It would have been ideal to see the whole team together for a round-table discus-sion! Unfortunately, Éric and Anne-Marie Dupré are no lon-ger with us.

We all knew each other before L’Atelier was set up on the rue de l’Abbé-Carton. Éric and Jack, who both had great admi-ration for my father, were like big broth-ers to me. In short, the team was made up of friends. A summary of this decade can only give a glimpse of the many dif-ferent events that took place and of all the people connected to L’Atelier.

1955: My father, Jean-Jacques de Broutelles, ended his career as a sur-realist painter to open the screenprinting workshop Paris-Arts with Pierre Launay, located at 17 rue Tournefort in the 5th arrondissement. They were among the pioneers along with Michel Caza and the Atelier Arcay.

As a child I sometimes went with my father on the weekends to Paris-Arts where we printed gifts for ourselves as well as for friends and family. I would later become fascinated by these self-made productions, and I especially remember our remake of Tomi Ungerer’s poster White Power Black Power, for which Papa had found documentation in Evergreen, an American hippy magazine. I was amazed that we could use serigra-phy to make fun things.

1967: Éric Seydoux, who had just arrived from the United States, and Jack Pesant, whose family was close to my father, happened to be working together at Paris-Arts. That’s where they got their first taste of screenprinting, as did other

well-known future silkscreen printers, namely Michel Kizlik and Paul Schouten, the Dutch printer.

Mai 68: The Atelier populaire at the Fine Arts School of Paris printed political posters. Paris-Arts printed posters by Cremonini, Sempé, Veličković, and Ylipe.

1970: After two years at the School of Decorative Arts, Pierre Ouchacoff chose screenprinting as an elective and met his professor, Éric Seydoux...

1974: Jack and Éric opened L’Atelier on the rue Pernety, and Pierre Ouchacoff gave them a hand setting up.

1975-79: Paris-Arts closed, but my father, together with Michel Kizlik, quickly opened a new workshop in 1975 called La Sérigraphie. After a succession of odd jobs, I became an employee there. At the time, I collected toy metal robots, most of them Japanese. One of the boxes that the toys came in was particularly inspir-ing and I planned to use it to make a poster.

At La Sérigraphie, I met Pierre Ouchacoff for the first time, and when visiting Éric on the rue Pernety I met Anne-Marie Dupré, his companion.

I had some wonderful moments at my father’s studio. There were times when I ran into Jean Dubuffet and the people from the Pace Gallery. I also met Alain Pauzié who became a friend. However, I was disappointed at not having accom-plished anything personal.

1980-81: I sometimes went to help out at L’Atelier, and then I was poached from La Sérigraphie by Éric and Jack (I sus-pect with my father’s secret approval). I became a full-time employee and