Mer, Château-Musée de Cagnes-sur-Mer, 1973
Robert Helman, Les Nouvelles Littéraires, n° 2377, Paris, 16-22 avril 1973
Pierre Cabanne, Peindre, c’est agir, cat. exp., Galerie Albert Verbeke et Galerie Jacques Verrière, Paris, 1974
Alain Bosquet, « Helman », L’OEil, n°243, Paris, 1975
André Parinaud, « Entretien – Helman : peindre c’est proposer », Galerie des Arts, Paris, 1975
André Parinaud, « Trente créateur d’aujourd’hui pour comprendre l’art qui se fait », Galerie-Jardin des Arts, Paris, 1976
Roger Kiehl, « À la Galerie L’Expression », Dernières Nouvelles d’Alsace, Strasbourg, 27 mai 1976
André Parinaud, Helman : poésie pure, cat. exp., Galleria Guiglielmo Tell, Chiasso, en co-édition avec Arte Mercato, Milan, 1977
« Robert Helman », Mensile internazionale d’arte contemporeano, n°6 anno n°1, Milan, 1977
Max-Pol Fouchet, Le paysage intérieur aujourd’hui, cat. exp., Château de Vesvres, 1978
Foire de Bologne, cat. exp., Galleria La Seggiola, Salerne, 1978
André Parinaud, « Le chant profond d’Helman », Galerie des arts n°196, rubrique Art et Lettres, Paris, dernier trimestre 1979
Jean-Marie Tasset, « Helman : l’arbre-femme », Le Figaro, Paris, 16 novembre, 1979
Charles Spencer, Jewish Art, Paintings and sculpture by 20th century Jewish artist of French and British schools (Art juif. Peintures et sculptures d’artistes juifs du XXe siècle des écoles française et britannique) Atlan, Zadkine, Soutine, Modigliani, Chagall, Helman…, cat. exp., Art Gallery and Museum Kelvingrove, Glasgow, 1979
Castor Seibel, Robert Helman, cat. exp., Galerie Limmer, Fribourg, 1981
André Parinaud, Robert Helman « Poesia Pura », cat. exp., Galeria Siete Siete, Caracas, 1981
André Parinaud, « Robert Helman », Guadalimar revista mensual de la artes, année VI, n°58, Madrid, mars 1981
Robert Helman, « Robert Helman : Le testament de Matisse c’est le dessin dans la couleur », Arts Magazine, Paris, n° 5524, 1981
Castor Seibel, Helman, cat. exp., Galerie Becher, Wuppertal, 1982
Castor Seibel, Foire d’art Querschnitt, cat.exp., Galerie Limmer, Fribourg, 1983
Françoise Marquet (intr.); Jean Duvignaud, Helman Peintures 1943-1983, Robert Helman retrospective, cat. exp., Musée d’art moderne Paris, Orangerie de Bagatelle, 1983
Michel Moles, Premier Salon de Peinture de la Ville de Cabourg, cat. exp., Ville de Cabourg, 1983
Castor Seibel, Matisse, Chagall, Picasso, Fautrier, Belmer, Dali, Karkaya, Fini, Helman, cat. exp., Galerie Scherrer, Fribourg, 1983
Gérald Gassiot-Talabot, Jean-Clarence Lambert, Nathalie Reynard, Charles Estienne et l’art Paris 1945-1966, cat. exp., Paris, Fondation Nationale des Arts Graphiques et Plastiques, Paris, 1984
Ben Uri Art Society, cat. exp., Ben Uri Art Society, Londres, 1985
Sandra D’Aboville, « L’Allemagne fête Helman », Le Figaro, Paris, 29 octobre 1985
André Parinaud, « Helman : une oeuvre admirable », Galerie des Arts, Paris, n° 227, janvier février, 1985
Pierre Brisset, Helman, cat.exp., Galerie La Pochade, Paris, 1986
Pierre Brisset, Panorama de l’Ecole Française contemporaine, cat. exp., Institut Français de Tel-Aviv, Tel-Aviv, 1987
Jean-Marie, Tasset « Helman : la conscience spirituelle », Le Figaro, Paris, 1987
Michelle Tourneur, Robert Helman, cat. exp., Palais des Sports et des Congrès, Megève, 1988

Alain Bosquet, « Robert Helman : la rigueur des origines », Le Figaro, Paris, 4 octobre 1988, p. 35
Pierre Brisset, « Robert Helman », L’OEil, Lausanne, 1988
Patrick-Gilles Persin, « Robert Helman », Beaux-Arts, oct. 1988
Philippe Soupault, Le Voyageur Magnétique, cat. exp., 1989
Jean-Marie Tasset, Helman 50 ans de peinture L’appel de la lumière, cat.exp., Galerie Eterso, Cannes, 1990
Jean-Marie Tasset, « Robert Helman l’appel de la lumière », Opus International, n°120, Paris, juillet – août 1990
Jean-Marie Tasset, « Robert Helman l’appel de la lumière », Le Figaro, Paris, juillet 1990
Philippe Chabert (préf.), Jean-Marie Tasset, Maurice Nadeau et al., Helman 1910 – 1990 Peintures et Sculptures, Rétrospective, cat. exp., Musée d’art moderne de Troyes, Troyes, 1994
Lydia Harambourg, Robert Helman, cat. exp., Galerie Nicolas Deman, Paris, 2000
Gérard-Georges Lemaire, Gris, ouverture sur la couleur, Apologie du Gris, cat. exp., Galerie 53, Paris, 2010
Estelle Dissey, « Robert Helman : un tête-à-tête avec la nature », Yonne Magazine, Auxerre, 2010
Dorothy Jean McKetta, The Leo Castelli Gallery in Metro Magazine : American Approaches to Post-Abstract Figuration in Italian Context, thèse, University of Texas, Austin TX, 2012
Luigi Sansone, Nicoletta Ossanna Cavadini, Donazioni I. Percorsi della creatività dal Novecento al nuovo Millennio, cat. exp., Spazio Officina Max Museo, Chiasso, 2016
Mathilde Gubanski, Le Paysage imaginaire Huguette Arthur Bertrand – Robert Helman, cat. exp., publ. num., Galerie Diane de Polignac, Paris, 2022-2023
Clotilde Scordia, Robert Helman, La Genèse Eternité en devenir, cat. exp., Galerie Diane de Polignac, Paris, 2023
Isabelle Helman (intr.), Mathilde Gubanski, André Parinaud, Lydia Harambourg, Pierre Brisset, Robert Helman – Les Rythmes essentiels de la vie, Genèses, Germinations, Forêts, Envols, cat. exp., Galerie Diane de Polignac, Paris, 2025

ROBERT HELMAN
Les rythmes essentiels de la vie
Genèses, Germinations, Forêts, Envols
Exhibition from May 15 to June 27, 2025

Diane de Polignac Gallery
2 bis, rue de Gribeauval, Paris
www.dianedepolignac.com

Translation: Lucy Johnston
Graphic design: Diane de Polignac Gallery

ISBN: 978-2-9599075-0-0
© Diane de Polignac Gallery, Paris, 2025
Texts are author’s property