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1956 - 1957 : Studied Sociology and History of the Fine Arts in USA

1958 - 1961 : Studied in Paris
- at the Julian Academy in the studios of Sabouraud and Mac Avoy
- at the "Ecole des Beaux Arts" in the studio of Chapelain-Midy
- at the "Ecole du Louvre"

1970 - 1976 : Studied in Grenoble (France) at the School of Decorative Arts in J.M. Pirot-Arcabas' studio.

1978 - 1980 : Studied in Paris at the "Ecole des Beaux Arts" in Louis Nallard's studio.

Currently resides in Paris, France

"Painting....is a dream ! The dream of being projected in the future from a spectacle, from some emotion I have seen or felt in the past and I am living again at the present moment. It's the time. The time which is in the painting but what the painting disproves...Time of the studio, time of the hand gathering and changing, following the way of the eye on the surface and guessing what is hiding beneath....
I spend several months on some paintings, a few days on others. Sometimes I don't find anything. Then I tell myself again that painting is an art of the moment, unlike language which needs continuity. In front of the picture, the past and the future merge..."
Régine Sarallier, 1995

"You cannot explain the painting. It's like silence. It simply exists and shows what it is. It's a media, a means to transfer to others what you want to give. Everything not given is lost. You need a magical strength of expression for this language. You have to create "unwittingly", "fearlessly".
For me, to create is to play between abstract and figurative art. Above all, after finding an issue, it's an endeavour to continue towards the light. It's to see what I don't know how to see. To do what only I am able to do.
The merit of a painting is to show what is not possible to define, what escapes precision. It's a being, an involved reality, an interpretation of this reality. It's real life. It offers without ever asserting. It's a moment of happiness and fight."
Régine Sarallier, 1989

  • Personal Exhibitions

  • 1997 : "Action d'Eclat", Les loges en Josas, France
  • 1996 : "Société Générale", Paris, France
  • 1995 :
    - "Hotel de Ville de Grenoble", France
    - Art Gallery of "Hotel Astra", Paris, France
  • 1994 : "Galerie Demay-Debeve", Le Touquet, France
  • 1991 :
    - "Collegiale St Pierre La Cour", Le Mans Museum, France
    - "Galerie des Artistes", Paris, France
    - "Galerie Samagra", Paris, France
    - "Chateau Sellier", Cogolin, France
  • 1990 : "Hewlett Packard France" Foundation , Grenoble, France
  • 1989 : "Galerie Suisse", Paris, France
  • 1988 : "Le Grand Cachot de Vent" Foundation, Neuchatel, Switzerland
  • 1986 : "Galerie Suisse", Paris, France
  • 1985 : "Maison des Princes", Pérouges Museum, France
  • 1982 : "Galerie Mondile", New York, USA
  • 1979 :
    - "Galerie Breteuil", Paris, France
    - "Chateau de la Condamine", Isère, France
  • 1977 : "Galerie Duncan", Paris and New York
  • 1975 : "Galerie Marcel Bernheim" , Paris, France

  • Group Exhibitions

  • 1997 : "Palais des Rois de Majorque" Perpignan, France
  • 1995 : National Museum of Fine Arts Shanghai, China
  • 1994 : "Temple JOSENJI" Tokyo, Japan
  • 1990 : "Salon d'Art Contemporain" , Monaco
  • 1988 : "Musée Sursock" Beirut, Lebanon
  • 1984 : Art Gallery of Orly Airport Paris, France
  • 1982 : "International Fair of Plastic Arts" New York, USA
  • 1981 : "Foire d'Art Contemporain" Québec, Canada
  • 1980 : "Palais de la Découverte" Paris, France
  • 1979 : "Cercle Militaire des Gobelins" Paris, France
  • 1978 : "Galerie Duncan" New York, USA
  • 1974 : "Hébert d'Uckerman" Foundation Isère, France


  • Upcoming Exhibitions

  • November 1999 : "Espace Chatelet-Victoria" Paris, France


  • "Prefecture de l'Isere", Grenoble, France
  • Sheraton Hotel, New York, USA
  • "Musee du Mans", Le Mans, France

    • Selection of paintings from Régine Sarallier

    Read the guestbook of Régine Sarallier

    Sign the guestbook of Régine Sarallier

    "Luck takes very little room in the works of Régine Sarallier, who is always searching for the key-note. Her masterly balances of forms which make our head and our heart festive and sway from figurative to non-figurative figures - are certainly not born of a whim...
    In studio cant , substance is the outgrowth, the relief of a full brush. And these substances emerge and emerge again in the works of Régine Sarallier... These little sculptures jut out of the canvas and trap light through their unevenness but they are just one element of a painting for which substance becomes more and more important. The artist grinds her pigments herself and makes her own colours; she blends them and spreads them with a loving hand, then distributes them in series under the banner of a leading tonality..."

    Jean Marie Dunoyer, 1989

    "Régine Sarallier knows how to use colours superbly : it's a pleasure, a feast. She gave herself the mission to bring a "smile" to everybody looking at her work. But it's a frail smile. Like a picture of life, the smile is always threatened by a shadow which, even if repelled and banished, surrounds and menaces it from all sides ..."

    Pierre Brisset, 1989

    "There is fire in this painting...
    Much like those who attain salvation in religion, Régine Sarallier has liberated herself from principles which are too heavy. Taking the risk of "losing her footing", she dares to lay bare, before our eyes, her intense sensibility and her passionate love for life."

    Pierre Brisset, in "La Vie des Arts" 1991

    "Abstract art ?....Figurative art !...To try to put the art of Régine Sarallier in a very specific category is certainly stifling it in too narrow a space. But if I say that Régine Sarallier's art is first and foremost the art of a woman, I can rouse feminist protests. But for me, this is the greatest compliment you can give for only a woman can give life!...
    First, it's an indefinite feeling, a piece of a dream or remembrance, a moving form whose instanteousness you have to keep...
    By degrees the form comes out of the canvas, the marble powder sculpts some reliefs which catch light. There is no luck involved in her creation. The hand of the artist is guided by a strength which is no more within her control. Between her and her work, the osmosis occurs; she is the work; the work is herself; The life she wants to give is her own life and her life is her art."

    Marguerite Marchal, 1995

    "The painting of Régine Sarallier is both strong and frail, open-hearted and solid, rich in harmonies and in emotions. Régine Sarallier knows how to find the perfect balance between colour, space and form and she perfectly controls an action which begins from the concept and leads to the substance. Though her rigor does not give way to luck, you can easily see a very tense sensibility loaded with doubts and questions."

    1991