Known essentially for its monumental & nbsp; nanas, & nbsp; Niki de Saint Phalle (1930–2002) left behind a protean work made of performance paintings, feminist sculptures or psychoanalytic films. Self -taught, she has placed her life and personal ideas at the heart of her art, delivering a committed and feminist work. It was during a dark episode of her life that Niki de Saint Phalle discovers painting. After a career in Mannequina, she suffered from the age of 22 from depression. Art therapy will prove to be beneficial for the young woman and allow her to dispel her evil. It is not surprising while the future artist quickly found echoes with art brut, initiate by Jean Dubuffet or Outsider art. Self -taught, it began to paint in the years 1952, thus marking the first steps of a "touch -touch" artist. Lesculptures, architectures and performance will multiply. & Nbsp; Saint Phalle deploys a wide artistic spectrum and alternates mediums. Around her, many personalities cultivate her appetite for daily art. She will claim to be the movement of new realists and will be surrounded in particular by Gérard Deschamp, Christo, Yves Klein or Miro. Artist friends, but also a husband. Niki de Saint Phalle will marry the painter and sculptor Jean Tinguely, with whom she will notably realize the Fountain of Stravinsky commanded by the State, located a stone's throw from the Pompidou museum. From Niki de Saint Phalle, we will notably remember her fire performance in 1960s which will make it world famous. Likewise, her & nbsp; monumental sculptures & nbsp; did not fail to attract attention ten years later with his "golem" or "monster park" in Jerusalem west, and as the artist sees always bigger, she goes up to s 'Attack in the realization of a park of sculptures in Tuscany, the "Garden of Tarots" inaugurated in 1998 and inspired directly by the Gaudi park. But who says Niki de Saint-Phalle dit & nbsp; nanas. An artist resolutely female but feminist, she achieves a series of small women all in curves and color, her girls. These are ambassadors of modern women, freed from patriarchy, who take power by dancing and heckling. The artist approaches the female body with a feminist tone that is due to performance because he comes above all from the point of view of the artist.