{"id":1620,"date":"2022-03-10T13:17:07","date_gmt":"2022-03-10T12:17:07","guid":{"rendered":"https:\/\/saskia.maretspro.fr\/?p=1620"},"modified":"2023-11-07T18:25:22","modified_gmt":"2023-11-07T17:25:22","slug":"bibliographie-isaac-celnikier","status":"publish","type":"post","link":"https:\/\/saskiagallery.fr\/index.php\/2022\/03\/10\/bibliographie-isaac-celnikier\/","title":{"rendered":"Isaac CELNIKIER &#8211; Bibliographie"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1620\" class=\"elementor elementor-1620\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-4487943 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4487943\" data-element_type=\"section\" data-e-type=\"section\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-0de64ba\" data-id=\"0de64ba\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-71f62af animated-slow elementor-widget-divider--view-line elementor-invisible elementor-widget elementor-widget-divider\" data-id=\"71f62af\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_animation&quot;:&quot;fadeInLeft&quot;}\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-25fabaa elementor-icon-list--layout-traditional elementor-list-item-link-full_width elementor-invisible elementor-widget elementor-widget-icon-list\" data-id=\"25fabaa\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_animation&quot;:&quot;fadeIn&quot;}\" data-widget_type=\"icon-list.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<ul class=\"elementor-icon-list-items\">\n\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/saskiagallery.fr\/index.php\/2022\/09\/08\/isaac-celnikier-artiste-polonais\/\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-arrow-right\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Biographie<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/saskiagallery.fr\/index.php\/2023\/10\/30\/isaac-celnikier-oeuvres\/\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-arrow-right\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Oeuvres<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/saskiagallery.fr\/index.php\/2022\/09\/08\/isaac-celnikier-paris-2019-2\/\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-arrow-right\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Exposition r\u00e9cente<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-863c016 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"863c016\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-13c9af1\" data-id=\"13c9af1\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c182528 elementor-fixed elementor-widget elementor-widget-image\" data-id=\"c182528\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_position&quot;:&quot;fixed&quot;}\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/saskiagallery.fr\/index.php\/2022\/12\/08\/isaac-celnikier-bibliography\/\">\n\t\t\t\t\t\t\t<img decoding=\"async\" width=\"43\" height=\"43\" src=\"https:\/\/saskiagallery.fr\/wp-content\/uploads\/2022\/12\/en_language.png\" class=\"attachment-full size-full wp-image-5563\" alt=\"\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-2280487 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2280487\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-e80575b\" data-id=\"e80575b\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6848c91 elementor-icon-list--layout-traditional elementor-list-item-link-full_width elementor-invisible elementor-widget elementor-widget-icon-list\" data-id=\"6848c91\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_animation&quot;:&quot;fadeInLeft&quot;}\" data-widget_type=\"icon-list.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<ul class=\"elementor-icon-list-items\">\n\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"#critiques\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"far fa-arrow-alt-circle-right\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Critiques<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/saskiagallery.fr\/index.php\/galerie\/\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"far fa-arrow-alt-circle-right\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Voir la galerie<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-5dae13d elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"5dae13d\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-a9f2c08\" data-id=\"a9f2c08\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-85aef2e elementor-widget elementor-widget-heading\" data-id=\"85aef2e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">F\u00e9vrier 1993 | Catalogue de l\u2019exposition \"M\u00e9moire, r\u00e9volte, vie\"<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-93522b2 elementor-widget elementor-widget-heading\" data-id=\"93522b2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">MUSEE FABRE MONTPELLIER<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e731397 elementor-blockquote--skin-quotation elementor-blockquote--button-color-official elementor-widget elementor-widget-blockquote\" data-id=\"e731397\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"blockquote.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote class=\"elementor-blockquote\">\n\t\t\t<p class=\"elementor-blockquote__content\">\n\t\t\t\tAvant de quitter Varsovie, fin octobre 1939, je revis Janusz Korczak.\nIl n\u2019approuvait pas nos d\u00e9parts. Il fallait, selon lui, rester sur place. Il croyait encore \u00e0 la civilisation allemande. Je ne sais pas si il avait imagin\u00e9 un instant que lui, ce Freud de la psychologie enfantine, ce grand p\u00e9diatre analyste et \u00e9crivain, ce symbole du \u00ab\u00a0P\u00e8re Juif inconnu\u00a0\u00bb, ramasserait de ses propres mains, dans l\u2019enfer du ghetto de Varsovie, des centaines d\u2019enfants agonisants pour finalement aboutir avec son orphelinat dans les fours de Treblinka.\u00a0\nLa plupart de mes gravures et toiles \u00e9voquent certaines r\u00e9alit\u00e9s tr\u00e8s pr\u00e9cises de ma vie. Le langage muet du trait, s\u2019il peut transcender le v\u00e9cu r\u00e9el, demande parfois \u00e0 \u00eatre accompagn\u00e9 de la parole, non pour expliquer l\u2019oeuvre, mais pour essayer de cerner une r\u00e9alit\u00e9 qui nous para\u00eetra toujours inexplicable, car l\u00e0 o\u00f9 il y a pr\u00e9m\u00e9ditation de\u00a0g\u00e9nocide, il y a n\u00e9cessairement destruction des traces et des preuves ; lorsqu\u2019il s\u2019agit de l\u2019assassinat de notre peuple par un ennemi dont la seule vocation et pulsion vitale est de donner la mort, m\u00eame les preuves les plus tangibles sont syst\u00e9matiquement d\u00e9truites.\nComment avouer que, pour rendre l\u2019univers criminel - c\u2019est de cela pr\u00e9cis\u00e9ment qu\u2019il s\u2019agissait - il fallait commencer par tuer l\u2019une des sources de la prise de conscience de l\u2019homme \u00e9tique : le Juif. (\u2026)\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-d1850ae elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"d1850ae\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-a678fd1\" data-id=\"a678fd1\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5dd5265 elementor-widget elementor-widget-heading\" data-id=\"5dd5265\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">22 novembre 1993 | Catalogue de la remise du Prix \u00ab\u00a0M\u00e9moire de la Shoa\u00a0\u00bb<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f90160b elementor-widget elementor-widget-heading\" data-id=\"f90160b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Fondation Jacob Buchman - FONDATION DU JUDAISME FRANCAIS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-19bdacb elementor-blockquote--skin-quotation elementor-blockquote--button-color-official elementor-widget elementor-widget-blockquote\" data-id=\"19bdacb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"blockquote.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote class=\"elementor-blockquote\">\n\t\t\t<p class=\"elementor-blockquote__content\">\n\t\t\t\t(\u2026) L\u2019art de la m\u00e9moire est avant tout penser m\u00e9moire. C\u2019est de cela qu\u2019il s\u2019agit et \u00e0 diff\u00e9rents degr\u00e9s, cela nous concerne tous. La m\u00e9moire de la Choa est sans doute la partie de notre m\u00e9moire la plus sacr\u00e9e, quasiment intouchable, inavou\u00e9e et en m\u00eame temps la plus intime de notre \u00eatre. Ayant v\u00e9cu ce que j\u2019ai v\u00e9cu, je sais \u00e0 quel point, face \u00e0 l\u2019immensit\u00e9 des crimes allemands, cette m\u00e9moire pr\u00e9cise peut \u00eatre paralysante ; \u00e0 quel point elle peut nous rendre muets. Comment, sorti de l\u2019horreur et du rejet, retrouver le r\u00e9flexe et la force de se dire : d\u2019o\u00f9 viens-tu, o\u00f9 est ta m\u00e8re, qui est ton p\u00e8re, o\u00f9 est ton peuple ? Et l\u00e0, tu t\u2019aper\u00e7ois qu\u2019il n\u2019y a rien. (\u2026) Et brusquement une \u00e9norme somme d\u2019innocence, offens\u00e9e, affam\u00e9e, d\u00e9sarm\u00e9e, pi\u00e9tin\u00e9e, massacr\u00e9e, broy\u00e9e, revient sur toi et tu ne la l\u00e2cheras plus tant qu\u2019un semblant de vie ne leur sera pas rendu, et tu suivras chaque trace dans ta m\u00e9moire, car c\u2019est tout ce qu\u2019il te reste. Tu vas la cerner, la regarder le plus pr\u00e8s possible et ainsi quelque chose r\u00e9appara\u00eetra, deviendra visage et \u00e2me, et l\u2019\u00e2me restera ton arme, ta victoire, ta vengeance sur les meurtriers de ton peuple - l\u2019Allemagne hitl\u00e9rienne.\u00a0\nVictoire ? Je n\u2019en sais rien ; il n\u2019y a pas de victoire ici, mais notre lutte quotidienne, car l\u2019impunit\u00e9 des crimes hitl\u00e9riens a fait que le monde risque \u00e0 nouveau de se retrouver devant ce\u00a0moloch\u00a0de la mort fard\u00e9 en d\u00e9mocrate europ\u00e9en. \u00a0\nLa m\u00e9moire de l\u2019humanit\u00e9 est inscrite et transmise notamment par l\u2019art. C\u2019est par l\u2019art que nous parviennent, comme des astres de lumi\u00e8re, des civilisations enti\u00e8res, mortes ou vivantes.\u00a0\n(page 30) Nous savons \u00e9galement que l\u2019art peut mentir et pervertir de nombreuses g\u00e9n\u00e9rations et faire stagner des civilisations. C\u2019est sans doute l\u00e0 que nous pouvons trouver certaines racines du mal qui ne cesse de frapper le monde.\nL\u2019art s\u2019est quasiment tu.\nSi la monstruosit\u00e9 des crimes allemands, \u00e0 laquelle notre esprit se refuse, jusqu\u2019ici, de croire, a pu rendre l\u2019art en partie impuissant, il y a surtout un syst\u00e8me de mensonges concernant la Choa et une volont\u00e9 de r\u00e9duire l\u2019art - ce symbole de la conscience de l\u2019homme r\u00e9volt\u00e9 - \u00e0 la perversion et au silence.\nLa confrontation de la m\u00e9moire avec la Choa, aussi terrible soit-elle, peut devenir aussi lib\u00e9ratrice. La hantise des rescap\u00e9s restera pourtant \u00e0 chaque fois la m\u00eame : comment oser prendre le pinceau ? Par o\u00f9 commencer ? Parler des six millions ? Qui osera ? Rentrer dans chaque existence et agonie individuelles ? Comment soutenir cela ? Parler des \u00e9tapes ? Ou des regards crois\u00e9s des s\u00e9lections ? Traduire dans un langage d\u2019art la bestialit\u00e9 cannibale ?\nCe sont des questions auxquelles se heurtera toujours tout regard honn\u00eate, chaque geste du pinceau ou du burin.\nNe nous paralysons pas par ce qui, en soi, para\u00eet toujours paralysant : l\u2019innommable, l\u2019intransmissible.\nD\u00e8s que le regard, dans sa concentration extr\u00eame, devient lucidit\u00e9, les choses prennent corps. Si notre g\u00e9n\u00e9ration laisse des traces dans l\u2019art, cela engendrera des suites. \u00a0\n(\u2026) Et m\u00eame si l\u2019art n\u2019est plus fait pour sauver l\u2019humanit\u00e9, il sauvera certains hommes.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-81e0df3 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"81e0df3\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-aa437b6\" data-id=\"aa437b6\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c69cdaf elementor-widget elementor-widget-menu-anchor\" data-id=\"c69cdaf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"menu-anchor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-menu-anchor\" id=\"critiques\"><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-88a9bb4 animated-slow elementor-invisible elementor-widget elementor-widget-heading\" data-id=\"88a9bb4\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_animation&quot;:&quot;fadeInLeft&quot;}\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Critiques<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-569f0ce animated-slow elementor-widget-divider--view-line elementor-invisible elementor-widget elementor-widget-divider\" data-id=\"569f0ce\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_animation&quot;:&quot;fadeInLeft&quot;}\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-0deb69e elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"0deb69e\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-48a8458\" data-id=\"48a8458\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-01eada8 elementor-widget elementor-widget-heading\" data-id=\"01eada8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">1969 | Waldemar GEORGE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4511c01 elementor-widget elementor-widget-heading\" data-id=\"4511c01\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Catalogue de l\u2019exposition Galerie GRANOFF du 25 juin au 12 juillet 1969<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6f3c905 elementor-blockquote--skin-quotation elementor-blockquote--button-color-official elementor-widget elementor-widget-blockquote\" data-id=\"6f3c905\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"blockquote.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote class=\"elementor-blockquote\">\n\t\t\t<p class=\"elementor-blockquote__content\">\n\t\t\t\t<em>\u00c9loge d\u2019un voyant : ISAAC CELNIKIER <\/em><br>\nPas plus que Georges Rouault, le gigantesque Rouault des Saintes Faces romano-byzantines et des Christs errant dans les faubourgs des villes tentaculaires, Goya, le peintre hant\u00e9 de cet enfer qu\u2019est la Quinta del Sordo, ne peut livrer la clef de l\u2019art visionnaire d\u2019Isaac Celnikier.\u00a0<br>\n(\u2026) Fait-il partie de l\u2019Ecole parisienne, de l\u2019Ecole polonaise ou de la jeune Ecole isra\u00e9lienne ? Il ne peut \u00eatre class\u00e9 que malais\u00e9ment. Il revendique en effet l\u2019h\u00e9ritage europ\u00e9en, envisag\u00e9 dans sa totalit\u00e9. Ses oeuvres majeures sont : le\u00a0Ghetto, premi\u00e8re et deuxi\u00e8me version (H:215X240. H:220X394) et\u00a0Prague\u00a0(H:230X195). Dans le\u00a0Ghetto\u00a0qui est son\u00a0Guernica, encore que l\u2019esprit en soit diff\u00e9rent, il s\u2019\u00e9carte de la voie r\u00e9aliste et \u00e9l\u00e8ve le d\u00e9bat. Son massacre des innocents n\u2019est pas un document humain qui \u00e9voque le calvaire d\u2019un peuple vou\u00e9 \u00e0 la mort. Ce n\u2019est ni un appel, ni un cri de d\u00e9tresse, ni m\u00eame une danse macabre. C\u2019est une m\u00e9taphore traduite en termes d\u2019art.<br>\nCelnikier ne se contente pas de d\u00e9noncer un crime. Ce grand artiste refuse de se plier aux exigences de l\u2019actualit\u00e9. Comme le ma\u00eetre du\u00a0Songe de Constantin, Piero della Francesca, il cr\u00e9e une image \u00e9pique et l\u00e9gendaire. Ses formes irrationnelles ou supra-rationnelles, ses spectres et ses fant\u00f4mes qui sont des rythmes de plans et de volumes, ses s\u00e9raphins ail\u00e9s, ses anges noirs \u00e9mergent f\u2019un espace id\u00e9al ou c\u00e9leste.<br>\nUn drame sans pr\u00e9c\u00e9dent dans l\u2019histoire du monde est trait\u00e9 avec s\u00e9r\u00e9nit\u00e9. Le clair-obscur exprime seul son essence et la rend perceptible. Ce mouvement de vagues d\u2019ombre et de vagues de lumi\u00e8re en constitue la trame po\u00e9tique, plastique et musicale.\u00a0<br>\nLe\u00a0Ghetto\u00a0qui est le point de mire d\u2019une des galeries publiques isra\u00e9liennes, le Mus\u00e9e du Martyrologue, n\u2019a \u00e9t\u00e9 vu en France que par de rares personnes.C\u2019est une page, dont la vie int\u00e9rieure r\u00e9v\u00e8le un peintre qui domine son \u00e9poque. L\u2019horreur de la situation est, elle-m\u00eame, d\u00e9pass\u00e9e. Un constructeur de lignes et de couleurs l\u2019a hauss\u00e9e au symbole. Certaines \u00e9bauches du\u00a0Ghetto\u00a0rejoignent les Pi\u00e9tas du Moyen Age tardif, telle la Pi\u00e9ta de l\u2019Ecole d\u2019Avignon. Elles en ont, \u00e0 la fois, la tension et la concentration, l\u2019intensit\u00e9 et l\u2019accent dramatique.<br>\nPrague\u00a0est-il le second volet du\u00a0Ghetto\u00a0? Hiroshima \u00e9tait un g\u00e9nocide. Budapest a \u00e9t\u00e9 un carnage. Prague est un viol : un viol commis sur la personne d\u2019une nation libre qui refuse de se rendre et d\u2019\u00eatre domestiqu\u00e9e. Celnikier qui parle par paraboles retrace son sacrifice. Sa m\u00e9thode dialectique n\u2019est pas celle qu\u2019il applique lorsqu\u2019il peint le\u00a0Ghetto. Il fragmente les donn\u00e9es de sa toile : donn\u00e9es formelles et donn\u00e9es th\u00e9matiques. Des figures isol\u00e9es incarnent la r\u00e9sistance ou le d\u00e9sespoir. D\u2019autres figures sont des all\u00e9gories de la puissance de proie. L\u2019harmonie g\u00e9n\u00e9rale du tableau, cette harmonie sobre, grave, mais sonore, scelle l\u2019unit\u00e9 de la composition.\u00a0\nMais\u00a0Prague\u00a0n\u2019est pas l\u2019oeuvre d\u2019un artiste engag\u00e9 qui r\u00e9dige un r\u00e9quisitoire.\u00a0Prague\u00a0est un chant fun\u00e8bre.<br>\n(\u2026)\u00a0Je demande aux visiteurs de l\u2019exposition de la Galerie Granoff de se recueillir devant certains tableaux et, notamment, devant l\u2019apocalypse de\u00a0Prague. En effet, Isaac Celnikier n\u2019est pas un artiste semblable aux autres artistes. Son oeuvre est un acte de foi. Elle repr\u00e9sente pour ceux qui d\u00e9fendent la peinture et sa p\u00e9rennit\u00e9 un immense espoir.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-7fc7bd2 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"7fc7bd2\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-513e4fa\" data-id=\"513e4fa\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-837d275 elementor-widget elementor-widget-heading\" data-id=\"837d275\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Hiver 1985 | Andr\u00e9 SCHWARTZ-BART<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-18c9e79 elementor-widget elementor-widget-heading\" data-id=\"18c9e79\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Catalogue de l\u2019exposition \u00e0 YAD VASHEM, J\u00e9rusalem<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4f1a91a elementor-blockquote--skin-quotation elementor-blockquote--button-color-official elementor-widget elementor-widget-blockquote\" data-id=\"4f1a91a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"blockquote.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote class=\"elementor-blockquote\">\n\t\t\t<p class=\"elementor-blockquote__content\">\n\t\t\t\t<em>Exode d\u2019Auschwitz. Isaac CELNIKIER.<\/em><br>\nSi, \u00e0 juste titre, le peuple juif peut \u00eatre d\u00e9fini comme le peuple de la M\u00e9moire, nous devons regarder le peintre Isaac Celnikier comme l\u2019un de nos h\u00e9ros les plus purs, les plus tragiques aussi.\u00a0<br>\n(\u2026) Nous avons cri\u00e9, nous avons accumul\u00e9 des pierres et des livres, des tableaux, nous avons fait tout ce qui est humainement possible pour maintenir les morts pr\u00e9sents dans nos coeurs; et puis au long des jours, nous nous sommes efforc\u00e9s de vivre, tant bien que mal, m\u00fbs \u00e0 la fois par le souci de notre existence individuelle, et, je le crois, par le sentiment obscur d\u2019une destin\u00e9e plus vaste que la n\u00f4tre, plus exigeante, et qui est celle du Peuple juif. Nous n\u2019avons pas oubli\u00e9, ce serait trop dire; mais pour la plupart d\u2019entre nous, le pass\u00e9 est devenu v\u00e9ritablement du pass\u00e9.\u00a0<br>\nC\u2019est peut-\u00eatre ce qui g\u00eane le plus les trop rares visiteurs juifs des expositions d\u2019Isaac Celnikier : voici quelqu\u2019un pour qui l\u2019Holocauste est pr\u00e9sent, chaque jour, depuis plus de quarante ann\u00e9es.<br>\nLe plus \u00e9trange est qu\u2019il s\u2019agit ici \u00e9galement d\u2019art.\u00a0<br>\nJ\u2019ai eu le privil\u00e8ge, j\u2019ai eu l\u2019insigne honneur de suivre le d\u00e9veloppement de cette oeuvre, \u00e0 laquelle on se r\u00e9f\u00e8rera, je le\u00a0sais, quand bien des gloires actuelles se seront \u00e9teintes; et ce n\u2019est pas sans \u00e9tonnement que j\u2019ai assist\u00e9 \u00e0 ses mutations successives, au glissement des gestes vers l\u2019immobilit\u00e9, et \u00e0 la m\u00e9tamorphose des clameurs de l\u2019apr\u00e8s-guerre en un silence qui caract\u00e9rise les derni\u00e8res gravures, ici expos\u00e9es, oui, \u00e0 leur juste place.\u00a0<br>\nQuand le geste se fait immobilit\u00e9, et quand la parole se fait silence, nous atteignons une sorte d\u2019absolu qui est probablement la limite extr\u00eame de l\u2019art, d\u00e8s lors qu\u2019il s\u2019agit d\u2019exprimer l\u2019Holocauste.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-f191136 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"f191136\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-ed07b85\" data-id=\"ed07b85\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-2684aa7 elementor-widget elementor-widget-heading\" data-id=\"2684aa7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Janvier 1987 | Pierre RESTANY<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-633dd75 elementor-widget elementor-widget-heading\" data-id=\"633dd75\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Catalogue exposition Toulouse<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2756f2c elementor-blockquote--skin-quotation elementor-blockquote--button-color-official elementor-widget elementor-widget-blockquote\" data-id=\"2756f2c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"blockquote.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote class=\"elementor-blockquote\">\n\t\t\t<p class=\"elementor-blockquote__content\">\n\t\t\t\t<em>La v\u00e9rit\u00e9 est la vertu de la grandeur <\/em><br>\nTous ceux qui ont eu l\u2019occasion de rencontrer Isaac Celnikier sont unanimes sur ce point : le personnage ne fait qu\u2019un avec l\u2019oeuvre, il semble \u00eatre sorti de la foule des personnages qui envahissent les grandes compositions. Rarement un artiste ne se sera identifi\u00e9 de fa\u00e7on plus visc\u00e9rale et ardente \u00e0 l\u2019acte de peindre. Car la peinture pour Celnikier est avant tout un t\u00e9moignage, un acte charnel de la m\u00e9moire. <br>\nLa facture de Celnikier a atteint d\u2019embl\u00e9e l\u2019extraordinaire ma\u00eetrise de la grande peinture, ce clair-obscur \u00e0 la fois serein et poignant, distanci\u00e9 et path\u00e9tique que l\u2019on retrouve chez Le Greco comme chez Goya, deux peintres qui dans le cas pr\u00e9sent font r\u00e9f\u00e9rence. <br>\nCar la peinture de Celnikier, avec la richesse de ses p\u00e2tes, la stridence bariol\u00e9e de ses couleurs, le jeu rigoureux de la lumi\u00e8re, offre toutes les plus fascinantes dimensions de la grande peinture. Peindre de la sorte aujourd\u2019hui tient \u00e0 la fois de la gageure et du miracle de la virtuosit\u00e9. C\u2019est au plus prestigieux des registres picturaux que l\u2019artiste emprunte les accents de la cause la plus noble : la persistance de la m\u00e9moire tout au long d\u2019une exp\u00e9rience de vie. Exp\u00e9rience de vie, exp\u00e9rience de mort. (\u2026)\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-09a04bd elementor-align-start elementor-icon-list--layout-traditional elementor-list-item-link-full_width elementor-widget elementor-widget-icon-list\" data-id=\"09a04bd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"icon-list.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<ul class=\"elementor-icon-list-items\">\n\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"http:\/\/isaac.celnikier.free.fr\/peintures\/toulouse\/restany.html\" target=\"_blank\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-info-circle\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Site Isaac CELNIKIER<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-18556f3 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"18556f3\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-741f3d8\" data-id=\"741f3d8\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6d25b00 elementor-widget elementor-widget-heading\" data-id=\"6d25b00\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">1989 | Elisabeth De FONTENAY<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a3dd337 elementor-widget elementor-widget-heading\" data-id=\"a3dd337\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Catalogue de l\u2019exposition STAVANGER KUNSTFORENING du 10 septembre au 1er octobre 1989<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e725ec5 elementor-blockquote--skin-quotation elementor-blockquote--button-color-official elementor-widget elementor-widget-blockquote\" data-id=\"e725ec5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"blockquote.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<blockquote class=\"elementor-blockquote\">\n\t\t\t<p class=\"elementor-blockquote__content\">\n\t\t\t\t<em>Sur l\u2019oeuvre d\u2019Isaac Celnikier <\/em><br>\nComment parler de l\u2019oeuvre d\u2019Isaac Celnikier alors d\u00e9j\u00e0 que les mots manquent pour rendre dompte dignement, sans fausse monnaie m\u00e9taphorique, de ce qui s\u2019inscrit par le dessin et la couleur, de ce qui a lieu dans une p\u00e2te et sur une toile, alors que de surcro\u00eet, les sc\u00e8nes que figure le peintre transgressent le caract\u00e8re irrepr\u00e9sentable de la d\u00e9shumanisation et de l\u2018extermination ? S\u2019attacher \u00e0 souligner l\u2019art du cr\u00e9ateur, ne serait-ce pas traiter avec bien de la d\u00e9sinvolture, l\u2019hallucinante r\u00e9alit\u00e9 qui, faute d\u2019avoir englouti l\u2019homme, l\u2019habite d\u00e9sormais et le r\u00e9quisitionne ? Mais s\u2019attacher \u00e0 rappeler avec insistance la v\u00e9rit\u00e9 historique \u00e9voqu\u00e9e et m\u00e9tamorphos\u00e9e, ce serait \u00e0 l\u2019inverse mettre entre parenth\u00e8ses ce qui, dans un atelier ou dans une exposition, constitue l\u2019unique \u00e9v\u00e8nement: cette oeuvre singuli\u00e8re, vou\u00e9e \u00e0 la p\u00e9rennit\u00e9 et \u00e0 l\u2019universalit\u00e9, ces oeuvres que la m\u00e9moire n\u2019aurait pu produire sans l\u2019aide des mains et des yeux, et qui mat\u00e9rialisent la pr\u00e9sence, aussi obstin\u00e9e que pr\u00e9caire, du pass\u00e9. Telle est donc la contradiction dont p\u00e2tit celui qui est attendu au tournant de l\u2019\u00e9criture, telle est son h\u00e9sitation quand il p\u00e9n\u00e8tre dans le lieu peupl\u00e9 par l\u2019insomnie fertile d\u2019Isaac Celnikier : il se sent observ\u00e9 tandis qu\u2019il regarde les toiles monumentales et secr\u00e8tes, il se sait questionn\u00e9 tandis qu\u2019il feuillette les minutieuses et implacables gravures : par les morts qui sont l\u00e0, pris sur le vif de leurs derniers jours, et par leur interpr\u00e8te qui croit tout de m\u00eame \u00e0 la possibilit\u00e9 d\u2019exprimer et de communiquer, non parce qu\u2019il est juif, mais parce qu\u2019il est un artiste. (\u2026)\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ea93b82 elementor-align-start elementor-icon-list--layout-traditional elementor-list-item-link-full_width elementor-widget elementor-widget-icon-list\" data-id=\"ea93b82\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"icon-list.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<ul class=\"elementor-icon-list-items\">\n\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"http:\/\/isaac.celnikier.free.fr\/peintures\/shoah\/shoah_celnikier.html\" target=\"_blank\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-info-circle\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Site Isaac CELNIKIER<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-section elementor-top-section elementor-element elementor-element-4fd75ed elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4fd75ed\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4b336e6\" data-id=\"4b336e6\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d6bfb1a elementor-widget elementor-widget-heading\" data-id=\"d6bfb1a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">1994 | Max GALLO<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9cfe940 elementor-widget elementor-widget-heading\" data-id=\"9cfe940\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Catalogue de l\u2019exposition ARSENAL DE PRATIFORI<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0ba9e7a elementor-align-start elementor-icon-list--layout-traditional elementor-list-item-link-full_width elementor-widget elementor-widget-icon-list\" data-id=\"0ba9e7a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"icon-list.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<ul class=\"elementor-icon-list-items\">\n\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"http:\/\/isaac.celnikier.free.fr\/peintures\/pratifori\/gallo.html\" target=\"_blank\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-icon\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-info-circle\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-icon-list-text\">Site Isaac CELNIKIER<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Biographie Oeuvres Exposition r\u00e9cente Critiques Voir la galerie F\u00e9vrier 1993 | Catalogue de l\u2019exposition \u00ab\u00a0M\u00e9moire, r\u00e9volte, vie\u00a0\u00bb MUSEE FABRE MONTPELLIER Avant de quitter Varsovie, fin octobre 1939, je revis Janusz Korczak. Il n\u2019approuvait pas nos d\u00e9parts. Il fallait, selon lui, rester sur place. Il croyait encore \u00e0 la civilisation allemande. Je ne sais pas si&hellip;&nbsp;<a href=\"https:\/\/saskiagallery.fr\/index.php\/2022\/03\/10\/bibliographie-isaac-celnikier\/\" class=\"\" rel=\"bookmark\">Lire la suite &raquo;<span class=\"screen-reader-text\">Isaac CELNIKIER &#8211; Bibliographie<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-1620","post","type-post","status-publish","format-standard","hentry","category-bibliographie"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Isaac CELNIKIER - Bibliographie - Saskia Gallery<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/saskiagallery.fr\/index.php\/2022\/03\/10\/bibliographie-isaac-celnikier\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Isaac CELNIKIER - Bibliographie - Saskia Gallery\" \/>\n<meta property=\"og:description\" content=\"Biographie Oeuvres Exposition r\u00e9cente Critiques Voir la galerie F\u00e9vrier 1993 | Catalogue de l\u2019exposition \u00ab\u00a0M\u00e9moire, r\u00e9volte, vie\u00a0\u00bb MUSEE FABRE MONTPELLIER Avant de quitter Varsovie, fin octobre 1939, je revis Janusz Korczak. 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Je ne sais pas si&hellip;&nbsp;Lire la suite &raquo;Isaac CELNIKIER &#8211; Bibliographie\" \/>\n<meta property=\"og:url\" content=\"https:\/\/saskiagallery.fr\/index.php\/2022\/03\/10\/bibliographie-isaac-celnikier\/\" \/>\n<meta property=\"og:site_name\" content=\"Saskia Gallery\" \/>\n<meta property=\"article:published_time\" content=\"2022-03-10T12:17:07+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-11-07T17:25:22+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/saskiagallery.fr\/wp-content\/uploads\/2022\/12\/en_language.png\" \/>\n<meta name=\"author\" content=\"Pascal MARETS\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Pascal MARETS\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/saskiagallery.fr\\\/index.php\\\/2022\\\/03\\\/10\\\/bibliographie-isaac-celnikier\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/saskiagallery.fr\\\/index.php\\\/2022\\\/03\\\/10\\\/bibliographie-isaac-celnikier\\\/\"},\"author\":{\"name\":\"Pascal MARETS\",\"@id\":\"https:\\\/\\\/saskiagallery.fr\\\/#\\\/schema\\\/person\\\/a579a20dc36e110ff132d139f34963a0\"},\"headline\":\"Isaac CELNIKIER &#8211; 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