HATHOR

Suspended on the vertical plane, František Kupka’s Étude de femme pour Soleil d'automne infuses the space with a luminous, atmospheric pulse. Emerging from the spiritual depth of Symbolism, Kupka dissolves the female form into the fluid, rhythmic vibrations of a golden autumn sun.

The artwork breathes warmth onto the walls, serving as a poetic window into the dawn of pure abstraction.

Directly below, anchoring the room's bold, monochromatic geometry, stands Riccardo Scarpa’s Venus (1941). Carved from a singular block of marble during a fractured chapter of European history, this statuesque presence stands in defiance of time.

Where Kupka evaporates form into cosmic light, Scarpa petrifies it into enduring grace. Her upraised arms create a self-contained sanctuary, a monument to classical beauty resting on a modern, patterned shore.

Illuminating this dialogue is the quiet genius of Alberto Giacometti's Feuille floor lamp (c. 1938). Its slender, patinated bronze branch rises like an organic fossil from the floor, casting intricate, geometric shadows that climb the stairs and sweep across the ceiling. Giacometti’s play of light filters through the room, bridging the architecture’s rigid symmetry with the raw poetry of nature.

Nestled in the quiet contour of the room sits a deep green velvet armchair by Jules Leleu (c. 1942–1946). A masterwork of French Art Deco refinement, its plush, structured volume invites contemplation.

It offers a luxurious vantage point from which to witness this spatial symphony—a place where the eye can rest as the undulating marble staircase leads the mind upward, suspended beautifully between the sanctuary of stone and the liberation of colour.