LOÏS FREDERICK

Exhibition March/June 2015

A raw diamond revealed for the first time…

A magician of light…

by Diane de Polignac & Khalil de Chazournes

A magician of light, Loïs Frederick captured its brilliance with her incredible palette where the strength of its colour nuances insolently associated darks veering as far as fluorescents.

The discovery of her studio was for us a complete aesthetic shock.

Like Joan Mitchell, Sam Francis and Paul Jenkins, she follows in the tradition of the great American painters working in Europe: intentionally a recluse in her studio, she built up an extraordinary body of work that remained secret until now for the greatest joy of art connoisseurs.

A raw diamond revealed for the first time…

Oh, how I love Colour!

by Laurence Schneider

In taking up the pen, the memory of my mother remains so powerful that I composed this text by reviving her and having her express herself in the first person.

Oh, how I love Colour!

A secret friend, faithful, allied, it is my strength, my comfort, my passion, the outlet for my feelings.

From the time I was born at the end of 1930 in the depths of Nebraska, in a small village called Hay Springs, in other words, in the middle of nowhere, I have opened my eyes wide, I observed silently and I absorbed…

I have absorbed in the immensity of this desolate landscape, the ochres that scream, the cruel sun, the lands irradiated under a pure cobalt blue sky forming far, far, far in the distance, an uncertain horizon vibrating with violet and purples.

This is the frontier of my childhood, I dream of its Beyond…

Just as all that is forbidden is inevitably dangerous and inevitably exciting, I amused myself by obstinately arranging light in its vehemence until the tears came to me; then, eyelids closed, I could contemplate my personal fireworks: this mortifying game had its reward: myriads of sequins with fluorescent sparkles which glittered only for me.

Then came the first day of school and my first daubs.
I had the preposterous idea of shading an orange flower with a veil of lilac and the teacher exclaimed ecstatically: “You will be an artist when you grow up”.

Back at home, full of pride, I announced the great news to my shocked parents.

Opinionated and stubborn, two faults thanks to which I held firm going through a boring and mediocre childhood, my head lost in my imaginary palettes, I allowed my destiny to happen. So I got study grants opening the doors of the University of Nebraska and then the Kansas City Art Institute to me.

In 1953, a miracle: I won a Fulbright Award, renewed in 1954 which propelled me beyond the Atlantic ocean, as far as Paris, the Mecca of the Arts at the time.

We cannot imagine the impact this city of light had on the Midwest native that I was; the atmosphere that was so specific, the friendships, always eclectic, were simple and spontaneous. I grew for the first time in complete freedom, without fear of a certain conventional Puritanism that moreover poisoned my life thoroughly until then.

The evening of my arrival in Paris, my peers at the Cité Universitaire dragged me for drinks to the Paris of the “Montparnot”. At the “Select”, Hemingway’s stronghold, we met and planned the rest of the evening with Sam Francis and Paul Jenkins, as if this was the most natural thing in the world.

Influenced by the Parisian facades covered in coal black, or perhaps by the rainy weather (I have never been able to get used to the accursed Parisian climate), my palette darkened: I rediscovered infinite nuances of greys, shadows, liquorice, sepia, spectral colours that would from then on serve as settings for the shimmering chromatic reminiscences of my childhood.

Marcel Brion, my research supervisor found that my painting looked like that of a certain Gérard Schneider.
A meeting was arranged in the studio. Cupid would do the rest… This is how I became the young and reserved wife of the flamboyant Schneider. Discreet shadow, faithful and admiring, almost invisible, I never tired of admiring my great man.

I continued to paint, like my canvases. The embers incubated under the ash, and like a sleeping volcano, I caulked the intensity of my feelings, perhaps from Anglo-Saxon modesty, afraid that an incandescent nugget might escape from the magma and reveal me to everyone.

This tumult, I kept it for those moments stolen from my daily life as a wife and mother, when finally I secluded myself voluntarily in my studio, intoxicated by the smell of turpentine, I was in my world.

I painted very, very slowly, almost in mediation; my unconscious guided my hand. Then came surreptitiously the magical moment where the imaginary gives way to the unconscious distilling nuances and secrets that provoke a new birth. The blacks scandalised by my insolence combined like reticent enamels, trying vainly to reconquer their predominance.

There were many visitors to the studio. In these cases, and at Gérard’s insistence, I had to reveal my work to the eyes of the world. I was in agony then. Happily, the connoisseurs who came for my husband were hardly interested in his very young wife: for them I was only a groupie.

Here, I’m talking about a strange time. Apart from a few notable exceptions of female artists such as Maria Helena Viera da Silva, Joan Mitchell, Huguette Arthur Bertrand, Charlotte Perriand, Niki de Saint-Phalle and Louise Bourgeois, nobody would have said that a woman could be a painter, architect, composer or conductor! The simple fact of mentioning the words “talent” or “creativity” with regard to them seemed absolutely incongruous. It was like that!… just an established fact about which I conceived no bitterness at the time.

Shortly after Man first walked on the moon, another modern discovery would revolutionize my own life: thanks to I do not know what great chemical process, vinyl and then acrylic paints now offered artists a wonderful opportunity allowing fluorescent paintings to be captured and wonderfully restored to life. Their pots glowed then in my studio like radium.

“Shocking” pinks, sulphuric greens, strident yellows dominated with their incandescence. They could be used alone or glazed, we could enjoy smothering them under layers of dull colours, drown them under hypothetical twilight storms. The fluorescents irradiated the work, irrespective of their role on the canvas. The finality of my work evaded before my eyes: the power to crystallise, thanks to these revealing colours, this absolute spark that is Light!

It mattered little to me that I was a woman, so American, so mute, so young, so discreet, so so, so, and again so, with this discovery I was entirely satisfied in my work, happy and fulfilled.

And then one day, my “Tiger-Lion”, after painting three final canvases, died aged 90. A widow at 55 years old, I deserted my painting and devoted all my energy to defending and promoting the quality and historical importance of Gérard’s work. From shy, I become a passionaria: exhibitions, retrospectives, publications, I worked with all my soul.
Sadly, I could no longer paint. The simple fact of going back into the studio was too painful, I longed and eddied only for Him and for his work. This state lasted for sixteen years. Sixteen long years which I didn’t even see pass by.

One day, back from New York, galvanized by that city’s energy, my American DNA exhilarated and totally uninhibited, I again felt invaded by a desire for “colouristic” emotions like an orgasmic wave: my mind was contaminated by this chromatic bulimia.
On the bare canvas, I began with passion. Tenuous snow white optical coatings arose in the background and nourished my canvases, then, despite myself, the brush posed its fluorescents soaked in water that are like “tempera”. I contemplated the colour that escaped from me and I observed it pouring, obeying I don’t know what celestial injunctions, and now without a setting it erupted and glistened.

The finished canvas is now only Light! I have achieved my absolute, my essential, the quintessence of my artistic quest: my Work is fully accomplished.

Rediscovering Loïs Frederick

by Patrick-Gilles Persin

The beauty of the gesture, purity and authenticity are so many criteria that have always existed in ancient Asia and also in early Europe and America.
Most creators of our modern art have never forgotten them. For nearly a century, the new and complete liberty of the creative act, following from Kandinsky’s work, mean more than ever that we will never paint like we used to for centuries. Constraints that had been imposed have disappeared without however removing the consequent traces of a past (pasts) that remain fundamental, even vital. This past to which each person must always refer. It allows artists who have received classical training to recharge from time to time, in order to better pursue their work in a way of creating that is visceral to them.

This is what Loïs Frederick liked to evoke when she spoke about painting – less often about her own painting. Rigour was also for her an immutable, perpetual, rule. To be a painter and the wife of a painter was not easy. Preferring, for love and admiration, to disappear continually, she always supported the action and work of Gérard Schneider. Whenever we saw each other, over decades, she always talked about him, remembering with extreme sharpness the least moment they lived together.

If I mention this constant attitude of Loïs it is to explain better the great silence that surrounded her existence as a painter during her lifetime. Clearly, she did everything to stay in her great man’s shadow. For her, he alone counted. And yet, he often intervened for her to exhibit her works, for which he had great consideration. She almost always refused, sometimes showing a canvas in a Parisian Salon.
To better understand this extraordinarily modest attitude, let’s look at where Loïs Frederick came from. She was born in 1930, in Nebraska, at Hay Springs. Herfamily, descended from early farmers in Wyoming, was very austere and devoid of any aesthetic feeling. She had a brother, Hamilton, who became a famous architect. Later, with little support, she had to work to finance her studies at the University of Nebraska and then at Kansas City Art Institute. There, she studied painting, history of art and literature. This is when some official acquisitions were made, which for her were as unexpected as they were unique because she refused to sell her works all her life.

In 1953, her destiny changed when she received the coveted Fulbright Award. This allowed her to study in Paris as she wished. The prestigious prize was renewed the following year, quite exceptionally.
She arrived in Paris, knowing she had full support. Although she knew nobody, she was expected at the Cité Universitaire. Very quickly, her tutor, the art historian and future member of the Académie, Marcel Brion quickly detected her abilities and her talent. He advised her to show her work to one of his painter friends, Gérard Schneider, a lyrical abstract artist who was one of the leaders of the new School of Paris with Pierre Soulages and Hans Hartung.

When she arrived in Europe, Loïs Frederick was creating dark and very materialized works. She was already well armed: she knew some painters of the School of New York, especially Rothko. Completely seduced, Schneider married her in 1956.

The two artists shared the same small studio, while remaining independent aesthetically. However, through contact with Schneider, she freed herself. Her technique evolved considerably. Her gesture became more amplified and used broader brushes. During the 1960s the medium expanded: she used linseed oil and worked the paint more, investing an effort in colour. The vertical structure persisted. In 1958, a house in the countryside finally allowed the two artists to each have their own studio. Isolated, Loïs Frederick conceived a body of work in which colour was even more developed until she discovered in 1970 a technique that was still unknown in France: acrylic! She plunged herself headlong into it and discoveredwith delight its countless possibilities. Then, fluorescent paint appeared two years later. This was another revelation. She then painted with touches, her blacks are extraordinarily luminous. Schneider’s discreet influence was from then on distant. Her manner imposed itself and developed.

Whether it is canvases or works on paper, Loïs Frederick composes with passion, but always in the shadows, until Schneider’s death in 1986. She stopped painting then, until 2002. During those long years, she managed with passion the work of her husband and continued to refuse all personal offers. I heard her a hundred times responding to our urgings in a definitive tone: “you will do that when I am no longer around”.

From 2002, Loïs Frederick’s painting becomes sleeker, the white backgrounds and the greys blend. The fluorescent becomes diluted in the manner of watercolour. The shades melt together, the light no longer comes only from the canvas’s background, but inundates it entirely. She always retained the emblematic construction that led her to a permanent glorious verticality. This undoubtedly comes from the typical arid landscapes that marked her. They are the “inversed Canyons” of the National Monument Rocks of Nebraska. These enormous rocks in arid plains which she saw during her childhood, and which permeated her, nostalgically, for the rest of her life.

So much indescribable modesty, constant restraint make all this work, created in the silence of the studio, has remained unknown until today, or almost. This discovery is a revelation for the lovers of art. Loïs Frederick’s visual identity convinces by its sensitivity and its American-European cultural duality.

“Well beyond morals…

by Michel Faucher

“Well beyond morals to be discovered, it is the immorality of space to be covered that counts… The seasons have no more meaning: morning is spring, noon is summer, and the desert nights are cold without ever being winter”. Jean Baudrillard, writing about America (Jean Baudrillard, Amérique, éditions Grasset, 1986). Loïs Frederick’s works are tinged with that America, fundamental and essential in order to understand the epoch. Of her native Nebraska, she has retained images of immense plains leading to Rocky Mountains. Latitude: Rome. Altitude: 2700 feet. Sun, light, whatever the season. Climate of contrasts…

In 1950, Loïs Frederick saw a painting by Rotko. “l’m not interested in color, it’s light I ’m after”, he said. An important lesson. The unconscious presence of spaces, the desire to capture light, to transcribe its nuances as well as its mechanisms are the basis as much as the finality of a strong and structured work.

No ambiguity is possible. Loïs Frederick moves in this unique direction, with repetitive forms to express it.
Regular masses are superposed, collide, touch, fill the canvas, absorb and reflect light.

The painting, the forms intervene like the glass of stained-glass. Light passes through matter, bounces off the white of the canvas. The texture of the work comes from this complex transit where real light plays through expressed luminosity. This combination incites dense and constant vibrations animatinga rigorous and spare itinerary. “One day, it was in January, everything was gray, there was fog, a city worker was carrying one of those fluorescent red work signs. It was magical”. Flourescence then became one of the regular components of Loïs Frederick’s work.
Excepting a naturalist pallete of green, brown, and gray when she arrived in Paris in 1953 – climate of the period – it is reds, yellows, and ochres that have always characterized her canvases. Acrylics and flourescence also allow for excessive, even aggressive greens, blues, yellows, and pinks. The passage from oil to acrylic facilitates transparency, the play of light is ameliorated, the undulations accelerated.

The equilibrium of the masses, their organization leaves little room for improvisation. Loïs Frederick also practices gouache and drawing, which can serve as reflection for work of greater scale often expressed in very large formats. Reminiscence of space. Each form is a structure playing a unique and non-interchangeable role, whose sequence occurs to the rhythm of musical evolutions… The direct and almost instinctive gesture is not completely excluded. But it remains controlled.
Lois Frederick uses brushes. They increase fluidity, augment the presence of interstices, multiply the wanderings of light. This work, and it is not its smallest paradox, vibrates with a cold, abstract spirituality.
Nothing solicits, no ease intervenes. These unequal strips of variable thickness, blended with fragility or brutality, are generated from the single fact of contained and radiant light, the troubling impression of inhabited emptiness. The extreme lightness of the colours, their violence also heightens the strange idea of a palpable weightlessness. The immense and coloured areas, few in number, which occupy the space of the canvas are significant of reflection on colours unknown to light. The American painter Paul Jenkins only uses diffractory colours.

Loïs Frederick makes the phenomenon more complex in adding other derivatives. Ochres, for example. A different relationship appears. The artist attempts to manipulate the potentialities of light, those of luminosity. Her specific imagination manifests itself there. The addition of elements inhabitual in relation to the natural decomposition of light adds to the apparent distancing taken facing the subject.

Timidity or reserve, humour or fear… Light expresses life as much as it questions it. Loïs Frederick looks at these questions forcefully and lucidly. Her work, with its contained emotion, the repetition of never-neutral forms, reveals to us her own doubts.

The forces put into play are those customary to abstract creation. The particularity of the treatment, the relationship to the instantaneousness of the gesture, “a painting can take several years before being finished”, the conception of the forms, of the structure, distance Loïs Frederick from lyrical abstraction without placing her in the field of cold geometric painting… That is where her originality lies, her art is American first, her traveling companions – conscious or not – from the other side of the Atlantic.

Loïs Frederick working at the Cité Universitaire in Paris in 1953-1954.

Loïs Frederick working in her studio Les Audigers in the countryside of Paris.

Loïs Frederick & Zao Wou-Ki in 2006.

WORKS ON CANVAS

Untitled, 1964

Untitled, 1964

Signed and dated lower right
Oil on canvas
52 x 64.5 in. / 130 x 162 cm.

Untitled, 1955

Untitled, 1955

Signed and dated lower right
Oil on canvas
58.5 x 45.5 in. / 146 x 114 cm.

Exhibition
Peintres abstraits américains de Paris (American Abstract painters from Paris), Galerie Arnaud, Paris; travelling exhibi tion in Germany, 1956.

Untitled, 1955-56

Untitled, 1955-56

Signed and dated lower right
Oil on canvas
45.5 x 58.5 in. / 114 x 146 cm.

Exhibition
Les Années 1950 (The Fifties), Musée d’Art contemporain de Dunkerque, Dunkirk; travelling exhibition in France, 1986

 

Publications
Illustrated in black and white in the exhibition catalogue
Les Années 1950 (The Fifties), Musée d’Art contemporain de Dunkerque, Dunkirk, 1986.
Illustrated in colours in Cimaise N°186, special issue,
January-February 1987.

Untitled, 1958

Untitled, 1958

Signed and dated lower right
Oil on canvas
58.5 x 45.5 in. / 146 x 114 cm.

Exhibition
Salon des Réalités Nouvelles, Musée d’Art moderne de la Ville de Paris, France, 1958.

Untitled, 1960's

Untitled, 1960's

Oil on canvas
46 x 35.5 in. / 116 x 89 cm.

Untitled, 1960

Untitled, 1960

Signed and dated lower left
Oil on canvas
64.5 x 52 in. / 162 x 130 cm.

Untitled, 1960's

Untitled, 1960's

Oil on canvas
52 x 64.5 in. / 130 x 162 cm.

UNTITLED, 1960

UNTITLED, 1960

Signed and dated lower left
Oil on canvas
39 x 52 in. / 97 x 130 cm.

Untitled, 1960's

Untitled, 1960's

Oil on canvas
52 x 39 in. / 130 x 97 cm.

Untitled, 1964

Untitled, 1964

Signed and dated lower left
Signed and dated on the reverse
Oil on canvas
52 x 64.5 in. / 130 x 162 cm.

Exhibition
9 peintres de Paris (9 painters from Paris), Galeria Dinastia, Lisbon, Oporto, Portugal.

Untitled, 1960's

Untitled, 1960's

Oil on canvas
29 x 24 in. / 73 x 60 cm.

Untitled, 1964

Untitled, 1964

Signed and dated lower right
Signed on the reverse
Oil on canvas
45.5 x 58.5 in. / 114 x 146 cm.

Untitled, 1966

Untitled, 1966

Signed and dated lower right
Signed on the reverse on the frame
Oil on canvas
64.5 x 52 in. / 162 x 130 cm.

Exhibition
Salon d’Automne, Grand Palais, Paris, France, 1971.

Untitled, 1973

Untitled, 1973

Signed and dated lower left
Acrylic on canvas
52 x 64.5 in. / 130 x 162 cm.

Untitled, 1983

Untitled, 1983

Signed and dated lower left
Acrylic on canvas
21.5 x 26 in. / 54 x 65 cm.

Untitled, 1980’s

Untitled, 1980’s

Acrylic on canvas
32 x 39.5 in. / 81 x 100 cm.

Mediterranean summer , 1980’s

Mediterranean summer , 1980’s

Titled on the reverse
Acrylic on canvas
52 x 64.5 in. / 130 x 162 cm.

Untitled, 1990

Untitled, 1990

Signed and dated lower left
Signed on the reverse on the frame
Acrylic on canvas
39 x 52 in. / 97 x 130 cm.

Untitled, 1980’s

Untitled, 1980’s

Acrylic on canvas
35.5 x 46 in. / 89 x 116 cm.

Untitled, 1980’s

Untitled, 1980’s

Acrylic on canvas
79 x 59 in. / 200 x 150 cm.

Untitled, 1990's

Untitled, 1990's

Oil on canvas
79 x 114 in. / 200 x 290 cm.

Untitled , 2002

Untitled , 2002

Signed and dated lower centre
Acrylic on canvas
57 x 57 in. / 144 x 144 cm.

WORKS ON PAPER

UNTITLED, 1960’s

UNTITLED, 1960’s

Gouache on paper
18.5 x 24.8 in. / 47 x 64 cm.

UNTITLED, 1950’s

UNTITLED, 1950’s

Gouache on paper
25.5 x 19.6 in. / 65 x 50 cm.

UNTITLED, 1950’s

UNTITLED, 1950’s

Gouache on paper
19.6 x 25.5 in. / 50 x 65 cm.

UNTITLED, 1960's

UNTITLED, 1960's

Gouache on paper
20.4 x 29.5 in. / 52 x 75 cm.

UNTITLED, 1968

UNTITLED, 1968

Gouache on paper
19.6 x 25.5 in. / 50 x 65 cm.

UNTITLED, 1971

UNTITLED, 1971

Signed and dated lower right
Gouache on paper
29.5 x 21 in. / 75 x 54 cm.

Untitled, 1978

Untitled, 1978

Signed and dated lower right
Gouache on paper
29.5 x 21.2 in. / 75 x 54 cm.

UNTITLED, 1979

UNTITLED, 1979

Signed and dated lower left
Gouache on paper
29.5 x 21.2 in. / 75 x 54 cm.

UNTITLED, 1979

UNTITLED, 1979

Signed and dated lower centre
Gouache on paper
19.6 x 25.5 in. / 50 x 65 cm.

UNTITLED, 1979

UNTITLED, 1979

Signed and dated lower left
Gouache on paper
19.7 x 25.6 in. / 50 x 65 cm.

Untitled, 1979

Untitled, 1979

Signed and dated lower left
Gouache on paper
21.2 x 29.1 in. / 54 x 74 cm.

UNTITLED, 1979

UNTITLED, 1979

Signed and dated lower centre
Gouache on paper
21 x 29.5 in. / 54 x 75 cm.

UNTITLED, 1983

UNTITLED, 1983

Signed and dated lower right
Gouache on paper
29.5 x 21 in. / 75 x 54 cm.

LOÏS FREDERICK

1930-2013

lois frederick - portrait 1950 photography

1930
Born in Chadron, Nebraska State, U.S.A.

1948-53
Painting, History of Art and Literature studies at the University of Nebraska and at the Kansas City Art Institute.

1953-54
Fulbright Award to study painting in Paris.

1954-55
Fulbright Award renewed.

1956
Married Gérard Schneider, the pioneer of the European Lyrical abstraction.

2013
Died in Boutigny-sur-Essone, France.

PUBLIC COLLECTIONS

FRANCE
NANTES, Musée des Beaux-Arts.
PARIS, Centre national d’art contemporain.

SWITZERLAND
LA CHAUX-DU-MILIEU (Neuchâtel),
Fondation Ferme Grand-Cachot-de-Vent.
NEUCHATEL, Musée des Beaux-Arts.

UNITED STATES OF AMERICA
DENVER, Denver Art Museum.
KANSAS CITY, Nelson Museum.
LINCOLN, University of Nebraska.

MAIN EXHIBITIONS

1953
Artists West of the Mississipi, Denver Art Museum, Purchase Award, U.S.A.

1954
Mid-America exhibition, W.R. Nelson Museum, Kansas City, Purchase Award, U.S.A.
Salon de la Jeune Peinture, Musée d’Art moderne de la Ville de Paris, France.

1955
Salon de la Jeune Peinture, Musée d’Art moderne de la Ville de Paris, France.

1956
Peintres abstraits américains de Paris (American Abstract painters from Paris), Galerie Arnaud, Paris; travelling exhibition in Germany.

1957
Salon des Réalités Nouvelles, Musée d’Art moderne de la Ville de Paris, France.
International exhibition in Yugoslavia.

1958
Salon des Réalités Nouvelles, Musée d’Art moderne de la Ville de Paris, France.

1959
Salon des Réalités Nouvelles, Musée d’Art moderne de la Ville de Paris, France.
Fardel Collection, Musée des Beaux-Arts de Nantes, France.

1962
Salon des Surindépendants

1963
L’École de Paris (School of Paris), Galerie Charpentier, Paris, France.

1966
Salon de l’Art sacré, Musée d’Art moderne de la Ville de Paris, France.

1970
Salon d’Automne, Grand Palais, Paris, France.

1971
Salon Grands et Jeunes d’aujourd’hui, Pavillon Baltard, Paris, France.
Salon d’Automne, Grand Palais, Paris, France.

1972
Salon Grands et Jeunes d’aujourd’hui, Grand Palais, Paris, France.
Salon d’Automne, Grand Palais, Paris, France.

1973
Salon Grands et Jeunes d’aujourd’hui, Grand Palais, Paris, France.
Salon d’Automne, Grand Palais, Paris, France.

1974
Salon Grands et Jeunes d’aujourd’hui, Grand Palais, Paris, France.
Salon d’Automne, Grand Palais, Paris, France.
Salon Comparaisons, Grand Palais, Paris, France.
Fardel Collection donation, Musée des Beaux-Arts de Nantes, France.
9 peintres de Paris (9 painters from Paris), Galeria Dinastia, Lisbon, Oporto, Portugal.

1975-1983
Salon d’Automne, Grand Palais, Paris, France.

1976-1978
Salon de Mai, Galerie de la Défense, Paris, France.

1977
Exhibition group, Galerie Beaubourg II, Paris, France.

1978
Le Geste Intérieur (The Inner Gestural), Maison des Jeunes et de la Culture «Les Hauts de Belleville», Paris, France.
Exhibition group, Galerie Cavalero, Cannes, France.
Harmonies Abstraites (Abstract harmonies), Foyer International d’Accueil de Paris (F.I.A.P.), Paris, France.

1979
Biennale d’Art contemporain, Palais des arts et de la culture, Brest, France.
L’abstraction, présence et permanence (Abstraction: presence and permanency), Abbaye de Lunan, Toulouse, France.

1982-83
Tendances de la Peinture abstraite en France (Tendencies of the Abstract painting in France), cultural centres of Saint-Quentin-en-Yvelines, Sarcelles, Saint-Nazaire, France.

1984
Solo show, Galerie suisse de Paris, France.
La part des Femmes dans l’Art contemporain (The part of women in Contemporary art), municipal gallery, Vitry-sur-Seine, France.
Un autre regard sur la peinture présente (Another view on the Current Painting), Contemporary Art centre, Château du Tremblay, Fontenoy; cultural centre, Abbaye de Saint-Germain, Auxerre, France.
Festival d’Art contemporain, Sisteron, France.
La Forêt, thematic group exhibition, Le Grand-Cachot de-Vent, Vallée de la Brévine (Neuchâtel), Switzerland.

1985
Loïs Frederick, peintures et gouaches (Loïs Frederick, paintings and gouaches), retrospective, Le Grand Cachot-de-Vent, Vallée de la Brévine (Neuchâtel), Switzerland.
Les Années 1950 (The Fifties), travelling exhibition: Musée d’Art contemporain de Dunkerque, Dunkirk; Musée des Beaux-Arts, Tours; Espace des Cordeliers, Châteauroux; Centre d’Art contemporain, Montbéliard, Centre culturel Pierre Bayle, Besançon; Espace Sonia Delaunay, Grand-Couronne, France.
Maîtres des Années 50 (Masters from the Fifties), Galerie Bellecourt, Lyon, France.
Apects de l’art en France de 1950 à 1980 (Aspects of the Art in France from 1950 to 1980), Cavalero Collection, Musée Ingres, Montauban, France.

1986
Arcrea 86, Contemporary Art exhibition, Château de la Napoule, Fondation Henry Clews, Mandelieu-la Napoule, France.

1988-1989
Aspect de l’Art abstrait des années 50 (Aspects of the Abstract Art from the Fifties), traveling exhibition in France: Foyer de l’Opéra, Lille; Vieille Église Saint Vincent, Bordeaux-Mérignac; Auditorium Maurice Ravel, Lyon; Chapelle Saint-Louis, Rouen; Hôtel-Dieu Saint Jacques, Toulouse; Marseille; Musée Hébert, Grenoble La Tronche; Palais de de la Bourse, Nantes; Casino municipal, Royat; Townhall, Nancy.

lois frederick - studio portrait audigiers france 1970

Loïs Fredrick in her studio in Les Audigers in the 1970’s.

© André Villers.

Galerie Diane de Polignac
16 rue de Lille – 75007 Paris – France
+33 (0)1 83 98 98 53
Monday to Saturday
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Publications » Catalog Loïs Frederick Exhibition 2015