Summary of the main prizes :
1950 Fénéon prize.
1997 Galerie Robin Léadouze, Paris.
From 1955 until 1996 :
Numerous displays and exhibitions in Paris : Galerie Sagot Le Garrec, Galerie Lorenceau, Galerie Vendôme and continuously since 1972 at the Galerie Guiot.
Abroad : International Gallery (Chicago), Galerie Suarez (Miami), Marcos Castillo (Caracas), Galerie d'Hermance (Switzerland), Central Museum (Utrecht), Institut Franco Japonais Tokyo, Osaka, Seoul, etc.
Special guest of numerous displays in France and abroad : Figurative Group of International Art : Tokyo, Nagoya, Osaka, Montreal, Seoul, Germany, Helsinki, Copenhagen, Manchester. Three French Masters : The U.S.A., etc.
1967 Museum of Annecy.
Modern Art Museum of the town of Paris Modern Art Museum of Utrecht Modern Art Museum of Djakarta Modern Art Museum of TelAviv Modern Art Museum of NewYork Modern Art Museum of Gdansk Modern Art Museum of Besançon Modern Art Museum of Bagnols sur Cèze Modern Art Museum of Saint Denis Modern Art Museum of Bourg en Bresse Modern Art Museum of Annecy Modern Art Museum of Belfort Modern Art Museum of Toulon. Modern Art Museum of KwangJu (South Korea).
To learn more about, see, the book collection "Maîtres Figuratifs Contemporains" Paul Collomb, S.N.P.M.D publisher Paris, 1986.
...For twenty years, Paul Collomb, modest in his qualms, applies oneself with obstinacy and with the most high-minded concerns, to solve some problems of art, which were to paint without gratuitous digressions, that were the alibi of the weak. From which a uncommon language through its kind and through its ambition which preclude the pastiche of the mannerism of this epoch and the advanced factitious scents, as well as the ignorance of the enrichments dispensed by the inborn sense of few people, responsible for beneficial aesthetic revolutions. Within the pictorial obscurantism and the contemporary irrationality, Paul Collomb is one of the young artist who are going to maintain and, if possible, endeavour to re-establish, the painting rights and the assets of ground.
Paul Collomb reveals that, in the organization of its simple,
quick-tempered and accurate feelings, revealing the tenderness
for the truth and an indefectible cordiality for the real...
... Portrait-painter, and as this style to be set within
the brilliant way of the ever great french painting , Paul
Collomb is a pattern-painter too. Gazing at nature, as a river
side, as a pond corner, are much more "portraits" than
landscapes or lighting effects of a quite simple pantheism,
full of sweetness, with sometimes some pathos, and always
a tactful modesty. Probably the main key of his universe is
an intimate one and, if one could think about the too easy
comparison painting with music, it would be the "Domestic
Symphony" that will come up...
...As this former pensioner of the Casa Velasquez in Madrid,
of the French Institute of Amsterdam, ran within thirty years
in an ever imperil way, one can be thought that he did not
lock himself in his ivory tower, and that, at contrary, he
paid a strong attention to the great work of his famous elders,
Velasquez, Tintoret or, more recently, Pierre Bonnard, for
For Collomb, Art is far beyond all these things, when there
is a kind of conjunction between the inward feeling and its
resumption. There and back to the reality (character landscape object...)
a sign, then this sign of life. Ceaseless go and back which
Paul Collomb asserts to find again always in the great works
he admires, as "La fiancée juive" by Rembrandt,
where the excitement and confusion raise the fact that he
does not know if he looks a man, laying lovingly the hand
on a young woman breast, or the delight of some ivory tint
laying carefully on an old-fashioned red. Ivory tint which
becomes again the hand and the old-fashioned red, the dress,
there is here the mystery and the thrill begin.
" ... Furthermore there is something religious in the
Paul Collomb Art : pantheism days after days, his painting
is as fellow works, the sharing of the bred.
Of course, there is a talent established thanks to the power
of the colour and to the good knowledge of the paint-brush,
and the mastering of rhythms, and the balance of the composition but
its much more ! It seems to me that your exegetic people,
in their dissertation about the philosophy of the painting,
do not praise the secret fibre, the intimate paint-brush lighted
by humanism which, involve in things of life, try to decipher
the human being enigma, the secret of the earth ; the passionate
painter willing to establish dialogue between beauty and truth
and who, as we are seeing the only trees and boughs, reveals
the grove of love.