A visionary gallery housing a visionary artist, Amar Gallery is proud to present Hélène de Beauvoir: the woman destroyed, the first-ever solo exhibition of Hélène de Beauvoir’s work in London. Often overshadowed by her older sister, the writer Simone de Beauvoir, Hélène was a pioneering artist whose bold, expressive paintings explored identity, feminism, and resilience. Featuring paintings and works on paper from the 1950s to the 1980s, this exhibition is the result of three years of dedicated research and curation by Amar Gallery’s founder, Amar Singh—hailed by The tlegraph as a “farsighted art dealer” for championing overlooked artists. Singh painstakingly sourced Hélène’s works from around the world, uncovering their historical significance and the profound influence she had on both the art world and the global feminist movement.

Hélène de Beauvoir’s art challenges traditional perspectives, offering a distinct, vibrant narrative. She was not simply content with painting; she sought to break free from the constraints that had historically kept women out of the art world’s spotlight. Unlike her sister, whose impact was rooted in literature and philosophy, Hélène’s artistic practice was an act of rebellion against the societal norms that sought to silence her. Through her work, she explored the human condition, specifically the role of women within the broader social and cultural narrative.

Her exploration of the feminine experience resonated deeply with the feminist movements of her time, elevating her art into a powerful tool of self-expression. In her paintings, Hélène used both vivid and subtle colors to evoke emotion, exploring the raw emotional depth of the female experience with an intensity that was ahead of its time.

Hélène de Beauvoir’s impact extended far beyond her canvases—she was deeply engaged in the fight for women’s rights, and her work reflects themes of resilience, freedom, and the struggle for self-expression. Unlike her sister, who used words to challenge societal norms, Hélène did so through vibrant, emotive imagery that captured the complexities of womanhood in the 20th century. She often portrayed women not as passivesubjects, but as powerful forces capable of shaping their destinies, symbolizing their fight for independence and autonomy in a world that often sought to diminish them.

Her first solo exhibition in Paris in 1936 was held at Galerie Jacques Bonjean, a space that also showcased icons like Picasso, Braque, Dalí, and Leonor Fini. Picasso himself was an admirer of her work, recognizing the strength of her artistic voice in a male-dominated art world. Hélène’s ability to merge post-war European modernism with deeply personal storytelling made her paintings unique and powerful. The artistic elite of Paris took notice, and her exhibitions became a space for intellectual exchange, attracting prominent artists and philosophers who appreciated both her technical skill and her unapologetic approach to the human experience.

Her later work evolved, reflecting the changing dynamics of both her personal life and the world around her. The themes of strength and resilience in the face of societal pressures continued to be prominent in her work, becoming even more relevant as she aged. Her art transcended the boundaries of what was expected from a female artist of her time, as she consistently found new ways to challenge her audience and redefine the very notion of femininity.

A rare collaboration between sisters

In 1967, Hélène collaborated with Simone de Beauvoir on a special edition of The woman destroyed, illustrating the novel with sixteen etchings. This marked the first and only artistic collaboration between the sisters, highlighting their intertwined creative and ideological journeys. A rare first edition of this book—an important milestone in feminist literature—will be on display at Amar Gallery. The book’s publication was initially met with skepticism by publisher Gallimard, who feared that such a strong feminist narrative might disrupt the social order. Today, it stands as a testament to both sisters’ contributions to literature, art, and activism, offering a powerful visual and literary expression of the feminist ideals they both championed.

This collaboration was not just a marriage of words and images—it was a testament to the unspoken bond between two women who shared not only a family connection but also an enduring commitment to confronting and reshaping the societal norms that governed their lives. In many ways, their collaboration represents the intersection of two distinct forms of artistic expression—one through the written word and the other through the visual arts—both of which served to illuminate and elevate the feminist message of empowerment.

The impact of this collaboration went beyond the creation of a book; it set a precedent for future feminist artistic collaborations. By merging their respective talents, Simone and Hélène were able to produce a work that captured the essence of their individual voices while simultaneously reinforcing their collective contribution to the feminist cause.

An artistic circle of intellectuals and rebels

Beyond her own work, Hélène shared a close relationship with some of the most influential thinkers of her time. Jean-Paul Sartre, Simone’s lifelong partner, was one of her frequent supporters. After rejecting the Nobel Prize in Literature in 1964, Sartre hid from the media at Hélène’s home in Goxwiller, Alsace. Both he and Simone regularly attended her exhibitions, immersing her within their intellectual and artistic circles, which included figures like Jean Cocteau and Lionel de Roulet, whom Hélène later married.

These connections helped her gain recognition in intellectual and artistic circles, where her contributions were often overshadowed by the more famous names of her contemporaries. However, those who saw the depth of her work recognized her as an artist in her own right, and her exhibitions became important events in the cultural calendar. The interactions between these intellectuals and artists shaped not only her career but also the trajectory of feminist art as a whole.

Women’s rights specialist Claudine Monteil, who knew both Simone and Hélène personally, wrote in The Beauvoir Sisters about their strong yet complicated bond. Though they sometimes struggled with rivalry, their shared experiences as women navigating male-dominated fields ultimately brought them together. Their lives, art, and activism intertwined, contributing to the broader feminist movement in ways that are only now being fully appreciated.

Hélène’s involvement with intellectuals like Sartre and Cocteau is a testament to her intellectual depth and the influence she had beyond the visual arts. Her participation in these circles shaped the direction of her work and provided her with the intellectual tools to continue exploring the complexities of human existence.

A long-overdue tribute

With works sourced from major international collections—including the Centre Pompidou, Uffizi Museum, Oxford University, and the Museum of Modern and Contemporary Art of Strasbourg—The Woman Destroyed is more than just an exhibition. It is a long-overdue recognition of an artist who refused to be confined to the margins. The exhibition serves not only as a celebration of Hélène’s life and work but also as a call to recognize the countless women artists whose contributions have been neglected by history.

Through this exhibition, Amar Gallery continues its mission to celebrate overlooked artists, ensuring that Hélène de Beauvoir’s name stands alongside the greats of modern art. This is not just a rediscovery—it is a reclamation of a legacy that deserves to be seen, studied, and admired. By honoring her work, the gallery is doing more than just showcasing her paintings—it is restoring her rightful place in the pantheon of feminist art history.