Boy Wonder (1958-1963)
The Hermit (1963-1979)
Fury for Painting (1980-1989)
Visson - Public Person (1991-1998)
Visson Returns to his Roots in a Luxury Hotel (1998-2008)
 

Visson Returns to his Roots in a Palace Hotel

(1998-2008)

Montreux, Switzerland

 
 

Visson in the artistic press:

press clippings

Françoise Jaunin, 24 Heures, 25 March 2003

“Here are the heavily outlined faces of the 60’s, Christ-like figures, tragic, hallucinated, obsessive.  The bunches of heads, haggard and sticky, of the 80’s, swept in a precarious movement that shreds colors and dislocates forms in its breathless course.  Then the sunlit landscapes in exploded mosaics that are not powered by the same urgency. (…)  His furious production rattles pearls and swine in the same flux and the same haste: he couldn’t care less, he paints like a madman and commits himself boundlessly to disdain the rules of the market.”

 

Laurence Chauvy, Le Temps, 27 décembre 2003

“[Visson] joyously appropriates colorful facets of scintillating water, panting therein triangular sails, posing all around still-lifes and houses of which the vital and pure colors recall Matisse.

 

Reunion with with Jean Leymarie, former Direction of the National Museum of Modern Art in Paris, former director of the Institut de France In Rome, professor in the Universities of Geneva and Lausanne, author of numerous works about artists, personal friend to Picasso, Chagall, Giacometti, Balthus, etc., 6 December 2001.

“   [while viewing the landscapes in the museum of the Montreux Palace]There is no dis-continuity.  (…)  There’s a progression, there’s a brightening, it’s a raw art but the chromatic base remains the same.  The same palette, the same energy.  (…)  [while viewing the new paintings in the studio]  ...And moreover there's such a jolt each time (...) But there's a mixture here, a kind of cross-breeding at once bright and dark, et then things lighter and more etheral.  I have to go lie down now for five minutes, one really gets it full in the face with you!"       

 

Biography

“ ‘These hotels are full of mystery and adventure.  One always makes striking encounters.  In the luxury hotels in which I evolved, I wasn't unknown.  But it was a lesson in humility.  I felt myself a pygmy in the midst of celebrities.’ ”

L’Illustré, No. 30, 24 July 1996, pages 34 – 37, Françoise Boulianne, photos Christian Rochat

 

In 1998, Visson moves his working studio into The Montreux Palace.  In 1999, his Visson Museum opens in the Petit-Palais, the dependence and remodeled congress center of the Palace.  Visson begins a series of charitable projects that will lead him to the establishment of his foundation in 2003.  The first will be the consensus, consolidation and cataloguing of all his paintings, numbering some 6000, to be stored in the Palace.  The Visson Foundation supports the Society for the Protection of Animals, and the Foundation Per Canem, which works with owners and their dogs in a therapy, ranging from hyperactivity in children to the reinsertion of marginal people.  Visson continues painting, but donates all his time and paintings to his Foundation.

 

Public Projects and Media Events, press extracts:

In the Montreux Palace

Télé-Vissons for the animals

The Empress Sissi's Bathtub

Making bankers paint

The Stradivarius et the violin maker at the Montreux Palace

Visson insignia on Swiss army tanks

Wrecked car painted as warning

Six thousand paintings in the Palace

Music to appease combat dogs and calm Borzois with a Russian violinist

Memoires

A thousand paintings for a future State museum

A thousand paintings for the Stradivarius Youssupof-Visson

Signature of Sissi's bathtubi

Destruction of a fake in the State museum

Visit of the violin at the jail

Two canvases painted simultaneously with two hands, and the violin, in front of the Swiss Army

The sale for the museum succeeds

Farewell to the Director of the Montreux Palace at Charlie Chaplin's

Film on Visson,« Innominabile », shown at the Rex Cinema et Ciné Qua Non

Donations to the State Museums of Fine Arts and Art Brut at the Montreux Palace

Visson Foundation is established to share works

The Affair "Kopp" 2007

In the Montreux Palace

The Montreux Palace offers a museum to Visson in the renovated Petit Palais:

Philippe Visson celebrates the 40th year of his career.  The direction of the hotel designates a setting worthy of ‘its artist’.  (…) the circle is closed.  (…)  The tenor of Art brut started to paint in a famous Parisian Palace Hotel in 1958.”

24 Heures, 5-6 December 1998, Laurent Antonoff

"The hotel benefits from the renown of the famous artist and endows itself with an original animation.  For the artist, it's a return to his roots."

La Presse, 5 December 1998, L.B.

"Live Painting

Visson brushes the brunch of the Montreux Palace à la sauce 'raw art':

...Sunday in the Salle des fêtes, (...) slightly aside from the buffet but facing an imposing array of seats dutifully aligned, two ambitious canvases are thusly enthroned on the stage..."

24 Heures, 11 January 1999, Laurent Antonoff

 

“The Visson Museum officially opens its doors (…).  On this occasion, [Visson] initiates [the Director, Hans Wiedemann,] to painting [before a large public].”

24 Heures, 11 January 1999, photo studio Churchod

 

TéléVisson pour des animaux

 

“[Visson] has created unusual works of art brut, the ‘Tele-Visson’, which will be put up for sale for the benefit of the …SVPA.”

La Presse, 21 May 1999, A.K.

“[Visson] launches his latest creation: the TeleVisson (at the Café-Restaurant Guignard)… These works—in the same vein as the movie seats or the sheets of the hotel already realized by the artist—[will go] to the fund for the needy…”

Terre & Nature, le sillon romance, 27 May 1999, Y.M.

 

“…25 TV sets recuperated by the artist, then repainted before re-baptized ‘Tele-Vissons’.  An original creation…”

24 Heures, 13 October 1999, S.W.

“The SVPA (…) will see itself bestowed this Thursday, October 7th, with close to 7000 francs, designated for the funds for the needy… (…)  Tele-Visson has been wildly successful (25 former TV sets worked over with a paintbrush have been sold).”

Terre & Nature, le sillon romand, 7 October 1999, Y.M.

The Empress Sissi's Bathtub

“Recently discovered, the bathtub of Sissi at Territet draws interest...Philippe Visson decides to jump in the water

The artist (…) wants to decorate this object, utilized by the Empress while she was occupying her hotel suite of the Hôtel des Alpes in Territet.”

La Presse, 15 December 1999, C.B.

"At the moment, the artist, Philippe Visson (57) is applying make-up to the ancient object [of Sissi's]: he's painting the Imperial bathtub."

Blick, 17 December 1998, Fredy Herren

“Sunday [Visson] barters his easel against Sissi’ bathtub.  (…)  Beware of an unworthy marriage, shout certain people.  (…)  [Visson] nevertheless subscribes to the tradition of artistic controversies without however launching a debate.  Discovered [walled-in] recently in the former Hôtel des Alpes, the bathtub of the Empress will take on new colors…”

La Presse, 7 January 2000, F.M.

 

Tempest in Sissi’ Bathtub

Visson will paint the bathtub of the Empress before the gazes of the diners in the Montreux Palace.  A crime of protocol?

‘I started to paint at 16 in a bathtub of a Paris Palace Hotel (…)’ Visson justifies.”

CONTINUATION OF PAGE ONE

  ‘While visiting one of the apartments, I noticed that the wooden ceiling was sagging.  A bathtub had been hidden there  (…)  this is the apartment that Sissi occupied while visiting to the Riviera (…),’ Enrique Mayer testifies. 

An agreement with nevertheless attached conditions [put forward by the condo management], namely on the future of the bathtub once transformed by the artist.  (…)  A collector has already made an offer before even seeing the result: 10,000 francs…”

24 Heures, 7 January 2000, page 1, page 3 entière, Laurent Antonoff

 

"Relic of Sissi Painted Over by Visson

Should it be sold to pay the repairs of the Résidence des Alps?  Protected from theft?  Cleaned up?  The co-owners of the object become 'work-of-art'  are divided as to its future

VI-SISSI-SSON, thus is the name that the artist-in-residence of the Montreux Palace has bestowed upon his latest creation..(…)  Sissi hasn’t seen the last of it, as the former foresees the realization in the background of the bathtub of a canvas representing the Empress…naked and covered in soapsuds."

24 Heures, 10 January 2000, Laurent Antonoff

 

Making bankers paint

 

The UBS offers its Executives a formation… in Modern Art!

…A hundred employees of the UBS, mostly investment brokers, snapped to attention before the artist… (…) [who] gave his instructions.  ‘…In order to achieve, all means are justified.  Above all, think only of having fun, not about others judging!’

(…)  ‘The event was a beauty, and your seminar has awakened the child that sleeps in each of us.  We got caught in the game of art.’ [letter from one of the UBS directors].”

La Liberté, page 1, full page 3, 2 February 2000, Christian Campiche

 

The Stradivarius and the Violin Maker at the Montreux Palace

 

“The violin maker, (…) Claude Lebet, was passing through the Montreux Palace… to share his artisan’s experience with the public while the artist, Philippe Visson, realized live his portrait.  (…) A talented violinist (…) played the identical partition on three different violins.

One of them sings well above the others: it’s the Stradivarius…”

La Presse, 7 February 2000, pages 1 et 20, D.Z.

 

Visson insignias on the Swiss Army tanks

“When the Tanks Become Seductive:

After bringing back color to Sissi’s bathtub, Philippe Visson takes on eleven combat vehicles.

The drawing (…) adorns since yesterday the flanks of eleven combat tanks at the military base of Bière.

(…)  ‘Some of my men expressed reserve before this insignia.  I could have imposed it but I preferred to settle the matter by a vote.  Finally, it was accepted by 50 yehs against 5 neys,’ the first lieutenant, Jean-Philippe Heim, President of the Society of the Friends of Visson, rejoices.  (…)  Before an imposing array of officers and recruits, the artist did give in to the game of questions and answers, but he also executed a painting and a drawing live…”

24 Heures, 23 March 2000, page 32, Laurent Antonoff

Wrecked car painted as warning

A CAR BECOMES A WORK OF ART

Visson shakes himself up for the prevention of accidents:

…Visson gave a second life to a demolished vehicle last march. (…)  The concept implicated exhibiting this object, once finished, in order to sensitize drivers to the dangers of the road…”

24 Heures, 19 April 2000, Céline Goumaz

Six thousand paintings in a Palace

A HUNDRED MILLION FRANCS WORTH OF PAINTINGS

Fifteen tons of paintings in the cellars of the Palace: (…) Visson brought out six thousand of his works from the limbo in which he had plunged them in order to escape the speculators.  (…)  Visson wanted to take a distance from the art business.  (…)  Director of the State Arts School of Lausanne and reputed for his infallible flair in these matters, Pierre Keller sees in Philippe Visson an artist of undeniable quality.  ‘Halfway between Art brut and Expressionism, he moreover reveals himself as a colorist’.  (…)  The expert however reproaches him for an excessive production: ‘Il he overdoes it, he should restrain his choices.’  Van Gogh and Picasso also over-produced, brings forth the artist [who] (…) estimates his price range between 2500 and 12,000 francs according to the on the works.  ‘Quite realistic,” confirms Pierre Keller, ‘perhaps even a bit under-evaluated.’…”

24 Heures, 28-29 April 2001, page 21, Edouard Chollet.

Music to appease combat dogs and calm Borzois with a Russian Violinist

“Two Russian musicians took out their instruments in front of two sequestered dogs [who had attacked and wounded a 19-year-old woman] in order to test their reactions. 

Motivated by a muzzled curiosity, (…) Samuel Debrot, the President of the SVPA accepted [Visson’s] suggestion to expose animals to music to test if their reactions….  (…) in front of the dogs’ cage: the violiniste, Tatiana Cheimoukhova, a young virtuoso from the Conservatory of Saint Petersburg, and the guitarist, Igor (…).”

24 Heures, 13 July 2001, page 23, Anne-Isabelle Aebli.

 

“…[Visson] drawn to draw Borzois (…) rocked by the sweet sounds of the Russian violinist(…), Visson attempts to draw attention to the predicament of [the breeder, who is a nuisance to the neighbors with her 10 Russian wolfhounds]…”

La Liberté, 25 August 2001, page 17, Thierry Jacolet.

The Memoires

“The memoirs of Visson will not only be seen, but seen and heard.  The artist, who plans on including a DVD in his book, actually intends to associate to this activity Tatiana Cheimoukhova, a young Russian violinist, graduate of the Conservatory…”

La Presse, 9 August 2001, page 3, Claude Béda.

A Thousand paintings for a future State museum

"…Visson has decided (…) to donate to the State Museum of Fine Arts in Lausanne, by the intermediary of a foundation yet to be… [sic] established, to sell—for the profit of the future museum—1000 more of his works at the lowest possible price, in order to satisfy the democratic ideals of the artist (capable, let us say in passing, of the best and the more than worst)…”

24 Heures, 2 November 2001, page 33, Jean-Louis Kuffer.

A HUNDRED MILLION FRANCS WORTH OF PAINTINGS

Fifteen tons of paintings in the cellars of the Palace: (…) Visson brought out six thousand of his works from the limbo in which he had plunged them in order to escape the speculators.  (…)  Visson wanted to take a distance from the art business.  (…) 

Director of the State Arts School of Lausanne and reputed for his infallible flair in these matters, Pierre Keller sees in Philippe Visson an artist of undeniable quality.  ‘Halfway between Art brut and Expressionism, he moreover reveals himself as a colorist’.  (…)  The expert however reproaches him for an excessive production: ‘Il he overdoes it, he should restrain his choices.’ 

Van Gogh and Picasso also over-produced, brings forth the artist [who] (…) estimates his price range between 2500 and 12,000 francs according to the on the works. 

‘Quite realistic,” confirms Pierre Keller, ‘perhaps even a bit under-evaluated.’…”

24 Heures, 28-29 April 2001, page 21, Edouard Chollet.

“Philippe Visson donates a thousand paintings to the State of Vaud"

Le Temps, 2 November 2001, page 44, Philippe Methonnet

“The artist (…) Visson wishes to sell a thousand paintings—a sixth of his Work.  The totality of the money will go to the new State Fine Arts Museum, which appeals to his hopes.”

La Presse, 2 November 2001, page 18, F.W.

“He’s stating that the office of the big state moneyman (…) has bestowed upon one of his paintings [from the State Museum Collection] the honor of his wall space.  Another is to be found at the State Cultural Department (…).  Yet a third would serve to cheer up the daily austerity of a president of the Precinct Court of Lausanne.  (…)  It’s moreover slated that the opening will take place on the site, www.visson.ch , which opens its virtual doors in a week…”

24 Heures, 22 August 2002, page 28, Edouard Chollet.

 

“ ‘These thousand paintings represent 44 years of work,’ explains Philippe Visson.”

La Presse, 22 August 2002, page 4, C.M.

 

Private Property:

After Having Divulged his Studio [at the Montreux Palace], Philippe Visson has Opened the Doors of His Apartment in Montreux.  Visit with a Robinhood of Art, for whom the Ideal Museum is above all a Place of the People.

Self-taught, the artist dislikes considering painting as a profession.

(…) Going obstinately against the current, the artist puts up for sale this week—and for a year’s duration—a thousand of his paintings on the site www.visson.ch at completely broken prices, in order to support the new state fine arts museum. (…) 

‘The vast public shuns museums because they’re made to believe that in order to appreciate it, they should be knowledgeable.  This is regrettable.’  Visson: an appealing character but often misunderstood.  And that’s regrettable also.”

L’Illustré, no. 37, 11 September 2002, pages 42-46, photos Jean-Luc Bamaverain et text Carole Pellouchoud

Operation Philippe Visson

The Art of Controversy:

Paintings sold at low prices to contribute to the financing of the State Fine Arts Museum: the project of the artist (…) appeals and provokes simultaneously.  Launched in early September, the operation ‘1000 paintings for the museum’ has already received resounding echoes with 300 works that have found acquirers for a global amount of 100,000 francs.  The buyers (…) below to all socio-economic groups…”

La Presse, 21 November 2002, pages 1 et 4, Florence Milloud Henriques.

“Philippe Visson loves contrasts.  After a life of a hermit, he regains taste for luxury hotels in the 90’s and installs his first studio at the Montreux Palace.  Today more than 6000 [sic] stored in the basement of the hotel dream of being sold to participate in the financing of the future museum…(works to be discovered on the site www.visson.ch)

Le Matin, 25 April 2003, pages 48-49 under the rubric: ‘Habillez-moi’, Anne-Marie Philippe, photos Christian Bonzon.

 

A Thousand paintings for the Stradivarius Youssupof-Visson

A Thousand Paintings for a Stradivarius!

 [Visson] has exchanged the instrument, property of someone wishing to remain anonymous, against a thousand of his paintings.  [Visson is ecstatic] to have contributed to the happiness of the musician, [Tatiana].  This gesture of Visson underlines a double event.  Along with the young musician, the artist intends to promote the realization of the future state museum… by selling part of his work and donating another to the future institution.  (…) 

Original Owner [of the Stradivarius]: Prince Youssopof [sic], brother-in-law of the Tsar and assassin of Rasputin…”

24 Heures, 13 December 2002, page 13, Céline Goumaz.

Signature of Sissi's bathtub

“…Here’s why, at the moment when Philippe Visson inscribed his name on the newly painted enamel, the promising Tatiana Cheimoukhova a symbolically accompanied the gesture of the artist with the help [of an prestigious Stradivarius from 1701]…”

La Presse, 30 January 2002, page 8, K.DM.

Destruction of a fake at a State museum

In the Jungle of Plagery

Yesterday [in the State Fine Arts Museum of Lausanne, Visson] slashed a canvas, work of a copyist…  [He] destroyed a fake, a copy signed ‘Visson’, … [a] canvas dated 1972, that a collector acquired, ‘at a rather low price’, without certificate from a gallery and that he had sought to have authenticated the Society of Friends of Visson.  (…)  With his usual sense of stage-setting, Visson displaced himself with Tatiana Cheimoukhova, the young Russian violinist of whom he is mentor and for whom he acquired a Stradivarius.  A work of Mozart, then one of Sam Franco from Mozart, interpreted on the legendary instrument of 1707 and on a replica of it created by the violin maker, (…) Claude Lebet, served for this demonstration: ‘One and the other are copies that render homage to genius!’  Visson the Philosopher.”

24 Heures, 12-13 January 2002,  pages 1 et 17, Xavier Alonso.

Visit of the violin to a jail

"Visson in the Clink:

Vevey: Cultural Event in the House of Detention

…Yesterday, Visson, his wife, their two inseparable dogs and the young muse [Tatiana,] were therefore in the prison of the Panorama for what they called a ‘meeting and performance’ both musical and pictorial in the midst of a dozen prisoners obviously receptive. (…)  Tatiana played appropriate pieces, while the master executed a few quick sketches on paper. (…) The penitentiary institution opened their doors to him with enthusiasm.”

24 Heures, 8 March 2002, page 21

Two canvases painted simultaneously with two hands, and the violin, in front of the Swiss Army

“…Before 200 soldiers in the course of their training [at Bière, Visson] executed with his brushes simultaneously two portraits, with both hands, in the space of half an hour, to the tunes interpreted by Tatiana (…).  But he won over his public.  The questions rattled, if they were not fired at the artist, who wanted to pick up the challenge to selling art to the non-initiated…”

24 Heures, 1-2 June 2002, page 19, L. Aur

The sale for the musem succeeds

People

Heart-warming event

Last September, Philippe Visson put up for sale on his Internet site a thousand of his paintings at prices ranging between 100 and 2500 francs.  The buyer merely commits to declare any transfer of property of the art work.  ‘I hate to see someone renounce a Visson due to lack of means,’ the artist confided, disregarding the wrath of the gallerists.  The activity (…) encounters a blatant success.  By the end of this week, five thousand other paintings will be put on sale on www.visson.ch .  Bravo and thanks!”

L ‘Illustré, no. 9, 26 February 2003, Frédéric Nejad et Carole Pellouchoud

Farewell to the Director of the Montreux Palace at Charlie Chaplin's

The Aficionados of the Montreux Palace brunch at Charlie Chaplin’s

  …The unconditionals gathered together Sunday at the Manoir de Ban, above all to testify of their friendship for the departing Director [at Michael and Patricia Chaplin’s]. (…) To be found amongst them (…) Guignard, President of the Lausanne Sports; Professor Samuel Debrot, President of the [SVPA]; the mayor of Montreux, Pierre Salvi; the last Iranian ambassador to Washington, Ardeshri Zahedi; Nicole Minder, Curator of the Jenisch museum in Vevey; the photographer Horst Tappe; or yet Cathy Horn, the wife of the explorer, Mike Horn. (…)  The official artist of the Palace, Philippe Visson, confided having lived at the Montreux Palace his ‘most beautiful journey as an artist’, the same who moreover has a museum in his name at the Petit Palais.”

24 Heures, 14 April 2003, page 29, Laurent Antonoff, photos Alain Rouèche

Film on Visson, « Innominabile »; shown at the Rex Cinema and Ciné Qua Non

“The artist from Montreux before the camera of Laurent Notaro:

Philippe Visson puts on his show

‘…I never wanted to take on the artistic debat—(citation: Michel Thévoz, former Director of the Collection of Art brut in Lausanne [who narrates the film] brings his own his own vision of the artist and on the procedure).  This is an anti-portrait, therefore the film forcibly around a single character.’

And thus, those who populate his life.  A heartbeat for the music and a famous Stradivarius, the equally famous bathtub of Sissi painted by Visson, a concert in the prison of Vevey, a meeting at the Chaplins, the closing of the Why Not in Montreux…”

La Presse, 22 October 2003, page 6, F.M.H.

The Painter Visson Expresses Himself on the Wide Screen

Innominabile, the Antiportrait of Philippe Visson [52 minutes long,] is the work of Laurent Notaro, cineaste (…) who hitched himself up for a little less than three years to answer by image the following question: Visson, is he a joker or a genius? (…) 

He added, for better understanding of the character, a code-breaker in the name of Michel Thévoz, former Curator of the Museum of Art brut.  Fine connoisseur of Visson, the critic brings forth after each sequence… the enlightenments that allow a better grasp of him.  The director (…) considers his anti-portrait as a educational film.  The latter should present the two-fold advantage of pleasing the unconditionals of Visson as well as his most ferocious detractors.”

24 Heures, 21 October 2003, page 39, E.C.

 

"The Antiportrait of an ‘Unnamable’ Artist

The projection of the film consecrated to the artiste of Montreux, Philippe Visson, revealed him both contradictory and an anarchist.

Vevey: Is the life of Philippe Visson haunted?  Gazing at the film of Laurent Notaro, presented (…) before an almost full theatre, one could believe it in as much as the spectors that the artist managed to resurface.  In the autopsy of the art historian, Michel Thévoz, the work of Visson becomes precisely that of ‘an adult who has not capitulated his childhood’ .  (…)  At 60, the painter of the face of a Russian Orthodox priest remains more impenetrable than ever.”

24 Heures, 27 October 2003, page 28, E.C.

“…This film, which necessitated hundreds of hours of work, presents itself, underlines Laurent Notaro, ‘under the form of a dissertation lead by Michel Thévoz’.  Chance for the former Director of the Collection of Art brut, to deliver his explanations while also proceeding to some reassessments…”

Vevey Hebdo, no. 457, 24 au 30 October 2003, page 3,  J.-L- R.

Donations to the State Museums of Fine Arts and Art Brut at the Montreux Palace

 

The Montreux Palace Becomes the Outlet of the Museum

The paintings of Visson were offered to the Lausanne institutions, but will take residence in the Petit-Palais.

…One more time, the artist of the luxury hotels is faithful to his principles by donating some of his paintings to the art museums of Lausanne. (…)  Actually, created for and in the Montreux Palace, they won’t leave their birthplace.  The establishment thus becomes officially the first hotel to take on the role as an outlet for a Lausanne museum.  During a reception given for the occasion at the Petit-Palais, Philippe Visson insisted on thanking his friends, present to celebrate this event with him.  Among others, Michel Thévoz, former Director of the Museum of Art brut in Lausanne; René Berger, former Director of the State Fine Arts Museum; and the new Director of the Montreux Palace, Michael Smithuis.”

24 Heures, 18 December 2003, page 29, F.V.

The Montreux Palace annexed to the Museums of Lausanne thanks to Visson

When the Paintbrush Becomes Militant!

Ten works signed by Philippe Visson were donated by the artist to the State Fine Arts Museum and the Collection of Art brut, but will remain on exhibit at the Montreux Palace.”

La Presse, 18 December 2003, page 4, F.M.H.

Visson Foundation is established to share works

‘Adopt’ a Canvas of Visson!

INTERNET:  The artist  (…) offers 2000 of his works for adoption on the Net.  The profits will go to the  (…) (SVPA).  [Visson is] …a habitual visitor of the shelter of the (SVPA) at the Chalet-à-Gobet (…).  This isn’t his first undertaking of support.  (…)  A site that could not be better chosen to launch his newly created Foundation.  His goal: allowing the public to adopt his paintings to support the SVPA.”

24 Heures, 5 November 2003, page 33, Laurent Antonoff.

Art in the Service of the Animals

A donation against a painting?  [Visson] makes a fundraising appeal to support mistreated animals.  (…)  There are 40 years of painting—more than 1500 artworks—that the artist offers to put at the disposal of a vast public [to support the SVPA and its funds] (…), assisting people experiencing financial difficulties in caring for their pets…”

24 Heures, 11 May 2004, page 29, L. Do.

 

Gallery of images:

Visson Returns to His Roots in a Palace Hotel

Principales shows:

Visson refuses to show in galleries except within the framework of his charitable projects

2003
Geneva, Galerie Atrium, UBS and the Palace of Nations at the UN, “The Gaze of Water”, collective show organized by Michel Thévoz, Switzerland
2004
Lausanne, CHUV (Hospital Center of the University Vaudois), in the framework of the Visson Foundation, Switzerland