In 1881, Paul Durand-Ruel came to see Camille Pissaro, bought him the major part of his paintings and watercolours and
proposed him to buy all he would paint afterward. Pissaro thought: “It offers peace of mind for a while, and the means
to do important work.” Indeed! A providential merchant, of a new kind, has then emerged: the gallerist, determined to
guarantee a way for the artist to focus on his art, to work exclusively for it, relentlessly, following his inclination, his genius,
his intuition. We sense what this can mean for the artist. But for the gallerist? What does push him in the back?
Monet declared that without Durand, all the Impressionists would have died of hunger, and himself first.
Sure. It is the glory of this merchant to have resisted the whole art world of the time, circles of authorized and co-opted
members, critics, official prescribers of taste, ministerial artists with their academic art. A merchant fought for these new
deviant artists, on their side, while they were still alive – this merchant, who was called crazy, and who embarked on this
adventure, on his own, as an individual. This type of gallerist is an adventurer. Pirate and pillar of the art world. Capable of
starting a new trend in art history. At the tip of the contemporary time. Baudelairean traveller. Casting off to leave this shut
and boring country, with every thing already listed. Beyond familiar and narrow landscapes, he recognizes the artistic
radiance which burns the mind. He is capable of diving in. Beyond the known world to seek out the New! He commits
himself entirely. Viewer but not watcher. Gambler but not calculating. Persisting, fiercingly working, putting himself at
risk, game on the razor’s edge, on a high wire, feverish, voracious. Go-getter. For this type of merchant, more is more.
Obvious demanding nature, obvious need of large-scale action, obvious ambitious vision. The opposite of parcimonial
and over-prudent spirit. These visionary people defend the privilege of decision, commitment according unique choices,
personal choices. Eva Hober decides today to gather five other gallerists irreducibly singular. Five logics of commitment,
of enthusiasm, of fierce will, of sharp demands, of cut decisions, of very clear choices. When Renoir paid his respects to
Durand, defining his “true quality” consisting in his love for art and in the defence of artists before their death, he added:
“You are the only one to have thought of the this natural thing”. In these gallerists’ eyes, it is a natural thing, it is logical, it is
imperative to commit for the long run with certain artists, at any cost, and to embark with them in this life made of shocks,
shier excitement, panic and marvel. Emmanuel Perrotin says clearly that is as if he had his fingers never removed from
an electric plug. Georges-Philippe and Nathalie Vallois are tirelessly on the look-out for demanding initiatives to renew
approaches of the New Realism. Christian Berst has such a devouring passion for Art Brut that he opened a gallery out
of necessity, to relieve the people around him, to exhibit what is seen nowhere else. Nathalie Obadia was born in art,
lives in art, totally immersed, no breathing out. Fabienne Leclerc opened her gallery, closed it, reopened it, wind in her
back in contact with the artists who make her move forward. If they experiment fame or success, that’s for the best, but
that’s not what drives them first. They are rather driven by the privilege of experimenting and enjoying mature freedom
of taste and mind, giving access to internal states of paradoxical grand certainty in moments of risk. All who are here
exhibited have this privilege of living in the way of adventure as absolutely free and determined minds.