Heidi Weber

“You are active, objective; there is unity in your course of action, which is very important.”        
 Le Corbusier to Heidi Weber, June 26th 1961

Heidi Weber's enthusiasm, her perseverance and her reliability have managed to triumph over all of the pitfalls which courageous and passionate action inevitably encounters. With his usual perspicacity, Le Corbusier immediately recognised the qualities of a determined and active woman. He told her: “None of my best friends have ever done as much for me and my works as you do,” an exceptional recognition of his gratitude considering that he did not even like to work with women.

In 1962, after four years of fruitful collaboration, Le Corbusier signed an agreement (amended in 1964) which empowered Heidi Weber to release his plastic works. This document included an exclusive thirty-year copyright for the reproduction and sale of all of his plastic creations, as well as for the publication of his books, his engravings and his lithographs. It should be noted that this agreement was concluded six years prior to the creation of the Paris-based Le Corbusier Foundation.

Since then, Heidi Weber's activities have succeeded in establishing international acknowledgement of the artist's works. Her unequalled professional investment has also been profitable for the existence and the evolution of the Le Corbusier Foundation in Paris.
Thanks to an unusual dynamism and an exceptional know-how, Heidi Weber has asserted herself as the incontestable global authority on the works of Le Corbusier.

Heidi Weber has succeeded in promoting Le Corbusier's works and she is considered world-wide as his spiritual heiress. She not only manufactured and commercially realised the four pieces of seated furniture originally designed by Le Corbusier in 1928 and produced in 1958, she has also increased the exposure of his work through exhibitions of his drawings, of his paintings and of his sculptures and she has published a series of fifty engravings and lithographs and a number of art books; she is also responsible for the realisation of the tapestries.

It requires staunch faith and a profound sense of art to gather a collection as prestigious as the one which Heidi Weber has been realising. Her honesty made her resist the temptations offered by dealers and speculators. As she likes to emphasise, even when she was sometimes forced to part with an object, Heidi Weber always tried to choose the buyer herself. Afterwards, whenever she could and whenever it was possible, she repurchased the works which had been sold, restoring them to her collection. Each work remains a constant source of emotion and discovery for Heidi Weber, provoking an everlasting rush of youthfulness.
The variety of Le Corbusier's artistic expression -drawings, watercolours, gouaches, oil paintings, tapestries, engravings, books, sculptures and architecture- is sufficient to compose a complete and coherent artistic whole. In choosing the last house designed by Le Corbusier as a casket for the collection, Heidi Weber has succeeded in realising the creator's essential idea: a synthesis of arts.

As the only museum dedicated entirely to Le Corbusier's plastic works, the “Maison d'Homme,” which was designed by the Master in 1961, was realised and posthumously inaugurated on August 16th, 1967.

This “monster of perseverance, devotion and enthusiasm,” as Le Corbusier once described her, offers us the opportunity to follow the artist's entire idea completely in time and space. Le Corbusier believed that “everything is in everything,” from the humblest values which he respected, to the most revolutionary ideas.