At the beginning of the education of the gaze, there was a first enchantment in front of a fresco by Giotto. Then, in fairy-tale times, fascination with a haughty hieratic figure of Petrus Christus. And lastly, in the prime of adolescence, a real aesthetic shock; the one that causes a wobbling of the body and a vibration of the heart, the one that moves to tears as much as it fills with joy; this was Botticelli’s Annunciation.

This was followed by a thirst to understand, a burning desire to see and to immerse oneself in the mysteries of artistic creation. Here the gentle and eternal beauty of a Leonardo da Vinci face, there the incandescence of a Grünewald Christ; here the power of a Goya scene; there the nebulous reverie of a Friedrich. It is then, on the strange shores of Nolde, that a first revelation was whispered.


What is happening in these emaciated limbs at Giacometti’s figures? How can one express the dramatic atmosphere which is conveyed by this purple mantle of the Van Eyck brothers? Why do you feel such an emotion in front of this tiny rosary of wooden shells and gold? Where does the strength of this monochrome looking like a philosophical insurrection come from? And lastly, from historical avant-gardes in the 20th century art to discovery of the famous “When attitudes become form”, it is the hypnotic shock in front of a work by Rothko that erases all doubt: art is a vocation and studying its history a passion.


A work of art tells the  moving, marvellous and dramatic story of Humanity. Its formal and material evolutions accompany or even anticipate the revolutions, the progress and dramas of our societies. It also tells the sensitive story of the tensions, ideas and emotions at work in human beings.

In the end, it has the power of opening the gaze and raising the mind, strength of revealing an eternal truth.


As graduate of the Faculty of Art History at the University of Strasbourg, Deborah FEST KINDLER is particularly interested in the historical avant-gardes of the 20th century and contemporary creation.

After a stint as a curator in a Parisian museum, she was introduced to the international art market by experienced collectors. Encouraged by art lovers with whom she began to share her views and choices through exhibitions and international fairs, she founded her art consultancy company in 2012.

She then develops a set of tailor-made offers in order to serve the work of art. Since then she has advised art lovers and compagnies in the constitution, management and preservation of their art collection. She also assists institutions and galleries in specialised research and prospective studies. Honest and rigorous, intuitive and objective, Deborah FEST KINDLER works to listen attentively to her custormers and their stories.

If a person’s gaze always has it own sensitivity, her advice is thoughtful, relevant and detached. She knows how to go beyond trends in order to spot high-quality works; her acute and demanding choices will support a need for understanding and a desire for knowledge, enhacing a search for meaning and beauty.

Probing a work or the originality of an approach, contextualising a creation, understanding a gesture, retracing a story, all the services offered are first of all at the service of the work of art, its understanding and its preservation.


Born in 1983, Deborah FEST KINDLER established her company in France in Mulhouse near Basel. This central position enables her to assist her customers throughout Europe.



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