Helly Nahmad Gallery

In Nature Morte (Fleurs et Fruits près de la fenêtre), Pablo Picasso returns to the still life as a privileged site of introspection, where the most ordinary objects become charged with psychological and symbolic intensity. While Picasso famously resisted direct representation—“I have not painted the war because I am not the kind of painter who goes out like a photographer for something to depict”—he nonetheless acknowledged that its presence seeped into his work. Painted in the years leading up to the Spanish Civil War, the composition can be understood as quietly permeated by a sense of unease thrpugh the deliberately discomfiting angularity of the forms, the tension between interior and exterior suggested by the window, and the slight instability of the composition all evoke an atmosphere of latent anxiety. #HellyNahamdGallery #Picasso #ModernArt

“Jean Dubuffet has shed his ground-worshipper tunic, the period of austerity is over. His ‘matériologue’ side sleeps; make way for the playful and theatrical Janus, the dancer and shouter” A supreme example of Jean Dubuffet’s celebrated Paris Circus series, L’Apathique (Site Urbain avec 10 Personnages) from 1962, captures the artist’s vivid rediscovery of Paris in the early 1960s. Returning from a self-imposed retreat in Vence, that was dominated by somber tones and a rural aesthetic, Dubuffet transforms the city into a circus viewed through a kaleidoscope, where the imagination triumphs over reality, and a painterly phantasmagoria rules. With its charged color and restless energy, L’Apathique conjures a new artistic language equipped to translate sensory experience and, in doing so, to suggest new ways of comprehending our daily existence. Widely regarded as one of the artist’s most important and sought-after bodies of work, the Paris Circus series marks a pivotal moment of creative renewal. #HellyNahmadGallery #Dubuffet #ModernArt

This standing mobile, ironically titled Smoke Rings (1968), exemplifies one of Alexander Calder’s signature sculptural forms, balancing movement with a strong sense of grounding. The piereced discs create a clear play between void and volume, opening the work to its surroudings and allowing space itself to enter the composition as an active presence. At a time when the nation was captivated by the Space Race, the present work reflects the growing popularity for monumental sculpture in the late 1960s among art critics, urban planners, and public audiences. In this sense Calder described this time in his career as one of agrandissement: not just from one form to another, but mainly an expansion of themes and of core artistic values including balance, movement, and intuition. Image: Calder, Smoke Rings, 1968 @ 2026 Calder Foundation, New York / Artists Rights Society (ARS), New York . Please note that the gallery will be closed from Friday, April 3 until Monday, April 6. We will resume our regular hours on Tuesday, April 7.

'Petit Bijoux' is currently ongoing at @hellynahmadlondon throughout May 8, 2026. Akin to a jeweler's loupe, the exhibition encourages a form of close looking that magnifies nuance rather than size. Surfaces, textures, and gestures reveal themselves slowly: the grain of the canvas, the pressure of a line, the accumulation of pigment. In these smaller formats, material beauty becomes heightened, and the act of making remains palpably present. Photography: @stephenwhiteandco #HellyNahmadLondon #PetitBijoux

Drawn in pastel and charcoal on an impressive scale, Petit déjeuner après le bain belongs to a tradition of representing women at their toilette closely associated with late Impressionism. While the composition feels daringly modern, emphasizing reality over ideal beauty, the theme itself is deeply rooted in classical precedent—most notably Ingres’ La Grande Baigneuse, a work Degas would have known well from his early years copying at the Louvre. Image 1: Edgar Degas, Le Petit Déjeuner Après le Bain, c. 1894 Image 2: Jean-Auguste-Dominique Ingres, La Baigneuse Valpinçon, 1808 (Louvre Museum) #HellyNahmadGallery #Degas #Ingres #Art

'Renoir Drawing' is open at @themorganlibrary throughout February 8! "While the paintings of Auguste Renoir (1841–1919) have become icons of Impressionism, his drawings, watercolors, and pastels are far less widely known. […] This exhibition explores the ways in which Renoir used paper to test ideas, plan compositions, and interpret both landscape and the human figure." 📸: The Morgan Library & Museum, Photography by Janny Chiu, 2025. #NahmadCollection #Renoir

The gallery is open until tomorrow! Come to see our current selection of 20th Century masterpieces, including Paysage Épisodique by Jean Dubuffet. Composed in 1974, this work is a mature expression of Dubuffet’s groundbreaking L’Hourloupe series—one of the most celebrated cycles of his career. Born from spontaneous red and blue pen drawings made absent-mindedly on the telephone, it would later evolve into his most iconic and recognizable visual language. . Holiday hours: the gallery will be closed from December 24 to January 1, and will reopen on January 2. #HellyNahmadGallery #Dubuffet #ModernArt

Pablo Picasso’s Marie-Thérèse à la Guirlande (Femme à la Couronne de Fleurs) was painted in January 1937, which marked the tenth anniversary of Picasso’s chance meeting in Paris with Marie-Thérèse Water, and the beginning of their romance. "A crown of daffodils, an urchin's beret, or a cool straw hat for Marie-Thérèse," Brigitte Léal decreed, "painted like a Manet" (Picasso and Portraiture, exh. cat., The Museum of Modern Art, New York, 1996, pp. 387 and 389). Find us at Booth J5. Final day tomorrow. #HellyNahmadGallery #ArtBaselMiamiBeach #Picasso

@artbasel Miami Beach is now open to the public through Sunday, December 7! Come see us at booth J5 to discover our selection of Modern and Post-War Masters. Photo @studiomdanyc #HellyNahmadGallery #ArtBaselMiamiBeach #ArtBasel

This afternoon at 4PM the doors will open for the first of two VIP preview days at the years final blockbuster art fair - and one that's always a highlight on our calendar @artbasel Miami Beach. We opened our Miami branch almost twenty years ago to enable us to service it better and having moved into a brand new facility earlier this year are now better placed than ever to do so. Please enjoy this timelapse of our technicians installing for the world renowned @hellynahmadgallery which as always looks set to have an unmissable booth. We wish all our clients and friends a successful fair. #artbaselmiamibeach2025 #abmb #miami #fineartfair #contemporaryartfair #timelapse #hellynahmadgallery #florida

Happy birthday to Pablo Picasso, who was born on this day in 1881! Picasso was already in his 60s when Claude and Paloma were born. In photos from that time, he often looks more like a playful grandfather than a father, delighted in watching his children draw. Terrified of aging and obsessed with youth, Picasso found renewed vitality in fatherhood, channeling this childlike spirit into his art. As his granddaughter Marina recalled, he once said, “At eight, I was Raphael. It took me a whole lifetime to paint like a child.” Picasso’s portrayals of Claude and Paloma are among the most engaging and intimate of his entire production. In these works, he achieved a simplicity in both style and subject that he had strived for all his life. For the present oil from 1954, Picasso has radically abstracted the children against a background of solid colors. Image 1: Pablo Picasso, Françoise Gilot, and their children Claude and Paloma drawing, La Galloise, Vallauris, 1953. Photograph by Edward Quinn. ©️ Edward Quinn Archive. Image 2: Pablo Picasso, Enfants Dessinant (Claude et Paloma Dessinant), 1954 #HellyNahmadGallery #Picasso #ClaudeandPaloma

“Never buy good pictures, buy masterpieces”. The words of Zsa-Zsa Korda, protagonist of Wes Anderson’s “The Phoenician Scheme”, find fitting echo in the presence of Pierre-Auguste Renoir’s Enfant Assis En Robe Bleu, featured in the film. Portraiture was central to Renoir’s aesthetic. Of all the Impressionists he was perhaps the one who most excelled at this genre and infused the traditional process of recording the likeness of a sitter with a new force and vibrancy. Renoir’s success as an artist gave him the financial security that enabled him to be selective with his commissions and focus on themes of his own choosing. He thus turned his attention to depicting members of his own family. In the present work, which features his nephew Edmond, Renoir focuses the viewer’s attention on the child’s face. The refined depiction of the youth’s wonderfully finished countenance and the careful rendering of the wardrobe underline the artist’s meticulous attention to detail and style. #HellyNahmadGallery #ThePhoenicianScheme #Renoir