From the ellipse to the serpentine line

Rougemont, Riding alone

“All artists have their Sardanapalus”, laughs Rougemont before one of his canvases, in his studio at home in Marsillargues. The painting, worthy of a major museum, covers an entire wall. A “Sardanapalus” is the manifesto painting which reveals a painter, his testament, and also the “large format” which stays on, kept a while longer, shown to visitors, the “big thing”. Time has come for Guy de Rougemont to unveil his “Sardanapalus” paintings.

Delacroix never went further into excess than in the Death of Sardanapalus. The 1827 masterpiece, presented at the Salon at the beginning of the following year, where it fired spirits, was not immediately a “museum painting”, it only entered the Louvre in 1921. Rougemont who succeeded baron Gérard at the Académie des beaux-arts – a position to which Delacroix aspired in vain in 1837, but he did not despair – is not very present in national collections. It’s his rebellious side: he hates the idea of being museumified alive.

His friend Michel Hilaire, director of the Musée Fabre in Montpellier, jokes with him about this and insists that he has always been present in the public space, from the banks of autoroute de l’Est to the parvis of the Musée d’Orsay, but has always managed to eschew museums. In front of the former station whose transformation he witnessed, he thought about ground decorations, about being as inconspicuous as possible, and about how footsteps erase. He probably enjoyed the idea of being on the “threshold” of the institution, on the parvis, where the public walks with memories of paintings and sculptures, when they leave the 19th century behind. Rougemont likes the idea of being in the actual city, in the middle of cars, to meet people he doesn’t know but who know his work – even if they don’t know his name, which is true fame. Known and unknown, that suits him. His « totems » – eight tall tubes from 1972 are at the Musée d’Art moderne de la Ville de Paris – but they also exist in all their splendid colours on city squares, in front of landscapes: in Bonn in the Hofgarten, in Santo Tirso in Portugal, in Châteauroux, in Villeurbanne…In 1974, he took by storm the peristyle of the Musée d’Art moderne de la Ville de Paris, beside the Seine, turning the pillars into “colour totems” that seem inspired by Rimbaud’s Drunken Boat .

The “large format” is maybe a window through which the outside world enters the inside space, a link between the monumental installation – the décor of the Nanterre medical centre or the Marne-la-Vallée RER station, and the quiet of the old house in the south of France, filled with memories of his family, of his friends, with catalogues from museums all over the world and the fragments accumulated all through his life.

He loves new cities and genealogies, the urban cityscapes of the post-war boom and the vestiges of the glorious past. On a table, he has placed a book on his ancestor, Baron Lejeune, the only military painter of the Empire period to have also fought, old fabrics and carboard models he has cut out himself: his Fortuny museum, his laboratory, his memorial.

His large formats, taken out of this laboratory, finally revealed, placed outside, in the light flooding through the transparent walls of a Paris gallery he loves, express his enjoyment of the monumental, the art of building with colours, to respond to interior architecture.

The 1967 Fiat exhibition was a first masterstroke: he majestically set up works between the cars on the Champs-Élysées, a first attempt to inscribe art into the life passers-by, to indulge the love of large spaces, to mix inside and outside.

A few years later, he painted social housing buildings in Vitry in 1973; 3 years before he had covered the Rothschild bank restaurant’s walls with colours. The young man Rougemont devoured surfaces like an ogre. But like a gentleman keen on equality. The same treatment for all.

With his thirty kilometres on the autoroute, marked by geometric shapes, his art interventions in Munich, Lisbon and Quito, he has created vast interior landscapes for himself. These panoramas have always had their echo and reflections in the studio, where studies, drawings, and sketches were made for each project, all perfectly filed under apparent disorder. Tubes à l’atelier (Tubes in the studio), large formats over 3m high, painted in 1972, already brought to the surface of the canvas these plays of shadows and light intended to be seen outdoors.

All his life, he loved moving from the “public space” to furniture, to “interior” decors designed to enchant daily life: his cloud-table is famous, to the point that some could forget that was created by a painter. Little by little, he built a world. He is its baroque and powerful sovereign. He has placed signs in space and sits in majesty like Sardanapalus, lord of Nineveh, lying on the stake among his accumulated riches, women, horses, slaves, looking into the distance. When his friend Jean-Michel Othoniel talks about him, the sculptor from another generation insists on the contrast between Rougemont and his work: the fanciful looking, loud speaking artist, dressed like a dandy, wearing a herdsman’s jacket, enjoying the “aristocratic pleasure of displeasing”, dear to Baudelaire and the great rigour of his admirably structured œuvre, which confronted modern cities and the newest “equipment” in the 1970s. A lone rider in perfect control of his mount.

Arroyo, considered by Rougemont as a brother-in-arms in artistic battles, perfectly understood this paradox, in 1997: “Minos has locked Rougemont-Minotaur in a labyrinth built by Rougemont Dedalus and Theseus-Rougemont has once again masterfully overcome the problems he has forged for himself. 1

His master Marcel Gromaire taught him to build strongly. He also showed him how to free himself from influences, to be wary of models. Guy de Rougemont looked at his friends building their monuments: Adami and Monory were essential companions. He surprised many of his artist friends from the École des beauxarts, when in the May 68 studios he dared to take on all types of mediums, carpets, plates, tables…He places no frontiers anywhere. Is he pop, somehow kinetic? Maybe a little, but not really. Gromaire was also a well-surrounded loner, who knew how see and not hear anything. Fernand Léger, Jean Dewasne, Jean Lurçat also wanted, like the romantic generation, to “confront the wall”. But to “ride alone”, Rougemont had to forget school, masters, friends, Madrid was his first revelation, when, at the Casa de Velázquez, he found himself “left to his own devices” as he says, and the second one, his arrival in New York where he found himself free.

Rougemont followed the organic development of the shapes wrought by his hands. He juggled with the ellipse and the totem, he went from sphere to ellipse and then to the serpentine line: an organised world where each stage opens by surprise the way to the next one. The serpentine line was maybe the source of the reference to Sardanapalus: the large diagonal, the swirling figures vibrating next to each other and rising…Rougemont draws, modifies his palette, acrylic, pastels, aquarelles, gouaches mingle in the studio.

He draws grids, goes back to pure drawing, where he mixes today the shapes of the past. In 1982, Jérôme Bindé described “the ceaseless dialectic shuttle between plan and volume, between the objectivity of flat tints and the geometry and mannerist whims of subjectivity, between what is not shown and representation, between refusing the hand and the fingers’ urge 2 …”

He is fascinated by the ellipse, “with it two foci”, he says playfully: after the Palais de Tokyo, he should be given Saint-Peter’s Square and the Bernini Colonnade. He would turn it into a cutlery set, he uses the French word ménagère with a big smile; forks and knives he dressed as harlequins for a previous commission.

The successive shifts from one form to the other are a painter’s pleasure. This is not theory for him, it is life, with the vagaries and happenstances of the studio. This absence of doctrine goes hand in hand with rigour. The cylinders correspond, their lines cut horizontal planes that extend visually. Vincent Bioulès wrote, in the catalogue of one of his exhibitions, that he is an artist who “lets his hand run free”, attentive to new mediums, to abandoned shapes – that year he reinvented the tondo with pastels: “As for sculptures, those same paintings stepped down from the wall to joyfully and playfully don their suit of light3 …”

Diane de Polignac decided to show these large formats in her gallery, sensing that they are essential in Rougemont’s career. She initially selected, with the artist, works of the 2000s, only paintings, one or two sculptures that reinterpret their shapes. In response, she hung up older works. A “volume” placed on the floor, typical of his 1960s production develops sculpted shapes that seem to have stepped out of one of the large paintings. Two sculptures, one polychrome, the other in stainless steel, from the 2000s, interact with the canvases around them: shapes travel from one form to the other.

A cloud-table, totems, a few aquarelles: Rougemont likes to create spaces, to project his drawings on walls, to draw the shadows of his sculptures, to raise volumes and turn them into planes. He calls himself a “playful geometer”, he supervised the installation of his works in the gallery. He enjoys creating spaces, as when he hangs paintings on the whitewashed walls of the staircase in Marsillargues, so that they play between the windows.

Rougemont’s paintings only demonstrate the joy felt when he painted them; when he comes to the Wednesday Académie sessions, he likes to place his footsteps in Delacroix’s. He stops in Saint-Sulpice, goes back to the Place Fürstenberg studio and, dreaming, walks to the Palais Mazarin Cupola. As in Camargue, he has friends, habits.

Jean Cortot, his “colleague” in painting, who composed with letters and turned book pages into paintings, so close to him, has just died. In an eccentric poem from 1998, he invented past lives for Rougemont, at the time of Horace Walpole or Madame du Deffand. For him Rougemont had become a fictional character, the hero of a novel:

“They are not Rodogune or Cinna, Nor des Grieux, nor Atala Shadows entering the hereafter But that hereafter is here All continues, nothing is over And when you paint, you dream, Guy4.”

1 – Catalogue, Rougemont, Maeght, 1998, p. 25.
2 – Rougemont, Éditions du Regard, 1982, p. 13.
3 – FVW, 2005, p. 8.
4 – Catalogue Maeght, op. cit., p. 49.

Rougemont with Eduardo Arroyo, 2018

Eugène Delacroix
La mort de Sardanapale 1827
Musée du Louvre, Paris



Cloud table, 2017
Smoked Plexiglas and mirror polished stainless steel
Edition of 8 pieces
18 1/8 x 58 11/16 x 32 11/16 in.

L’exposition Fiat à Paris en 1967


146 x 97 cm – 57 1/2 x 38 3/16 in.
Vinyl paint on canvas
Dimensions on the reverse

146 x 97 cm – 57 1/2 x 38 3/16 in.
Vinyl paint on canvas
Signed ‘Rougemont’, dated ‘67’ on the reverse

Oui – 1965
145 x 90 cm – 57 1/16 x 35 7/16 in.
Vinyl paint on canvas
Signed ‘Rougemont’, dated ‘1965’, titled ‘oui’ on the reverse

Volume – 1969
150 x 80 cm – 59 1/16 x 31 1/2 in.
Aluminium & lacquer

115 x 97 cm – 45 1/4 x 38 3/16 in.
Vinyl paint on canvas
Signed ‘Rougemont’, dated ‘1970’ on the reverse

Calme profondeur – 1996
130 x 97 cm – 51 3/16 x 38 3/16 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘1996’, titled ‘calme profondeur’, dimensions on the reverse

Espace fictif – 1996
130 x 97 cm – 51 3/16 x 38 3/16 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘1996’, titled ‘espace fictif’, dimensions on the reverse

162 x 130 cm – 63 3/4 x 51 3/16 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘01’, dimensions on the reverse

162 x 130 cm – 63 3/4 x 51 3/16 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘01’, dimensions on the reverse

145 x 114 cm – 57 1/16 x 44 7/8 in
Acrylic on canvas
Signed ‘Rougemont’, dated ‘04’, dimensions on the reverse

SANS TITRE – 2004 ca.
250 x 200 cm – 98 7/16 x 78 3/4 in.
Acrylic on canvas

162 x 97 cm – 63 3/4 x 38 3/16 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘05’, dimensions on the reverse

Sans titre – 2005
162 x 97 cm – 63 3/4 x 38 3/16 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘05’, dimensions on the reverse

150 x 100 cm – 59 1/16 x 39 3/8 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘06’, dimensions on the reverse

Sans titre – 2006
195 x 130 cm – 76 3/4 x 51 3/16 in.
Acrylic on canvas
Signed ‘Rougemont’, dated ‘06’, dimensions on the reverse

Sans titre – 2005-2007
200 x 250 cm – 78 3/4 x 98 7/16 in
Acrylic on canvas
Signed ‘Rougemont’, dated ‘05-07’, dimensions on the reverse

33 x 22 cm – 13 x 8 11/16 in.
Felt on canvas
Signed, dated ‘Rougemont 012’ on the reverse

Felt on canvas
Signed, dated ‘Rougemont 012’ on the reverse

SANS TITRE – 2012 ca.
Felt on canvas
Signed ‘Rougemont’ on the reverse

33 x 22 cm – 13 x 8 11/16 in.
Felt on canvas
Signed, dated ‘Rougemont 12’ on the reverse

33 x 22 cm – 13 x 8 11/16 in
Felt on canvas
Signed, dated ‘Rougemont 012’ on the reverse

27 x 57 cm – 10 5/8 x 22 7/16 in.
Felt on paper
Signed, dated ‘Rougemont, XII.2012’ lower right

SANS TITRE – 2012 ca.
27 x 57 cm – 10 5/8 x 22 7/16 in.
Felt on paper
Signed ‘Rougemont’ lower center

27 x 57 cm – 10 5/8 x 22 7/16 in.
Felt on paper
Signed, dated ‘R.13’ lower right

27 x 57 cm – 10 5/8 x 22 7/16 in.
Felt on paper
Signed, dated ‘Rougemont, XI.12’ lower right

27 x 57 cm – 10 5/8 x 22 7/16 in.
Felt on paper
Signed, dated ‘Rougemont, XII.12’ lower left

Sans titre – 2012
27 x 57 cm – 10 5/8 x 22 7/16 in.
Felt on paper
Signed, dated ‘Rougemont, XI.12’ lower right

Sans titre – 2012
64 x 99 cm – 25 3/16 x 39 in.
Felt on canvas
Signed, dated ‘Rougemont 2012’ on the reverse

Diptyque sans titre – 2012
62 x 76 cm – 24 7/16 x 29 15/16 in.
Felt on canvas
Signed, dated ‘Rougemont 12’ on the reverse

Sans titre – 2013
33 x 22 cm – 13 x 8 11/16 in.
Felt on canvas
Signed, dated ‘Rougemont 13’ on the reverse

Sans titre – 2013
33 x 22 cm – 13 x 8 11/16 in.
Felt on canvas
Signed, dated ‘Rougemont 13’ on the reverse

Sculpture – 2013
130 x 130 cm – 51 3/16 x 51 3/16 in.
Polished mirror stainless steel

Sculpture paravent – 2013
185 x 130 cm – 72 13/16 x 51 3/16 in.
Painted steel

Sans titre – 2013
92 x 73 cm – 36 1/4 x 28 3/4 in.
Felt on canvas
Signed, dated ‘Rougemont 2013’ on the reverse

Sans titre – 2013
92 x 73 cm – 36 1/4 x 28 3/4 in.
Felt on canvas
Signed, dated ‘Rougemont 2013’ on the reverse

Sans titre – 2013
40 x 80 cm – 15 3/4 x 31 1/2 in.
Felt on canvas
Signed, dated ‘Rougemont 2013’ on the reverse

Sans titre – 2013
40 x 80 cm – 15 3/4 x 31 1/2 in.
Felt on canvas
Signed, dated ‘Rougemont 2013’ on the reverse

Sans titre – 2013
76 x 56 cm – 29 15/16 x 22 1/16 in.
Felt on paper
Signed, dated ‘Rougemont 13’ lower right

Sans titre – 2014
33 x 22 cm – 13 x 8 11/16 in.
Felt on canvas
Signed, dated ‘Rougemont 14’ on the reverse

Triptyque sans titre – 2013
55 x 126 cm – 21 5/8 x 49 5/8 in.
Felt on canvas
Signed, dated ‘Rougemont 2013’ on the reverse of each canvas

Diptyque sans titre – 2013
50 x 148 cm – 19 11/16 x 58 1/4 in.
Felt on canvas
Signed, dated ‘Rougemont 2013’ on the reverse of each canvas


Born in Paris on 23 April 1935.
Refugee in Haute-Garonne, schooled byvcorrespondence, then boarder in Normandy. Spendsva year in Washington D.C. in 1951.
From 1953 to 1958, studies at the École Supérieurevdes Arts Décoratifs in Paris, with Marcel Gromaire.
Takes part in the exhibition “Découvrir” invCharpentier gallery in 1955, in the Prix O.Friesz inv1956 and the Prix Fénéon in 1957.
From 1962 to 1064, state scholarship at Casa devVelásquez in Madrid, meets Daniel Alcouffe, JeanvCarnavaggio, Jean Degottex, Jean Dupuy, ManuelvViola 1997, elected at the Académie des beaux-arts,vInstitut de France.

Solo exhibition: D’Arcy Galleries, New York.

Solo exhibition: Ateneo Mercantil, Valence, Espagne.

Spends a year in New York, staying with his friends Jean and Irène Amic.
Takes part in the Biennale de Paris: Le Déconditionneur with Henri Bouilhet, Alain Gaveau, Jean Pourtalé.
Meets Andy Warhol and Robert Indiana.
Group exhibition: Tunnard Gallery, Londres.
Karl Flinker gallery, Paris.

Solo exhibition: Byron Gallery, New York.
First participation in the Salon de Mai invited by Jean Messagier.
Directs “La tasse” (The cup), a 9 mn, 16 mm film.

At the request of Gérard Gaveau, shows his recent large format canvases and creates an environment in the Fiat hall on the Champs-Élysées. First experience of polychrome volumes.
Takes part in the Salon de Mai in Havana. Invited by René Drouin to the Musée Galliera exhibition, in Paris.

Organises the technical aspect of the Atelier Populaire of the École des beaux-arts, Paris, with Éric Seydoux.
Salon de la Jeune Peinture, Paris.
Meets Eduardo Arroyo, Gilles Aillaud, Francis Biras.
Porcelain work in Limoges.
Paris Print Biennale.

Solo exhibition of polychrome volumes at Suzy Langlois gallery, in Paris.
Edition of a free shape carpet.
First participation in the Salon de la Jeune Peinture, Police et Culture with work on the sentimental press with Merri Jolivet.
Invited to the Tokyo Print Biennal.
Meets Jean-Paul Chambas and Lucio Fanti.
Organises a screen printing and propaganda posters workshop at his home: exhibition and sale for the benefit of miners’ widows.
Directs “Les 3 comparses” (the 3 accomplices), a 10 mn, 16 mm film.

Wall painting in the company restaurant of the Rothschild Bank in Paris; decorator Michel Boyer Painted ceiling in M.B.’s residence in Paris.
Creates a lamp, trays and table sets for Germain gallery in Paris.
First pieces of furniture for the decorator Henri Samuel, of which the famous “Cloud table”.
Environment for the Baudard-Alvarez agency in Paris.
Salon des Réalités Nouvelles
Salon de la Jeune Peinture, Paris.
Invited by Julien Alvard to take part in the travelling exhibition “3 tendances de l’art fançais” (“3 trends in French art”).

Solo exhibition: Germain gallery, Paris. Polychrome volumes and first experience with the cylinder as a means to place colour in space.
Villeparisis Cultural Centre; catalogue foreword by Marie-Odile Briot.
Takes part in the Salon de la Jeune Peinture: “Journal de la veuve d’un mineur” (Journal of a miner’s widow).
Environment for the M.A.O agency in Paris.
Creates 4 carpets for Woolmark.

Solo exhibitions: city of Plessis-Robinson, in 5 locations in the city.
Château de Breteuil, Choisel.
Club de l’amateur d’estampes contemporaines, Paris.
Environment for the M.D.F offices in Rungis.
Large polychrome sculpture, collection of the Musée d’Art moderne de la Ville de Paris.

Solo exhibitions: Galerie du Luxembourg, Paris
Publication of a monograph: “Rougemont, 1955-1972”, texts by Renée Beslon, Marie-Odile Briot, Françoise Thieck, Baudard-Alvarez édition.
Galerie 21, Saint-Etienne.
Mittelrhein Museum, Koblenz, R.F.A.
Takes part in Sygma, Bordeaux.

Solo exhibtions: Cupillard gallery, Grenoble.
Musée d’Art moderne de la Ville de Paris, Arc 2.; catalogue foreword by Bernard Lamarche-Vadel, dialogue between Aillaud, Arroyo, Jolivet and Matieu on the project “Mise en couleurs d’un Musée” (Colouring a Museum) and France-Panorama tv news report.
Reception area environment for the S.E.F.R.I. offices, Tour Montparnasse, Paris.
Monumental sculpture for the Croix-Petit school, Cergy-Pontoise; architect Lévy.
Polychromy for a social housing building complex in Vitry, François Girard architect.
Monumental sculpture and polychromy for a street, in Villeneuve-de-Grenoble, A.U.A. architects.
Passageways in a Neuilly residence; decorator Michel Boyer.
Polychromy for lift cabins, Otis.
Floor tracings on 2000 m2 in the Centre Éducatif et Culturel in Sablé, A.R.C. architects.

Monumental sculpture, Open air sculpture museum, quai Saint-Bernard, Paris.
Starts to work on the painting “Les surfaces tramées” (woven surfaces).
Solo exhibitions: Galerie du Luxembourg, Paris; catalogue foreword by Bernard Lamarche-Vadel.
Maison de la Culture in Chalon-sur-Saône, CRACAP, “Rétrospective 1966-1975”, catalogue foreword: a dialogue between Daniel Meiller, Patrick Le Nouëne and Rougemont.
Colour illustration of Alain Simon’s poem “La fille en gouache”, Guy Chambelland éditeur.
Important critique review by Anne Tronche in Opus.
Takes part in the international competition on the Molino Stucky organised by the Venice Biennale; catalogue published by Alfieri, foreword by Carlo
Ripa di Meana.
Salon Grands et Jeunes d’aujourd’hui, Paris Meets Georges Pérec.

Solo exhibitions: Harry Jancovici gallery, Paris.
Secrétariat des Villes Nouvelles, catalogue: “Cinq réalisations monumentales”, foreword by Sabine Fachard.
Ground tracings over 300 m2 in the RER Noisy-le Grand-Mont d’Est station, Marne-la-Vallée; Zublena architect.
First editions of the columns by éditions Branger Lajoix, Paris.
Salon Grands et Jeunes d’aujourd’hui, Paris.
Polychrome sculpture, Los Angeles.

Solo exhibition: Galerie du Luxembourg, presentation of the first “Translucides” and the large tryptich “Triptamic”.
Work at the Salvador Allende international resistance museum.
“Environnement pour une autoroute”, Autoroute de l’Est on 30 km; Sopha architects.

TV film “Environnement pour une autoroute”, production M. Bruzeck, TF1.
Tapestry Biennale Lausanne, with “Les 7 piliers de la sagesse” (The 7 pillars of wisdom) woven by the Manufacture des Gobelins, Mobilier National, Paris.
Salon Grands et Jeunes d’aujourd’hui, Paris.

Solo exhibitions: Galerie Anne van Horenbeeck, Brussels.
Grand Orient de France, Paris, retrospective; catalogue foreword by Pierre-Alain Jolivet.
Environment of the new Auteuil racecourse stands.
Stained-glass window for Saint-Gobain, collection of the Musée des Arts Décoratifs, Paris.
4 ceilings painted for the BFCE (French bank for foreign trade); Martine Dufour decorator. “Dans l’espace en mouvance du voyage” (In the moving space of travel), article by Giovanni Joppolo in Opus.

Presentation of a large “Translucide” at the Lausanne Tapestry Biennale.
Creates thermography tarpaulins for Art/Espace, Lyon.
Solo exhibitions: Plessis-Robinson cultural centre, introduced by Frédéric Bergounioux.
Le Dessin gallery, Paris: “Encrage-Passage” with Matieu, presentation of 11 lithographies published by Frank Bordas.
Text on the drawing “La décharge première” for Opus.
“Rougemont”, film by Michel Lancelot for channel A2, production Georges Paumier.
On the initiative of Jean Dupuy, 3 mn video. “Artist propaganda”, Centre Pompidou.
First ceramic creations in Albissola, Italy, with Adriano Bocca and Sandro Soravia.

Solo exhibition, Karl Flinker gallery, Paris; “Lambeaux, fragments, non-finito…” (shreds, fragments, non-finito…), foreword by Gérard Georges-Lemaire.
Monumental sculpture for the Professeur Dargent secondary school, Lyon.
Edition of two table sculptures, Branger-Lajoix éditeur.
First participation in the Salon de Montrouge.
Creates 900 ceramic objects in Albissola.

Environment of the Tain l’Hermitage vocational hotel management school; Martine Dufour decorator and Biny architect.
Design of Place Albert-Thomas, Villeurbanne.
Monumental sculpture, Montbéliard.
Begins to work on the painting “Lumières”.
Salon de Montrouge.

Solo exhibitions: Montbéliard cultural centre; catalogue foreword by Jérôme Bindé.
Salon de Montrouge.
Artcurial, Paris; presentation of the first editions: carpets, porcelains.
Publication of a monography: “Rougemont 1962-1982”, text by Jérôme Bindé, éditions du Regard, Paris.

Solo exhibitions: Galerie du 7, rue Princesse, Paris; “Découper pour voir” (cutting out to see), foreword by Ghislaine Dunant, éditions Frank Bordas.
J.-M. Cupillard gallery, Grenoble.
Artcurial, Fribourg, Suisse.
Salon de Montrouge.
“Portraits d’artistes: Rougemont”, TV film, produced by Thorn-Petit, RTL.
Monumental sculpture, Hakone Open Air Museum, Japan.

Solo exhibitions: Galerie de l’ancienne poste, Montluçon.
Villeurbanne city hall; catalogue foreword by Gérard Georges-Lemaire.
Argalexpo gallery, Villeurbanne.
Délégation aux Arts Plastiques, Paris.
Ganzerli gallery, Naples.
Piranesi gallery, Zürich.
Romans-sur-Isère museum.
Scenography of the TV programme “Oser”, produced by Stanislas Faure.
Polychrome sculpture for the French Embassy in Washington.
Exhibition Cupillard gallery in Saint-Tropez, with Arroyo and Thalmann.

Solo exhibition: Façade Gallery, New York.
Invited to take part in the Salon des Artistes Décorateurs.
Monumental fountain for the city of Belfort.
Takes part in “Dissonnances” in Arles, with Aillaud, Matieu and Toroni; publication of a catalogue by Actes Sud, with a text by Joan Borell.
Floor decoration and wall painting in the Vandamme school hall Scolaire Vandamme, Paris 14th; JeanClaude Bernard architect.
Winner of the competition for the installation of the main hall of the new Saint-Louis hospital; Badani, Roux-Dorlut, Metulesco architects.
Suspensded sculpture at the Franco-Portuguese Lisbon institute; Jean-Pierre Buffi architect.
Floor treatment for the Sud du Lac school in Saint-Quentin-en Yvelines; Jean-Claude Bernard architect.
Exhibition Le Méjan, Arles, with Aillaud, Matieu and Toroni.

Presentation of the “Mobilier Diderot” at Artcurial; catalogue, “A Diderot”, foreword by Daniel Alcouffe.
Ground decoration on the Parvis Bellechasse in front of Musée d’Orsay; Bardon, Colboc, Filippon architects.
Winner of the competition for the sculpture furniture for the installation of the plateau Rouher, Creil.
Decoration of the public lighting system on Via Appia in Albissola.
Winner of the competition for the creation of an environment for the Bobigny tribunal courtroom; ETRA architects.
Creates cutlery for Puiforcat.
Edition of 5 table sculptures; Branger-Lajoix éditeur.
Exhibition at the French Institute in Malmö and Lomma public library, Sweden with Torsten Ridell.
Personal exhibition: “Interventions urbaines”, château de Villemonteix (Creuse).

Monumental sculpture “Porte de Riom”.
Solo exhibitions: Pascal Gabert gallery, Paris; catalogue, “Rougemont, lumières et autres travaux 1983-1987” (Rougemont, lights and other works), foreword by Christian Derouet.
Musée Mandet, Riom.
Maleu gallery, Laudskrona, Sweden.
Salon de Montrouge.
Floor decoration for the reception halls of the new ministry of finance, Bercy, Paris; Chemetov and Huidobro architects.
First bronze sculptures “Anamorphoses”, Centre Chueller, Clichy.
Large corten and stainless steel sculpture for the Mont Blanc company, Hamburg.

“Colonne des Droits de l’Homme” (Human rights column): produced by Jean Hamon presented in La Villette for the introduction of the 1789 celebration.
Six horizontal stained-glass windows, French Embassy in Mascate, Oma; Architecture Studio.
Solo exhibition: Galerie Gamarra y Garrigues, Madrid; catalogue foreword by Eduardo Arroyo.

Group exhibition, Thomas Levy gallery, Hamburg.
Gerland Fountain, Lyon, commission of the Gerland company.
“Espejismos”, five etchings on poems by Menene Gras Balaguer, Agra, Barcelona.
Solo exhibitions: Fiac, Gamarra y Garrigues gallery in Madrid.

ASB gallery, Barcelona; catalogue foreword by Menene Gras Balaguer;
Levy-Dahan gallery; foreword by Bernard D. Constant.
Presentation of the Du Deffand furniture; foreword by Bernard Minoret and the carpet “Lumière d’angle”, Artcurial, Paris.
Participation in the “1789” exhibition in Malmö and Stockholm.
Monumental sculpture for the entrance hall of the headquarters of the Manheimmer Hamburg Cy, Hamburg.
Participation in the exhibition “Sculptures”, Lévy gallery, Madrid.

Part of a “collective”, Gamarra y Garrigues gallery, ARCO, Madrid; catalogue.
Edition of 3 carpets by B.D. disegno, Barcelona and of a Barcelona chest by ASB gallery, Barcelona.
Installation of the public areas of two buildings designed by Park Promotion à Paris.
Poster for the Architecture Week.
Fountain in Gennevilliers for Europarc.
Retrospective at the Musée des Arts Décoratifs in Paris on the theme: “Espaces publics et Arts décoratifs 1965-1990” (public spaces and decorative arts 1965-1990); exhibition catalogue, texts by Yvonne Brunehammer, Daniel Marchesseau,
Bernard Chapuis, Bernard Minoret.
Thomas Levy gallery, Hamburg; catalogue foreword by Bernard D. Constant.

Monumental sculpture, Oloron-Sainte-Marie (Béarn, France).
Floor decoration, Tribunal des Prud’hommes, Paris 10th.

Solo exhibitions: Stemmle Adler gallery, Heidelberg, Germany.
Wunderhaus gallery, Munich.
Pascal Gabert gallery, Paris.
Monumental sculpture, Lycée Bezout, Nemours.
Ceramic wall, Hôtel de Police, Arpajon.
Wall painting, Hôtel de Police du Cheval Blanc, Nîmes.
Decoration of a building facade, Paris 14th.

Solo exhibitions: L’Arsenal, Metz, retrospective.
Le Mans museums; catalogue foreword by Serge Nikitine, text by Gérald Gassiot-Talbot.
Diners gallery, Bogota, Columbia.
Interior street environment, Lycée de Magnanville (first phase), Mantes-la-Jolie.

Solo exhibitions: 8th arrondissement town hall, Paris, with Renonciat.
Claude Lemand gallery, Paris.
Les Cordeliers, Musée Bertrand, Châteauroux, retrospective; catalogue, text by Bernard Lamarche Vadel.

Environment of the Foyer of the Grande Arche, Paris La Défense.
Polychromy, Lycée de Magnanville (second phase), Mantes-la-Jolie.

Solo exhibition: Artcurial, Paris.
Monumental sculpture in front of the Solaris building, Munich.

Personal exhibition: Tantris, Munich.
Marble marquetry floor, Santiago, Chile.
Ironwork for building ground floor, quai de Seine, Paris.
300 m mural painting, CASH (reception and hospital care centre), Nanterre.
Decorative panel, wedding hall, Orly Ville town hall.
Polychromy in the entrance hall of the Institut für Diskrete Mathematik, Bonn, Germany.
Monumental sculpture, Hofgarten, Bonn University, Germany.

Solo exhibitions: Paul Valéry museum, Sète; catalogue, text “La couleur en trois dimensions” by Henry Périer.
Maeght gallery, Paris, “Rougemont, Parcours récent”; travel journal, texts by Antoine de Tovar, Eduardo Arroyo, Jean Cortot, Marco del Re, Maeght éditeur, Paris.
Monumental sculpture, Quito metropolitan park, Ecuador.

Solo exhibitions: Maeght dallery, Barcelona.
Château de Tarascon, Tarascon-en-Provence.
Monumental sculpture, Puyo, South Korea.

Solo exhibitions: Château de Lavérune (Hérault).
Fabrice Galvani gallery, Toulouse.
Monumental sculpture, Châteauroux.

Monumental sculpture, Santo Tirso, Portugal.

Public commission, Marengo district, Toulouse.

Solo exhibitions: Galerie du Passage, Paris, “Ellipse et cylindre, volumes polychromes”.
Franck Font gallery, Montpellier.
Jyff gallery, Montpellier.
Monumental sculpture, “L’homme de fer” (the iron man), Ordino, Principality of Andorra.
Monumental sculpture, “Ombre chinoise” (Chinese shadow), Tchang Kaï-check residence park, Taïwan.

Solo exhibitions: Chapelle des Jésuites, Nîmes, “La linea serpentine”; catalogue foreword by Gérard Xuriguera, FVW Edition.
Centre des arts, Enghien-les-bains.
Carré Sainte Anne, Montpellier.
Floor, marble marquetry, entrance of the Hôtel des Mathurins, Paris.
Monumental sculpture “Serpentinata Caraaïbe”, Mayagues University, Porto-Rico.

Solo exhibitions: Pascal Gabert gallery, Paris, “Peintures, sculptures”.
“Rougemont 2000-2004”, exhibition, Chapelle des capucins, Aigues-Mortes; catalogue foreword by Vincent Bioulès, FVW Edition.
El Almudín exhibition hall, Valencia; catalogue, texts by Manuel Viola and Gérard Xuriguera, FVW Edition.

Solo exhibition: Art Paris, Pascal Gabert gallery, “Rougemont, Tableaux et Sculptures 2004-2006”; catalogue, “Fluides, les formes polychromes”, foreword by Gilbet Lascault, FVW Edition.

Solo exhibition: Galerie du Passage, Paris, “Serpentines 2000-2010”; catalogue.

Solo exhibition: Château Mouton Rothschild, Pauillac. Colour illustration of the Château Mouton Rothschild label (Pauillac) 2011.

Solo exhibitions: Detais gallery, Paris, “Rougemont, Lumières”.
Florac (Lozère), “Rougemont à Florac”; catalogue, conversation between Rougemont and Boris Bernabeu.

Solo exhibition: PAD Tuileries, Diane de Polignac gallery, Paris, retrospective.

Solo exhibition: Galerie du Passage, Paris, “Pour répondre au commencement” (Responding to the beginning).

Solo exhibition: A+Architecture, Montpellier.

Solo exhibition: Diane de Polignac gallery, Paris, and Aliénor Prouvost gallery, Brussels, “De l’ellipse à la ligne serpentine” (From the ellipse to the serpentine line); catalogue, “Rougemont, riding alone”, text by Adrien Goetz.

Rougemont, Paris, 1969

« Mise en couleurs d’un Musée », Musée d’Art moderne de la Ville de Paris, 1974

« Environnement pour une autoroute », 1977

Aménagement de la Place Albert-Thomas, Villeurbanne, 1981

« Espaces publics et Arts décoratifs 1965-1990 », Rétrospective, Musée des Arts Décoratifs, Paris, 1990

Rougemont, photo Alice Springs, Paris, 1979

Art Gallery Diane de Polignac » Publications » Catalog Guy de Rougemont Exhibition From the ellipse to the serpentine line 2019