Access to the constructions gallery. Construction, iron (1946). Photos under copyright.
Access to the sculptures gallery. 'Portrait abstrait de Marcel Duchamp' ('Abstract Portrait of Marcel Duchamp'), bronze (1960). Photos under copyright
Access to the watercolors gallery. Watercolor (detail). Photos under copyright
Access to the drawings gallery. Drawing (detail). Photos under copyright
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'From her intuition, an arrangement was produced and condensed to form what we call her aerial geometric 'constructions', where the emptiness becomes sensitive and plays a material role. VVV, a surrealist review (New York, 1944), published her drawings of forms as straight rods in 1942; wall constructions would follow in 1943, and then others of a yet suppler torsion'

Ainsi d'Isabelle Waldberg,
('Like Isabelle Waldberg'),
Dominique Le Buhan.
Publication details in
and general works


'Sculpture is a mental thing: it comes out of the nothingness that intelligence and hands jointly contend with. This sculpture, at the very least, as it is not leaning on a stone block or a wooden stand, does not reform any pre-established reality, but finds its genesis in the emptiness. (…) If sculpture is originally a mental thing, it is not for all that a dreamed-up thing: 'Because if one makes a sculpture in one's head, it does not stay upright! The most beautiful dreamt-up sculpture disappears into thin air by morning.''

I. W., avec et sans armure,
(I. W., With And Without Armor),
Michel Waldberg. Publication details in Monographs
and general works


'A sculpture should push back everything that surrounds it: air, objects, walls. It is therefore necessary that the whole surface, whether simple or complicated, should strain intensely to show the original idea. Even if to begin with it was about tender green leaves, the sculpture must become unattackable, explosive on all sides.'

Faire une sculpture,
(‘Making Sculpture’),
Isabelle Waldberg.
Publication details in Writings.


'Her abiding preference for the company of writers over artists is obvious for all who knew her. If she took notice of all art, without discrimination or prejudice, if her refined eye moved unceasingly back and forth over the many objects of her aestetic predilections, she often drew on literature for the subtle and complex material on which she fed her imagination.'

Isabelle Waldberg, avec
et sans armure
('Isabelle Waldberg,
With And Without Armor'),
Michel Waldberg. Publication
details in Monographs
and general works