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Artists’ stories

An encounter with art every day. Stories to read, listen to and rediscover.

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15 stories

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Émile Chambon — Jeune femme au lit
Image creditsÉmile Chambon · Jeune femme au lit · Swiss Art Gallery · Photographie de la galerie

Émile Chambon — « Jeune femme au lit ». Another work by the artist, chosen as a visual connection to the story.

Émile Chambon · Jeune femme au lit · Swiss Art Gallery · Photographie de la galerie

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Émile Chambon · 5 min read

At the Rath, works encounter collections

The 1966 exhibition at the Musée Rath bears a revealing title: Chambon’s works stand alongside his collections. This gathering proposes two ways of looking at an artist’s material life.

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Émile Chambon — Femme au coin du poêle
Image creditsÉmile Chambon · Femme au coin du poêle · Image : Genève Enchères

Émile Chambon — « Femme au coin du poêle ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Femme au coin du poêle · Image : Genève Enchères

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Émile Chambon · 5 min read

In 1971, drawings take the foreground

An exhibition at Geneva’s Cabinet des estampes is devoted to Chambon’s drawings in 1971. This choice invites us to look at works on paper as an independent practice, beyond their possible preparatory role.

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Émile Chambon — Marina Doria — Les mouettes
Image creditsÉmile Chambon · Marina Doria — Les mouettes · Image : Piguet Hôtel des Ventes

Émile Chambon — « Marina Doria — Les mouettes ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Marina Doria — Les mouettes · Image : Piguet Hôtel des Ventes

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Émile Chambon · 5 min read

The donation that helps Carouge open its museum

The Musée de Carouge recalls that its creation in 1984 was made possible by a donation from Chambon. The act joins a municipal project and gives the city’s works a new framework.

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Émile Chambon — Le pullover noir et l’écharpe rouge
Image creditsÉmile Chambon · Le pullover noir et l’écharpe rouge · Image : Piguet Hôtel des Ventes

Émile Chambon — « Le pullover noir et l’écharpe rouge ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Le pullover noir et l’écharpe rouge · Image : Piguet Hôtel des Ventes

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Émile Chambon · 5 min read

Mathilde finds a place in the painting

Mathilde in the Yellow Waistcoat, painted in 1946, bears the name of Chambon’s sister. The portrait allows a documented family presence to be recognised without assigning her words or a role the sources do not specify.

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Émile Chambon — Nature morte aux capucines dans une chope
Image creditsÉmile Chambon · Nature morte aux capucines dans une chope · Image : Dobiaschofsky Auktionen AG

Émile Chambon — « Nature morte aux capucines dans une chope ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Nature morte aux capucines dans une chope · Image : Dobiaschofsky Auktionen AG

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Émile Chambon · 5 min read

Nasturtiums encounter a spoon

Nasturtiums and an African Spoon, a work of 1948, unites two elements whose difference the title emphasises. The painting opens a question about objects brought together by painting and information still to be sought.

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Émile Chambon — Cour de l’Hôtel-de-Ville (Nocturne), 1973
Image creditsÉmile Chambon · Cour de l’Hôtel-de-Ville (Nocturne), 1973 · Image : Sotheby’s

Émile Chambon — « Cour de l’Hôtel-de-Ville (Nocturne), 1973 ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Cour de l’Hôtel-de-Ville (Nocturne), 1973 · Image : Sotheby’s

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Émile Chambon · 5 min read

Snow makes a courtyard a subject

Courtyard in Carouge under Snow, painted in 1936, combines an urban place with a passing condition. The title invites us to look at what a change of season can make new in an everyday space.

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Émile Chambon — Manège
Image creditsÉmile Chambon · Manège · Image : Piguet Hôtel des Ventes

Émile Chambon — « Manège ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Manège · Image : Piguet Hôtel des Ventes

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Émile Chambon · 5 min read

The horse that never leaves its wood

The Wooden Horse of 1948 transforms a familiar object into an independent subject. In Chambon’s work, the boundary between collection, play and representation opens a space for reading without requiring an invented childhood.

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Émile Chambon — L’Escalier tournant, 23 boulevard de la Cluse, 1965
Image creditsÉmile Chambon · L’Escalier tournant, 23 boulevard de la Cluse, 1965 · Image : Sotheby’s

Émile Chambon — « L’Escalier tournant, 23 boulevard de la Cluse, 1965 ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · L’Escalier tournant, 23 boulevard de la Cluse, 1965 · Image : Sotheby’s

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Émile Chambon · 5 min read

The staircase keeps its address

With The Winding Staircase, 23 Boulevard de la Cluse, Chambon names a passage and an address. This choice transforms a place of movement into an object of attention, without claiming to reconstruct the building’s life.

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Émile Chambon — Le coq de Java
Image creditsÉmile Chambon · Le coq de Java · Image : Piguet Hôtel des Ventes

Émile Chambon — « Le coq de Java ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Le coq de Java · Image : Piguet Hôtel des Ventes

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Émile Chambon · 5 min read

A falcon and an egg, two arrested presences

The Falcon and the Ostrich Egg of 1974 brings together two elements associated with birds. The work allows us to question how a collection and a painting retain forms without confusing their histories.

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Émile Chambon — La lecture interrompue, 1963
Image creditsÉmile Chambon · La lecture interrompue, 1963 · Image : Beurret Bailly Widmer

Émile Chambon — « La lecture interrompue, 1963 ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · La lecture interrompue, 1963 · Image : Beurret Bailly Widmer

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Émile Chambon · 5 min read

A friendship gives painting a Paris address

Chambon’s meeting with Louise de Vilmorin in 1961 is followed by an exhibition at the Galerie Motte. A documented preface and initiative allow this support to be recounted without inventing their private relationship.

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Émile Chambon — Le pied de marbre, 1963
Image creditsÉmile Chambon · Le pied de marbre, 1963 · Image : Beurret Bailly Widmer

Émile Chambon — « Le pied de marbre, 1963 ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Le pied de marbre, 1963 · Image : Beurret Bailly Widmer

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Émile Chambon · 5 min read

A collection leaves the studio for the museum

In 1981 Chambon donates a substantial part of his collection to Geneva’s Musée d’ethnographie. The move opens a history distinct from his paintings, one that also requires questions of provenance to be retained.

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Émile Chambon — Le Rhône près de Genève
Image creditsÉmile Chambon · Le Rhône près de Genève · Image : Dobiaschofsky Auktionen AG

Émile Chambon — « Le Rhône près de Genève ». A work by the artist, selected for its visual connection to the story.

Émile Chambon · Le Rhône près de Genève · Image : Dobiaschofsky Auktionen AG

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Émile Chambon · 5 min read

Two rivers in a school hall

The catalogue dates The Seasons: the Rhône and the Arve to 1950. This mural is documented in a Geneva educational establishment; its everyday setting changes how a work can accompany its visitors.

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