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Jean Messagier

 ( 1920, Paris, 1999, Montbéliard)

Born in 1920, in Paris, France.
Died in 1999, in Montbéliard, France

Education

1942     National School of Decorative Art, Paris, France

Presentation

Jean Messagier was a French painter, sculptor, printmaker and poet. He had his first solo exhibition in Paris at Galerie Arc-en-Ciel in 1947. From 1945 to 1949 the artist worked under the influence of Pablo Picasso, André Masson, Paul Klee and François Desnoyer, his professor at École nationale supérieure des arts décoratifs in Paris. Messagier again was revealed to the public at an exhibition organized by Charles Estienne at the Galerie de Babylone in 1952, entitled "La Nouvelle École de Paris". The following year, Messagier deliberately broke away from his expressionistic form of Post-Cubism; his inspirations now focused on Jean Fautrier and Pierre Tal-Coat to develop a personal vision in which he renders "light...approached abstractly." Jean Messagier is often associated with Lyrical abstraction, Tachisme, Nuagisme, Art informel and paysagisme abstrait, though the artist himself had never accepted any labels, and had always refused the distinction between abstraction and figuration. From 1962 until the year of his death Jean Messagier exhibited in France and abroad, taking part in some major international events as a representative of new trends in French painting.
CONCERNING Jean Massagier

Since the early fifties, or even 1949, Messagier began to break with non-figurative and "Picassian" formulations typifying the art of the post-war years. After a kind of figurative expressive temptation, he painted a number of astonishing pictures, often of a large size. Broad areas with prairie-like fields of colour, with dominant green or ochre cover the surface. Sometimes almost abstract forms are deployed in symmetrical arrangements. They suggest trees, railings, and those elements that an agricultural economy introduces into nature. From 1949 to 1957, Messagier seems to set out the paradigm of this structuring. He first explored the margins, the pictorially significant leads. As the titles of some of his paintings testify. They always direct us to the motif that for him is the founding feature of a valley, plains, prairies. Some titles, however, evoke a special, perhaps timeless or fleeting moment of this nature in which, while examining, exploring, living and contemplating it, the artist seems to want to enwrap, melt, submerge himself. As though to live there by surrendering himself to these flows of energy. Thus, the founding title is joined by another term that describes an aspect, a view, a moment: La Grande Vallée, Herbes naissantes, Inondations rectilignes, Plaine battante, etc.

Any depiction, any figuration is quickly excluded. As is the essentialist structuring, provided by the framework, the Cubist grid governing the configurations of three-dimensional invariants of the non-figuration. Henceforth, from 1949, as in La Vallée, it is the flatness of the picture that is highlighted. This painting is, in effect, completely in the American sense of the term, a field painting. Even though Vallée I established a space fairly close to that of the "leaps" of Tal Coat, which is to say that it settles into the curves of a space in which the depth of the area is hollowed out. In other works of this period, even in the painting entitled Entre Ravenne et la mer, which gives an Italian touch to the blue piercing the space, made of flat tints of one of these red browns so popular for the rendering of Italian buildings, what dominates is the symmetrical composition that divides, to the left and right of a sort of central square, some fields, blocked at the edges of the picture but which we sense extend the inscription beyond the limits within which the measurements of the picture seem to constrain them. These areas or sectors flanking the central space are sometimes fragmented or ready to manifest themselves as complex forms set in a register of decorative elements in the making. La Grande Après-midi thus reveals to us the completed 'condensation' of the structures and motifs presented in earlier and contemporary works. Its composition accentuates the desired flatness thereby enabling both the partition into simple areas of the total field of the picture, and the play of a complex rhythm produced by the architectural motifs, repeated throughout the horizontal field organised in a tripartite division recalling the layout of a triptych: a central panel flanked by two side flaps. Two verticals are sketched as if to emphasise the flatness of the field and to enclose a stabilising rhythm stopping the movement of the viewer's eyes facing its face. Like in Newman? Or like in Rothko who often highlights a division into three in horizontal bands in the layout of his pictures?

Simplification was first embarked upon in 1952, was repeated in 1955 and took firmer form in 1956, as evidenced by Plaine battante. It is a feature that persists alongside the division into three defined by two suggested verticals, a vertical division noticeable almost throughout the artist's career. But it functions differently. As in the works exhibited here. And so on to such works as, for example, Haut Printemps, where it is not reduced to focusing just on a central motif, but seeks to signify a kind of framed view from above, straightened to be installed opposite the viewer. Like a painting by Pollock? There is no comparable spatial construction in French art. In addition to the cited American artists, we should mention the art of Morris Louis who dyes the surface of his canvases or, rather, the veil of coloured cloths, as though flowing from top to bottom, impregnating the fibres. In both cases, the picture is a field of colour. And in Louis, as in Messagier, it is an autumnal range of colours that dominates. The exhibition reveals this clearly. And the title of one of the pictures: Pour un automne, 1959. Two radical differences, however, make it possible to pursue a closer comparison. Louis affirms the verticality of the plane of his large horizontal formats; Messagier the horizontality of their field.

In this sense, in the choice of his oblong formats, which we might dub 'CinemaScopic', close to the 16/9 of today's screens and to the formats so appreciated by Pollock. Arguably, Messagier makes this choice because the surface that this format induces renders credible the illusion of figuration of vast spaces. Louis needs only large formats. Messagier requires a surface whose amplitude we can delve into. Space in which to create the rise of clouds, vapours that seem to spring from its texture. Without altering a confirmed flatness as visible surface of an almost tactile depth. But daring to use a Deleuzian vocabulary would verge on committing an unpardonable anachronism. Messagier does not paint "objects". Like Pollock, he paints an action of painting generated by nature, by its energy and strength, which are not only telluric. The energy that pictorially unfolds on the canvas, in a kind of choreography whose pictorial registration does not smack of an automatic gesture.

Writing about Tal Coat in a beautiful text, Henri Maldiney stated: "Anyone finding himself standing at the middle of the world and surprised to be its foyer [...] takes possession by opening himself to space". "He indicates space not as a thing but as a medium that surrounds and penetrates him and in which he represents the world through the motor capacity of his body". Maldiney thus completes this interpretation that owes as much to Rilke as Heidegger by adding that he who returns to conventional knowledge and tasks, returns to the world of action. He can then only note that "space is unparalleled". "But if he had been a primitive or a child, it may be that [...] his action would have blossomed into rhythm throughout his body: he would have danced: and he would have found in this choreography the rhythmic aspects that would have structured the space for his action and would have torn him from his condition of being lost."1

"The artist, Messagier, does not act otherwise. As though to escape his origins, his pictorial choreography with its judgments, its acceleration, its stretching, its tensions, its intertwined chromaticism, its returns, its rejections, jumps and returns which it suggests and records in the space of the canvas, suspend a desperate wandering. In painting, within the space of the picture, it combines all the living forces of the world in order to manifest landscapes of breathtaking views within the spectacle of nature, to the point of wishing to return the person looking at it to the moment in which the artist, far from admitting himself powerless, has instead released his gesture. This gesture, to pick up on the masterly lesson of Maldiney is that of the painter who awakens things by the "power of style", as Chastel would have said. The style that establishes their presence in us, as Maldiney felicitously puts it.

It is no coincidence that this gesture transcribes dynamics, vitalist energy in whirls and gyrations that pass through the field of the canvas. Their pictorial transcription, their pictorial effectuation, rekindle in us the emotions stimulated by winds, clouds, columns of light shining through gaps in rainy storm clouds, the colourings of the clouds jostled by showers from squalls, water ripples, those of meadows in spring and autumn, the silence and immobility of the fields under the sun and in the peace of mornings and evenings. That in which the Messagier's pictures envelope viewers, are the flow of sap, blood, fire, steam, air and water, from which the world is reborn each dawn of our awakenings. Is it a coincidence that these flows towards the end of the sixties arose from figurative forms, portraits, architecture, beginnings of tales and stories whose poetic texts facilitated not an explanation but rather the excesses and conceptual linguistics? This recourse to the figure is something Pollock ventured into without becoming too involved, but something that Messagier took the risk to explore.

One can of course relate this cloudy sense of dizziness, these smears and these slow-motion replays of contained energy that condense and crystallise in the clarity of the painting, to that wonder before nature which the German and English Romantic painters, Gainsborough, Constable and especially Turner, expose us. Before Monet, exalted, intoxicated by light and colour, Turner abandoned himself to this kind of ecstasy that led him to deconstruct natural architecture whose geological foundations Cézanne sought to paint and make the foundation of its art. Cézanne sought to raise his art to match that of Poussin: museum art. In his whirls of water, skies, fumes and mists, Turner aspired to a total absorption in nature. It has been said that "it is thinking about him rather than Courbet that it became possible to consider the notion of the " drunken brush". One might dare use this definition for the later works of Messagier which also tend towards this exalted fusion with nature celebrated by painting that thus gains access to its own truth. Painting is only painting. This tautology in his future works, is something he sought to affirm and challenge. But this incessant questioning, these jubilatory recurrences, would subsequently displease all those who refused to doubt.

Here we have to return to the history of art and the chronicle of a moment. Messagier is undoubtedly the artist - and this is what this exhibition aims simply to show - who in the midst of the 1950s, produced the most significant works to mark a kind of global rejection, to borrow the title of the provocative manifesto of Borduas and friends. Messagier refused to be only a painter witness, to propose only the inscription of trance gestures that do nothing to exorcise the present, to submit to the predictive discipline of the future to which they intend to bend by forging abstract geometric patterns. Messagier, like other artists of his generation - Corneille, Arnal, Koenig, Barre, etc. - was haunted by the landscape. These are the words used by Michel Ragon in 1956 to characterise these artists.2 In the preface to the Divergences exhibition presented at the Galerie Arnaud, Herta Wescher wrote: "In a sense, the trend towards the universe also implies a return to nature understood as the reaction to the outside world, whose material, momentary aspects are rejected, but whose vital impulses giving rise to transposed reflections are accepted".3 The following year, in his description of the École de Paris, Georges Limbour devoted a long section to the "wonders of landscape", evoking a new impressionist manner which he interpreted as follows, in like manner to Herta Wescher: "We feel [...] living forces animating modern landscape dully and confusedly, and seeming to presage imminent metamorphoses".4

Finally, it was under the evocative title " La nouvelle nature", that Jean-Clarence Lambert commented in La Jeune École de Paris,5 on the work, among others, of Appel, Carrade, Debré, and Messagier. To read these writings, including the prescient one by Georges Limbour, we can say that Massager is the artist to whom they apply most closely today, the only one to go beyond an anecdotal categorisation as abstract landscape painter. As would soon become evident in metamorphoses bearing the energy that his works condenses in flows of colour and light. These texts, however, happily shift the aesthetic intentions towards two apparently contradictory ambitions: that of painting as such, and that of a poetic and philosophical disposition that anchors them more than do just the visual effects, in a quest freed of the contingencies of History and the despair that this engenders.



1. Henri Maldiney, "We were someone with Tal Coat…", in Tal - Coat, Peintures, Paris, Maeght éditeur, 1993. Texts by Pierre Tal-Coat, Pierre Schneider, Henri Maldiney, André du Bouchet, Charles Estienne.
2. Michel Ragon, I 4 Soli, Turin, 1956.
3. Herta Wescher, "Libertés et disciplines", introduction to the Divergences 4 exhibition catalogue, Paris, galerie Arnaud, 1956.
4. Georges Limbour, "L'École de Paris", in L'Œil, Paris, October 1957.
5. Jean-Clarence Lambert, "La nouvelle nature", in La Jeune École de Paris, vol. II, Paris, éditions George Fall, 1958, "Le Musée de Poche" series.


Text by Bernard Ceysson
Solo shows at Ceysson Gallery
Jean Messagier, Luxembourg art moderne
November 12, 2011 - November 30, -1

Jean Messagier, Paris
September 07 - October 19, 2013


Group shows at Ceysson Gallery
Oeuvres sur papier, Luxembourg art moderne
March 08 - June 23, 2012

50: Les années fertiles, Luxembourg
June 30 - August 31, 2011

Messagier - Viallat, Wandhaff
March 12 - May 21, 2016

Animals : intimates works, Paris
December 15, 2016 - February 04, 2017


Solo Shows

2019
Tous les sexes du printemps, Jean Messagier (1920-1999), Musée des beaux-arts, Dole, France

2018
Jean Messagier: On pleure devant une vallée perdue, Galerie Catherine Putman, Paris, France

2016
Peindre sans retenue, with Claude Viallat, Galerie Bernard Ceysson, Wandhaff, Luxembourg

2013
Jean Messagier, Galerie Bernard Ceysson Paris, France

2011
Jean Messagier, Artothèque ASCAP, Montbéliard, France

2009
Jean Messagier, paysages abstraits, Galerie Dock-Sud, Sète, France
Galerie Lerock-Granoff, Paris, France

2006
Jean Messagier : la nature au creux de la main, Musée du château des Ducs de Wurtemberg ; Musée d'Art et d'Histoire - Hôtel Beurnier Rossel, Montbéliard, France
Jean Messagier : la nature au creux de la main, Tour 46, Belfort
La nature du geste, Musée Buffon, Montbard, France
Jean Messagier : l'oeuvre graphique, Musée Denon, Chalon sur Saone, France
Michel Jouët et Jean Messagier, Athanor, Guerande, France
Jean Messagier (1920-1999), Couvent des Cordeliers, Chateauroux, France

2005
Jean Messagier. De la terre à l'herbe, Exposition itinérante, Musée d'art et d'histoire de Belfort/Maison des Arts et des Loisirs de Sochaux/Association Sportive et Culturelle des Automobiles Peugeot, Belfort - Sochaux - Montbéliard, France

2004
Jean Messagier : Accès à l'été, Espace d'art contemporain Gustave Fayet, Sérignan, France
Galerie Jacques Girard, Toulouse, France
Jean Messagier : portes pour une joie, Musée Paul Valéry, Sète, France
De la terre à l'herbe, les dix dernières années de Jean Messagier, Maison des arts et loisirs, Sochaux, France
De la terre à l'herbe, les dix dernière années de Jean Messagier, Association socioculturelle des automobiles Peugeot, Montbéliard, France
De la terre à l'herbe, les dix dernières années de Jean Messagier, Musée d'art et d'histoire, Belfort, France

2003
Monotypes et gravures, Musée Rignault, Saint Cirq Lapopie, France
Monotypes et gravures, Musée Zadkine, Les Arques, France

2001
Jean Messagier à Nantes, Maison de la culture - Chapelle de l'oratoire, Centre d'art contemporain de La Rairie, Nantes, France
Sophia Vari et Jean Messagier, Ludwigmuseum, Coblence, Germany
Lieu d'Art Contemporain - LAC, Sigean, France

2000
Hommage à Jean Messagier : 1920-1999, Musée de Montbéliard, Montbéliard, France
Oeuvres graphiques, 1943-1998, Musée Baron Martin, Gray, France
Gravure de Jean Messagier et Rachel Boyer, Centre hospitalier du Val de Saône et maison de retraite des Capucins, Gray, France
Hommage 1950-1995, Larc scène nationale, Le Creusot, France
Hommage 1950-1995, Centre culturel de Cherbourg Octeville, Cherbourg, France

1999
Galerie Larock-Granoff, Paris, France
Hommage à Jean Messagier, 1920-1999, Galerie Franck Pages, Baden-Baden, Germany

1998
Jean Messagier - Collections permanentes, Musée de Montbéliard, Montbéliard, France
Jean Messagier, Vivart Franz Kohlbrenner, Orbe, France

1997
La cinquième saison, Saline Royale, Arc et Senans, France
Jean Messagier ou le réalisme éclaté, Musée Gustave Courbet, Ornans, France
Musée du dessin et de l'estampe originale, Gravelines, France

1996
Peintures et sculptures, Musée de Montbéliard, Montbéliard, France

1995
Le bestiaire, Galerie Mathieu Luneau, Nantes, France
Jean Messagier - Kim en Joong, Centre culturel Coréen ; Galerie Fannu Guillon Laffaille, Paris, France
Exposition : 1941-1994, Maison des Arts Georges Pompidou, Carjac, France
Peintures : 1947-1952, Musée Fesch, Ajaccio, France
Peintures 1951-1956, Musée de Bastia, Bastia, France
Gravures 1946-1994, Le carré Saint Vincent, Orléans, France

1994
Oeuvres sur papier, Tal Coat-Messagier, Galerie Fanny Guillon-Laffaille, Paris, France
Présentation de la sculpture Temple messagierien, Don de l'artiste, Musée de Montbéliard, Montbéliard, France
Les années 50 et aujourd'hui, Galerie Larock-Granoff, Paris, France
Le Bestiaire, Galerie Fanny Guillon Laffaille, Paris, France
Année après années, huiles sur papier et dessins, 1942 - 1948, Galerie Ariane Bomsel, Paris, France

1993
Galerie Uno arte, Sondrio, Italy

1992
Galerie Michel Luneau, Brussels, Belgium
Galerie Katia Granoff, Paris, France
Inauguration de la nouvelle collection du musée, Montbéliard, France
Galerie Michel Luneau, Nantes, France
Studio Gibralfaro, Verone, Italy
Des années entre le papier et le printemps, 1945-1992, Galerie Ariane Bomsel, Paris, France

1991
Collège Ponsard, Vienne, France
Exposition de tapisseries et estampes, Collégiales du Moustier et salle Attane, Saint-Yrieix la Perche, France
Rétrospective : 1955-1990, Galerie Franck Pages, Baden-Baden, Germany
Kunstforum, Schelderode, Belgique

1990
Oeuvres récentes, Galerie Katia Granoff, Paris, France
1947-1990, Musée Toulouse Lautrec, Albi, France
Montbéliard fête Messagier, Fête de rue, Montbéliard, France
Galerie Meegun, Tokyo, Japon

1989
Galerie Jennifer Pellé, Toulouse, France
Galerie du Manoir, La Chaux de Fonds, France
15 estampes de Jean Messagier, Caveau, Saint Ursanne, France

1988
Petit orages personnels, Centre d'action culturelle Les Gémeaux, Sceaux, France
L'attaque de Noroit par Jean Messagier, Noriot, Arras
Banque CIAL, Strasbourg, France
Galerie Sun Art, Séoul, Corée du Sud
Hommage à la fleur de pomme de terre. Galerie Pasnic, Paris, France

1987
Galerie Lillebonne, Nancy, France
Jean Messagier à Neocomia, Neocomia, Neuchâtel, Switzerland
Librairie Acte Sud, Arles, France
Grand cortège : Messagier in vitro, Maison des arts et loisirs, Sochaux, France
Grand cortège : Du Moulin Barbeau , Musée de Montbéliard, Montbéliard, France
Grand Cortège : Féerie pour non voyants , Musée de Lons le saunier, Lons le saunier, France
Grand Cortège : Dessins et gravures , Galerie Mathieu, Besançon, France
Grand Cortège : Dessins et gravures , Institut Français, Fribourg, Switzerland
Grand cortège : Oeuvres paranaturelles et peintures , Musée des Beaux Arts et d'archéologie, Besançon, France
Grand cortège exposition Portraits et autres portraits , Musée de Dole, Dole, France
Grand cortège : dévelofixeurs , Musée Georges Garret, Vesoul, France
Musée Baron Martin, Gray, France
Rétrospective 1937-1987, Paris Art Center, Paris, France; exposition itinérante : Hôtel de ville, Fontenay sous Bois, France

1986
Musée de Lons le saunier, Lons le saunier, France
Musée Saint Roch, Issoudun, France
Maison de la culture, Bourges, France
Galerie Mathieu, Besançon, France

1985
Choix des estampes de 1945 à 1985, Galerie Malriat, Montbéliard, France
Musée d'Art contemporain, Dunkerque, France
Galerie d'Art International, Paris, France
Musée de Brou, Bourg en Bresse, France
Bibliothèque municipale, Grenoble, France
Galerie Friedrich, Cologne, Germany

1984
Alchinsky-Messagier, lithographies et sculptures, Chapelle de l'hôtel de ville, Vesoul, France
invitation à l'après vernissage exposition ci-dessus, Salle Saint Germain, Paris, France
Bourgeons de papier, croquis 1940-1984, Galerie d'Art international, Paris, France
Jean Messagier à Ursanne, Collégiale, Saint Ursanne, France

1983
Musée de Saint Die, Saint Die, France
Galerie Praestegaarden, Dannemare, Denmark
Kunsthall, Lund, Sweden
Institut français, Stockholm, Sweden
Champs d'intention des piqûres de guêpes en Franche Comté, Maison d'art et loisirs, Sochaux, France

1982
Galerie d'Art international, Chicago, Etats Unis
Messagier gravé, Musée de Montbéliard, Montbéliard, France
Présentation de la lithographie de J. Messagier pour le Touquet, Paris Art Center, Paris, France
Eglise abbatiale, Saint Savin sur Gartempe, France

1981
Galerie Forum, Zagreb, Croatia
Grand Palais, Paris, France
Oeuvres, 1976-1981, Galerie Zarathustra, Milan, Italy

1980
Galerie Village Felli, Besançon, France
Galerie Nord, Randers, Denmark
Le parcours d'un peintre de 1949 à 1980, Centre d'action culturelle, Cergy Pontoise, France
Combat entre le mois de mai et le mois de juin, Fête de rue, Poligny, France
Parcours d'un peintre de 1949 à 1980, Musée Granet, Aix en Provence, France
Gravures ou antigravures, Galerie Jonas, Petit Cortaillard, France
Année du Patrimoine, La Grange de Vesvres, Nevers, France
Danae à la banque, Société Générale, Montbéliard, France
Galerie Adriano Villata, Cerrina Monferrato, Italy
Galerie Palette, Zurich, Switzerland
Ice cream parlor, Galerie d'Art international, Paris, France

1979
Galerie des 3 faubourgs, Belfort, France
Palais pénétrable du carnaval, Maison des arts et loisirs, Luxeuil les Bains, France
Galerie Birch, Copenhaguen, Denmark
Messagier Maintenant 2, Musée de Montbéliard, Montbéliard France
Jean Messagier - André Ramseyer, Musée des Beaux Arts, Moutier, France
Vinyles sur toiles et sur papier, Musée du Batha, Fes, Maroc
Rencontre avec Jean Messagier, Centre culturel français, Tetouan, France
Vinyles sur toiles et sur papier, Musée des Oudayas, Marrakech, Maroc
Cellier des moines, La Charité sur Loire, France

1978
A une seconde du printemps, Galerie AMC, Mulhouse, France
Galerie Beaubourg, Paris, France
Galerie du Tillot, Dijon, France

1977
Galerie Birch, Copenhaguen, Denmark
Fondation Maeght, Saint Paul de Vence, France
Expositions de dessins, galerie Le Dessin, Paris, France
Exposition de gravures et monotypes, galerie du chapitre, Paris, France
Galerie Nord, Randers, Denmark
Randers Kunstmuseum, Randers, Denmark

1976
Oeuvres graphiques 1945-1975, Galerie Nieuwe weg, Doorn, The Netherlands
Les dévelofixeurs, Saline royale, Arc et Senans, France
Les dévelofixeurs de Jean Messagier, Musée Nicéphore Niépce, Chalon sur Saone, France

1975
Galerie Campo Santo, Orléans, France
Centre socio-culturel Pablo Neruda, Corbeil - Essonnes, France
Librairie La Hune, Paris, France
Galerie Beaubourg, Paris, France
Les estampes et les sculptures 1945-1974, AMG, Yves Rivière éditions, Centre Georges Pompidou, Paris, France
Galerie Lovreglio, Nice, France
Galerie d'Orsay, Cannes, France
Galerie des Halles, Montbéliard, France
Galerie Le Dessin, Paris, France

1974
Galerie Benador, Geneva, Switzerland
Galerie Planque, Lausanne, Switzerland

1973
Galerie Ariel et Beno d'Incelli, Paris, France
ZNUP à la ZUP, parking du Petit Chênois, Montbéliard, France

1972
Galerie-librairie du Fleuve, Bordeaux, France
Studio 83, Naples, Italy
Galerie Protée, Toulouse, France
Galerie La Bussola, Turin, Italy
Galerie Prudhoe, London, United-Kingdom
24 gravures, galerie Thérèse Roussel, Perpignan, France

1971
gravure, 1944-1970, Maison des jeunes et de la culture internationale, Sermange, France
Gravure, 1944-1970, Maison des jeunes et de la culture, Dole, France
Oeuvres graphiques, 1944-1970, Kunsthalle, Worpswede, Germany
Penalba et Messagier, Maison de la culture, Orléans, France
Gravures 1945-1970 , AE, rue de la préfecture, Annecy, France
Messagier Maintenant , Musée de Montbéliard, France
Galerie l'Arco, Rome, Italy

1970
l'oeuvre graphique, 1944-1970 , Stadthall, Fribourg-en-Brisgau, Germany
Surface de globules rouges et formes sculptées Bessis- Messagier , faculté de médecine Pitié-Salpêtrière, Paris, France

1969
Exposition de sculptures, galeries Knoedler et Schoeller, Paris, France
Galerie Domu artysty plastyka, Varsovie, Poland
Rétrospective 1945-1969, Maison des arts et loisirs, Sochaux, France

1967
Galerie Schoeller, Paris, France

1966
Galerie Palette, Zurich, Switzerland
Messagier 1956-1966 , Galerie Birch, Copenhaguen, Denmark
20 années de gravures , Galerie Bernard Heim, Paris, France

1965
Galerie Leonhart, Munich, Germany
Dessins, 1962-1965 , Galerie Schoeller, Paris, France
Exposition d'aquarelles, Galerie Schoeller, Paris, France

1964

Galerie Engelherts, Genève, Switzerland
Galerie Lefebre, New york, USA
Galerie Springer, Berlin, Germany

1963
Galerie Benador, Genève, Switzerland
15 années de peinture , Galeries Schoeller et Bernheim jeune, Paris, France

1962
Galerie Tokyo, Tokyo, Japan
Galerie Notizie, Turin, Italy
Galerie Birch, Copenhaguen, Denmark

1961
Galerie Benador, Genève, Switzerland

1960
New york, USA Galerie Michel Warren, New york, USA
Galerie Schoeller et aquarelles, Galerie 7, Paris, France

1959
Galerie Smith, Brussels, Belgium
Galerie Smith, Brussels, Belgium

1957
Exposition de gravures et monotypes, galerie Aujourd'hui, palais des Beaux-arts, Brussels, Belgium
Galerie Michel Warren, Brussels, Belgium

1956
Galerie Michel Warren, Paris, France
Exposition de gravures et monotypes récents, Galerie La Hune, Paris, France

1955
Cercle Volney, Paris, France

1954
Galerie Aujourd'hui , palais des Beaux-arts, Brussels, Belgium

1952
Pierre Baltensperger- Jean Messagier , galerie Palette, Zurich, Switzerland

1945
Galerie L'Arc-en-ciel, Paris, France

1944
Galerie Demenge, Besançon, France

1943
Musée de Montbéliard, Montbéliard, France

Animaux : œuvres intimes

La Gazette Drouot - Lydia Harambourg

January 12, 2017