# Véronique Filozof

Véronique Filozof (born Véréna Valérie Sandreuter; 8 August 1904 – 12 January 1977) was a Swiss-born French painter, illustrator, and draughtswoman. Born in Basel, Switzerland, Filozof moved to France in 1923. After World War II she concentrated on painting and drawing. Between 1950 and 1975, she gained international recognition for her work, which included black-and-white ink drawings, colored gouaches, and large-scale mural decorations. She was also known as the illustrator for numerous books for adults and children, some of which won awards. She contributed in sacred art as well, creating an illustrated Bible, frescoes, and stained glass windows.
Her work primarily depicted scenes of everyday life. She highlighted social inequalities, particularly those that affected women and workers. She once stated that she could "rarely conceive a painting or drawing without including human beings: their lives, their works, their joys, their sorrows." Her book Pollution, which included numerous landscape and animal drawings, reflected an early awareness of environmental protection.

## Biography
### Early life

Filozof was born Véréna Valérie Sandreuter in Basel on August 8, 1904, in a family of artisans and artists established in the city since 1634. Her great-uncle, the painter Hans Sandreuter, a student and friend of Arnold Böcklin, was known as the "Swiss Cézanne." She was raised with a deep appreciation for the arts and music. Her father, Rudolf Sandreuter, a master blacksmith and musician, took her every Sunday to the city's Fine Arts Museum, where she first became fascinated with painting. She studied at the Basel School of Fine Arts alongside her sister Élisabeth and her brother Hans, who also became a painter.
She formed friendships with many painters, including Charles Hindenlang, Numa Donzé, and Théo Eblé, the latter of whom used her as a model between the years of 1920 and 1922. She came to France to improve her French and, in 1923, married Paul Modin, a lycée bursar from Côte-d'Or, in Mulhouse. They had two children, Paulette and Jean-Guy. After their divorce in 1937, she married Georges Filozof, an engineer at the Alsace Potash Mines [fr] in Mulhouse.

### World War II and post-war period

During the Occupation in June 1940, she, like many Alsatians, left Mulhouse. She fled to Roussillon and Perpignan, where she reconnected with exiled friends. She took part in refugee relief efforts led by the Swiss Red Cross, assisting at the Swiss maternity hospital in Elne [fr] and the surrounding areas. In 1941, she moved to Périgord, where her husband managed a lignite mine. In Sarlat, she established a sewing workshop to help local families and support the resistance network that her son, Jean-Guy Modin, had joined (Bataillons de la Liberté du Sud). She developed strong ties to the region and formed lifelong friendships, including with the poet Jean Monestier, a majoral of the Félibrige literary movement. The region also became a major source of inspiration for her, as seen in her illustrated book Le Périgord noir. Returning to Mulhouse in 1946, she transformed her home into a vibrant artistic hub known as "Le Grenier de Véronique." At the same time, she continued to refine her skills in drawing and painting.

### Artistic career

In 1948, she met Pierre Betz [fr], founder of the artistic and literary journal Le Point, who encouraged her to pursue painting. This marked the beginning of her artistic career. She began in 1948 with painting subjects and themes inspired by the poetry of such luminaries as Jacques Prévert and Honoré de Balzac. Her early works, highly classical in nature, were strongly influenced by Matisse and sometimes Chagall. Eventually moving away from her classical training and breaking free from the rules of perspective, she developed her distinctive style using a Sergent-Major nib and a bottle of Indian ink. She became increasingly passionate about drawing, working almost full-time while listening to music (Bach, Mozart, etc.). She often incorporated quotes and excerpts from poets, writers, and philosophers into her drawings, as she believed that art, in all its forms, was interconnected.
She held her first exhibition in October 1949 in Sarlat. The art critic Georges Besson further encouraged her, saying, "Véronique Filozof, you don't have talent—you have genius. You must draw, draw a lot." She associated with many artists, painters, writers, and poets, including Paul Éluard.
In 1951, she held her first Paris exhibition, where she received support and encouragement from Jean Dubuffet and formed a friendship with Aristide Caillaud [fr]. Presenting in Paris the black-and-white drawings from the book Le Périgord Noir to sculptor André Bloch, director of the magazine L'Architecture d'aujourd'hui, he became enthusiastic about her work and published the collection in 1954. In Paris, she reconnected with Paul Éluard, frequented the La Hune [fr] bookstore, and met André Malraux, Louis Aragon, Colette, Cocteau, and Jean-Paul Sartre. She also met the painter Aurélie Nemours, with whom she became friends. In addition to frequent trips between Mulhouse and Paris, she traveled across France, Switzerland, and the Netherlands in her bright yellow 2CV, drawing, illustrating books, and presenting them at exhibitions. She exhibited in numerous art galleries, and at the request of municipalities and museums. She also set up her studio in Paris, a city which she frequently sketched.
In June 1956, she participated in "Peinture d'aujourd'hui," an exhibition featuring 112 painters, where she showcased her work alongside renowned artists such as Picasso, Max Ernst, Bernard Buffet, Jean Cocteau, Yves Brayer, Foujita, André Lhote, Miró, Van Dongen, and Vlaminck. From 1960 onward, she regularly took part in the Salon Comparaisons [fr]. Publisher Robert Morel, whom she befriended, published several of her works, including Véronique Filozof au zoo in 1965. Her artistic output expanded beyond drawings and book illustrations to include decorative frescoes and tapestries woven by François Tabard's Aubusson workshop. Though she began drawing and painting relatively late in life, she worked "like a maniac."
Until she died in Mulhouse on January 12, 1977, she continued producing works of varying formats, from Canson paper sheets to large-scale murals.

## Books
### Artistic style and themes

Art is "an abstraction of oneself. It must remain a synthesis upon which one must create. One must know how to conclude, and remove weaknesses. It all seems so simple. But it is difficult, simply difficult."
   True art is movement forward.
Her body of work is significant despite the brevity of her career, which lasted about twenty-five years (1948–1976). Her drawings, created with black India ink using a Sergent-Major pen, her brightly colored gouaches, and her decorative works (murals, tapestries, stained glass) all reflect a unique style that earned her international recognition.
Poet and art critic Richard Chambon wrote "Her work is of exceptional quality, more drawing than color... A masterful composition governs the balance and beauty of the images, making them easier to read." She explored numerous thematic studies, forming series on the Périgord with Le Périgord Noir, on Alsace with L'Alsace (1970) and Dimanche d'Alsace (1955), and Paris, illustrated notably in Le Palais-Royal raconté par Jean Cocteau et vu par Véronique Filozof. "Her work, while not naïve, still evokes a certain spirit of popular traditions." This is contrasted by more abstract imagery and the assertion of a refined style.
   She has said more than anyone else with her hatching, wool on sheep, flowers on meadows [...] If there is naïveté, it is only apparent, and the artist is never caught in a state of ignorance [...], she draws word for word.
She was particularly interested in youth, their hopes, and their revolts, as seen in her Mai 68 series (1969) and Hippies, and in depictions of popular uprisings, such as La Commune de Paris. According to another art critic, Waldemar-George, "Véronique Filozof sees the universe with the eyes of the soul." Jean Cocteau, a close friend, wrote:
   The miracle of Véronique is that she can be seen by any eye, just as a poet can be heard by any ear. This is because the love she has for our garden projects its spectacle into the soul of the spectators, with an emotional force that transcends language barriers and immediately grants them the key to her universe.
Journalist Jean-Francis Held [fr], speaking about Mai 68, noted "Her art is not a gratuitous exercise. [She] lives through her work [...] and above all imposes herself by the intense emotion she feels and conveys to us." She wrote "Only work can convince. That is why I work a lot. I have always worked a lot. It is my reason for living, my prayer, my love for human beings, towards different beings." Waldemar-George emphasized the vitality and inventiveness of her work: "Véronique Filozof is a unique case [...]. She contemplates the theater of innumerable life with dazzled eyes. The real world and the legendary world coexist in her work [...]. She accomplishes what no other painter today would dare undertake. The cycle of images unfolds like a slow-motion documentary."
She also illustrated children's books such as Die Fabeln von Jean de La Fontaine / Les Fables de Jean de La Fontaine and Les Histoires de l'Ours Hannibal, which won the Swiss award for Best Children's Book. In Grosses et petites bêtes, she illustrated poems, while in Véronique Filozof au Zoo, based on a text by publisher and writer Robert Morel, she created a story where images and words enhance each other's magic.
Sacred art was another domain in which she actively participated. Alexandre Vialatte [fr], speaking about her Bible en images, stated that "she gives children's drawings the majesty of an Assyrian bas-relief." Her murals, stained-glass windows, and decorative slabs can also be seen in certain churches. Her participation in numerous sacred art exhibitions attests to the significance of her contribution to this field. She also illustrated Chansons bibliques by Père Cocagnac and La Haggada de Pâque.
As an artistic testament, and shortly before her death in January 1977, the book La Danse Macabre was published in March 1976. It was based on a series of 40 black-and-white drawings on the theme of death—an eternal theme adapted to individual situations in modern life. The spirit of this series of interpretations of death aligns with the tradition of European Danses Macabres, but its subjects reflect the 1950s–70s.

### Le Périgord Noir (1954)

This series of drawings was first exhibited in Paris in 1954 at the Salle Saint-Jacques des Pères Blancs, where sculptor André Bloc discovered it. He decided to publish it in the Espace collection, which he directed, as part of the publication L'Architecture d'aujourd'hui.
The 26 black-and-white drawings, made with a Sergent-Major pen and Indian ink, mostly span double pages. Each piece captures memories of real-life scenes: Périgourdins (cover page), Domme, The Burglars at Château du Sirey, The Marriage Proposal, The Wedding Banquet, Maternity, The Firstborn, The Thresher, The Grape Harvest, The Still, Potatoes, All Saints' Day, Tobacco and Chestnuts, Sheep Shearing, Goose Force-Feeding, The Goose Market, The Market at Sarlat, Foie Gras, The Saint Nicholas Market, Midnight Mass, The Municipal Council of Sarlat, At Beynac, The Funeral, Le Cantou, Printer's Attire.
The book, prefaced by art critic Waldemar George and poet Jean Monestier [fr], was published in 1954 as a 47-page, Italian-format paperback. The original black-and-white drawings were reproduced in black or red. Initially published by André Bloc in a limited edition of 2,000 copies, it was reissued in 1969.

### Le Palais-Royal (1959–1960)
#### The Palais-Royal as told by Jean Cocteau and seen by Véronique Filozof.

This 95-page book was first published in 1959 by Lambert-Schneider in Heidelberg (German edition) and in 1960 by L'Architecture d'aujourd'hui. It includes a five-page text by Jean Cocteau, a close friend of Véronique Filozof. The Palais-Royal district, where Cocteau lived, is illustrated with 44 Indian ink drawings, some spanning double pages. Cocteau himself is featured with his cats and friends, in drawings such as A Visit to Jean Cocteau, The Palais-Royal and the Poet, Colette, and The Pigeons, Madeleine, and Jean Cocteau's Three Cats. Animals—particularly dogs, cats, birds—also hold a special place in this Arche de Noé in the spirit of both Cocteau and Filozof.
An exhibition of drawings from the Le Palais-Royal series was held at Galerie Bernard Chêne in 1959 to accompany the book's release.

### Sarlat (1968)

This is a large black-and-white drawing composed of three panels covering over ten square meters. According to art critic and writer Richard Chambon, it is a "poetic and prophetic vision" of Sarlat, the city where this mural painting was created. Words of wisdom are transcribed onto the walls in a pseudo-relief style. Among the various excerpts, one finds phrases by Antoine de Saint-Exupéry, Paul Claudel, Simone Weil, Aristotle, and Montesquieu. According to Richard Chambon, Sarlat recalls not only Egyptian art but also medieval imagery, "in its dreamlike yet rigorous way of mapping the urban network," and, more recently, the collages of Juan Gris, Braque, and Picasso.

### May '68 (1969)

A wordless narrative, this collection of large-scale Indian ink drawings reflects the artist's memories of the events she experienced in Paris during May 1968. Jean-Francis Held highlights the balance and precision of the drawings' composition, which, "from a technical standpoint, is not as naïve as it might seem." He praises their beauty and the tenderness that emanates "even in the worst scenes of stylized violence." In 1970, the French state acquired the book's original drawings, which are now preserved in the reserves of the Centre National des Arts Plastiques – Fonds National d'Art Contemporain. The book was published in 1969 by Éditions du Temps, in Paris.

### La Danse Macabre (1976)

La Danse Macabre is a series of forty black-and-white Indian ink drawings centered on the theme of death. The series was first exhibited in 1967 at the Chapelle des Pénitents Blancs in Sarlat before being published by Éditions Pharos in Basel in 1976. The text and illustration titles are bilingual (French-German). This work was created in homage to her husband, Georges Filozof, and her friend, the Swiss typographer and graphic designer Emil Ruder, both of whom had died shortly before. In 1978, shortly after Filozof's death and as a tribute to her, the work was exhibited in Paris at the Musée du Luxembourg as part of the XXVIe Salon d'Art Sacré.
Drawing from medieval and Renaissance traditions while renewing the theme, the artist represents Death, its allegorical figure, and its attributes—the scythe and the hourglass. Moving away from Holbein's tradition, this Danse Macabre signals a revival in values and symbolism, as well as in its distinctly modern handling of graphic art. In her introduction, she writes:
   Death is as powerful as life. As for me, I am convinced that death is also life—another life, a different life.

## Technique

Following the advice of art critic Georges Besson and encouraged by her many artist friends, including Jean Cocteau, Filozof dedicated more than twenty-five years to her work. She used drawing as her primary mode of expression. The Dictionnaire des Arts Plastiques Modernes et Contemporains highlights her skill in handling ellipses, blending vertical and horizontal planes, and emphasizes the "inventiveness" of her compositions and the originality of each drawing. She staged "TWO WORLDS – Black and White – Light and Dark – Good or Evil."
Her gouache paintings, with their bold, vibrant strokes, also reflect her joy of life and the freshness of her imagination.
Poet Jean Follain wrote in L'Architecture d'Aujourd'hui:
   Her drawings [...] display all the boldness of a learned naivety. Nothing is lost for her. Every being, every object holds a rightful place in her compositions, claiming its share of existence with unwavering certainty. Hence, the quality of pleasure that her lines, outside conventional perspectives, bring us.
Maurice Allemand, former director of the Museum of Modern and Contemporary Art in Saint-Étienne—whose modern collection formed the foundation of the city's Museum of Modern Art—and later Inspecteur Général at the Ministry of Culture, wrote in the preface of an exhibition catalog:
   Her art is truly unique and raw. It transcends mere imagery through craftsmanship where candor and naivety are only apparent [...] She does not seek to reproduce objects according to the laws of optics but rather follows a moral hierarchy, where the hieratic and deliberate simplification of figures enhances the decorative exploration of her starkly refined calligraphy. The layering of registers and the compartmentalization of the flat surface creates a fictitious space, a kind of phantasmagoria that nonetheless brings us back to the reality she observed with eyes filled with wonder and love for humanity and the world around her.

## Collections and museums

Her work is part of the collections of various museums (a non-exhaustive list follows) and libraries, though the majority remains in private collections.

### Museums

* Calvados departmental archives [fr] (Caen) – 1 work: La Ville de Caen;
* Fonds national d'art contemporain (Paris) – 2 complete drawing series: Mai 68 (31 drawings), La Chapelle de Ronchamp (7 drawings);
* Museum of Naïve and Singular Arts [fr] (MANAS) – 3 works: Le Grau-du-Roi, le phare, Paris, place de la Concorde, Les Pêcheurs de thons;
* Musée des Beaux-Arts de Mulhouse – 25 works: Apocalypse, bombardement, Apocalypse, camp nazi 11, Atelier et laboratoire (chimie), Au jardin des plantes, robinier, Café-bar-dancing à Pigalle, Chemin romain dans les Vosges, Clown flûtiste, auguste trompettiste, French Cancan, Hippies, L'Hôtel de Ville de Mulhouse, L'oiseleur Papageno, La ronde de famille, la noce et l'enterrement, Montée à l'alpage, Appenzell, Oie du Périgord, L'arrivée (Aviation), L'église de la Madeleine (Paris), La Sainte Chapelle (Paris), La Ville de Caen, Mai 68, deux gauchistes, Métro Cité, Sans titre (Carnaval), Sans titre (Nativité), St Jean-Baptiste dans le désert, Vogelgriff, Vosges, les deux bichettes;
* Hôtel de Ville de Sarlat-la-Canéda [fr] – 15 works: Carnaval de Bâle, Couple à l'enterrement, Enterrement, Femme au vase de fleurs, French Cancan, Incendie du château de Hautefort, Le jardin des plantes à Paris, Les planteurs de tabac, Les ramasseurs de châtaignes, Louise Michel, Mariage, Mariés à table, Noce à table, Paysans au marché, Vallée de la Dordogne;
* Musée international d'art naïf (Vicq) – 1 work: Les Pêcheurs
* Kunstmuseum (Basel) – 23 works: Älpler ("Berger des Alpes"), Auf der mittlere Brück ("Sur le pont-du-milieu"), Buebeziggli, Dimanche matin sur le quai de la Tournelle, L'Arc de Triomphe à Paris, La Tour Eiffel, Laboratoire (Usine/Ciba), Le chaland qui passe quai de la Seine à Paris, Le marché et la mairie de Bâle, Masken auf der Pfalz, Métro Station Pitié à Paris, Moi, Rodolphe, Valérie et Anne, Münsterplatz, Place Vendôme à Paris, Phalz Badanstalt, Repas de noce (Repas de noce bâloise), Selbstbildnis ("Autoportrait"), Tambour-Major, Un gala de ballet russe à l'Opéra de Paris, Usine, les nouveaux temples, Vogel Gryff, Vogel Gryff "Mähli;"
* New York, The City College of New York, Division of Archives and Special Collections – 1 work: La Nuit dans la mine de charbon (Aubusson wool tapestry, Tabard workshop)

### Decorative works

Filozof is known for her mural decorations, whether in civil or religious architectural settings. She was responsible for the decorations of the Polynésie ocean [fr] liner in 1955 (unfortunately lost when the ship was destroyed). She completed a large relief mural on the façade of the Comité Interprofessionnel de Bordeaux (1968), as well as a fresco in the entrance hall of a kindergarten in Manosque (1972). Others have since disappeared, such as frescoes of a retirement home in The Hague and a series of 15 tapestries for Saint-François d'Assise Hospital in Rotterdam.
She created several mural decorations for private individuals, architects, and decorators, particularly in Dordogne, Mulhouse, and Basel.
In religious architecture, she created a Chemin de Croix (held in a private collection) and a Christmas Nativity Scene, acquired by the State and presented in 1956 at the Chapelle Notre-Dame-du-Haut in Ronchamp. Some surviving works include a marble engraving in the Sacré-Cœur Church in Mulhouse, the stained-glass window La Création in the Cheuge Church in Côte-d'Or (dated 1975), and a mural panel, Jérusalem au temps du Christ, in the Temple Saint-Jean in Mulhouse (1973). Other works have been lost, such as the seven Calvary scenes created for the church of Plonévez-du-Faou. On her grave in Mulhouse, which has been classified by the city, one of her drawings representing God is reproduced.

### Book illustrations

List of book illustrations :
* Filozof, Véronique; Bloc, André (1954). Périgord noir [Black Perigord]. Espace (in French). L'Architecture d'aujourd'hui.
* Filozof, Véronique; Modin, Jean-Guy (1955). Sonnets sans corset [Songs without corsets] (in French). Illustrated by Véronique Filozof.
* Filozof, Véronique (1957). La Bible en images [The Bible in pictures] (in French). Paris: La Bergerie.
* Filozof, Véronique (1957). Les Saints de tous les jours de juin [The Saints of every day in June]. Sainte Germaine (in French). Paris: Livre chrétien.
* Filozof, Véronique (1960). Le Pré spirituel [The Spiritual Meadow] (in French). Illustrated by Véronique Filozof. Paris: Le Club du livre chrétien.
* Filozof, Véronique; Cocteau, Jean (1960). Le Palais Royal [The Royal Palace] (Swiss edition Lambert-Schneider, Heidelberg, 1959) (in French). Illustrated by Véronique Filozof. Paris: L'Architecture d'aujourd'hui.
* Filozof, Véronique (1962). La vie en Appenzell [La vie en Appenzell] (in French). Zurich: Die Arche.
* Filozof, Véronique (1962). La Haggada de Pâque [The Passover Haggadah] (in French). Robert Morel.
* Filozof, Véronique (1962). Die Fabeln von Jean de La Fontaine [The Fables of Jean de La Fontaine] (in German). Bâle: Pharos Verlag.
* Filozof, Véronique; Koller, Angela (1962). Hannibal der Tolggi (in German). Illustrated by Véronique Filozof. Zurich: Schweizer Spiegel Verlag.
* Filozof, Véronique (1962). Bestiaire de Brunet Latin [Brunet's Bestiary Latin] (transcription Charles Moulin, original drawings and gouaches, limited edition of 50) (in French). Illustrated by Véronique Filozof. Paris: Jacques Vialetay.
* Maulini, Marcel (1964). Comprendre Ronchamp [Understanding Ronchamp] (Indian ink drawing on the cover) (in French). Illustrated by Véronique Filozof. Dôle: imprimerie Chazelle.
* Filozof, Véronique (1964). Grosses et petites bêtes [Large and small animals] (poems by Jean-Guy Modin) (in French). Paris: Anti Poète.
* Filozof, Véronique (1965). Chansons bibliques du Père Cocagnac [Biblical songs by Father Cocagnac] (2 series in French and German) (in French). Paris: Cerf.
* Filozof, Véronique (1965). Véronique Filozof au Zoo [Véronique Filozof at the Zoo] (text by Robert Morel) (in French). Lombreuil: Les Nouvelles Images.
* Filozof, Véronique; Schoellkopf, Niggi (1964). Der Vogel Gryff [The bird Gryff] (Prize for the best Swiss book 1965) (in German). Illustrated by Véronique Filozof. Balis: Pharos Verlag.
* Filozof, Véronique (1967). Laura (color brochure) (in French). Lahr: éditions Kaufmann Verlag.
* Filozof, Véronique (1969). Mai 1968 [May 1968] (38 drawings from the book acquired by the City of Paris and conserved in 2012 at the National Center for Visual Arts - contemporary art collection) (in French). Paris: édition du temps.
* Filozof, Véronique (1972). Pollution (in French). Lombreuil: Les Nouvelles Images.
* Filozof, Véronique (1975). Histoires d'oiseaux [Bird stories] (poems by Édith Penzo) (in French). Faverolles: éditions de La Tour.
* Filozof, Véronique (1976). La Danse macabre [The Dance of Death] (in French). Balis: Pharos Verlag.
* Filozof, Véronique (1976a). Le jour où les oiseaux [The day the birds] (poems by Jacques Laffont) (in French). Paris: Germinal.
* Duluat, Claudine; Pouget, Jeanine (1991). Recettes du Quercy [Quercy recipes] (in French). Illustrated by Véronique Filozof. Carlucet: éditions du Laquet.
* Duluat, Claudine; Modin, Jean-Guy (1992). Recettes du Périgord [Périgord recipes] (in French). Illustrated by Véronique Filozof. Carlucet: éditions du Laquet.
* Brousmiche, Anne (2013). Lucarnes : Haïkus [Lucarnes: Haikus] (in French). Illustrated by Véronique Filozof. Bourges: Thierry Sajat.
* Brousmiche, Anne (2018). Le grain des fables : Haïkus [The spice of fables: Haïkus] (in French). Illustrated by Véronique Filozof. Paris: Thierry Sajat.

### Exhibitions, tributes, and conferences

List of the main exhibitions:
| Year | City | Place |
| 1949 | Sarlat | Galerie Rivière (later years) |
| 1950 | Strasbourg | Galerie Landwerlin (later years) |
| 1950 | Mulhouse | Chambre des métiers |
| 1951 | Paris | Galerie Bretteau |
| 1952 | Paris | Salon Comparaison (later years) |
| 1954 | Paris | Salle Saint-Jacques |
| 1954 | Paris | Galerie La Hune (later years) |
| 1954 | Nîmes | Galerie Calendal (later years) |
| 1955 | Nancy | Galerie des Arts (later years) |
| 1955 | Paris | Galerie de Beaune |
| 1955 | Paris | Galerie de Verneuil |
| 1956 | Paris | Jardins du Palais Royal |
| 1956 | Paris | Galerie de l'Anti Poète (later years) |
| 1957 | Paris | Galerie Bruno Bassano |
| 1959 | Paris | Salon d'Art sacré |
| 1960 | Paris | Salon des décorateurs |
| 1960 | Paris | Galerie du Palais-Royal, librairie Au grand Meaulnes |
| 1963 | Paris | Galerie La Demeure |
| 1963 | Rouen | Musée des Beaux-arts |
| 1963 | Mulhouse | Galerie Gangloff (later years) |
| 1960 | Vézelay | Salon d'Art sacré |
| 1963 | Lyon | Galerie L'œil écoute |
| 1964 | Royan | Salon Art sacré |
| 1966 | Paris | Hôtel Drouot: Social Works of the Central Commission for Children |
| 1967 | Caen | Maison de la Culture |
| 1969 | Sarlat | Chapelle des Pénitents blancs - Tribute by the City of Sarlat to the Artist, Le Périgord Noir |
| 1969 | Paris | Salle 44, rue de Rennes, exhibition for the launch of the book Mai 68 |
| 1970 | Orléans | Municipal Library, exhibition during the Jeanne d'Arc festivities |
| 1971 | Paris | Galerie La Rose des Vents |
| 1972 | Paris | Galerie La Roue |
| 1974 | Paris | Forum (group) |
| 1975 | Paris | Galerie du Louvre |
| 1976 | Mulhouse | Galerie Plein Soleil: launch of the books La Danse macabre and Le Jour où les oiseaux |
| 1977 | Sarlat | Théâtre municipal: Municipal Tribute |
| 1978 | Mulhouse | Société industrielle et galerie A.M.C.: Tribute to Véronique Filozof |
| 1978 | Sarlat | École Jules Ferry: Paris vu par Véronique Filozof, 165 drawings |
| 1978 | Paris | Salon d'Art sacré: Tribute to Véronique Filozof |
| 2017/18 | Mulhouse | Musée des Beaux-arts de Mulhouse |
| 2021 | Sarlat | Chapelle des Pénitents blancs "Femmes en regard(s)" |
| 2024 | Mulhouse | Symposium "30 ans de Mémoire Mulhousienne," presentation "La Danse macabre de Véronique Filozof" |

### Other countries

| Year | City | Place | Country |
| 1955 | Casablanca | Salon d'Art sacré | French Morocco |
| 1956 | Cologne | Galerie Der Spiegel | West Germany |
| 1957 | Basel | Galerie Riehentor | Switzerland (later years) |
| 1958 | Zurich | Galerie Wenfer | Switzerland |
| 1955 | St. Gallen | Salon de la Tapisserie | Switzerland |
| 1962 | Salzburg | Art sacré international | Austria |
| 1962 | Rome | Salon européen de l'Art sacré | Italy |
| 1963 | Lausanne | Galerie Mélisa | Switzerland |
| 1965 | The Hague | Galerie Nouvelles images | Netherlands (later years) |
| 1965 | Basel | Galerie Knoll | Switzerland |
| 1967 | Bern | Centre culturel | Switzerland |
| 1967 | Brussels | Galerie saint-Laurent | Belgium |
| 1968 | Basel | Galerie Hilt | Switzerland (later years) |
| 1968 | Lausanne | Galerie Wiebenga | Switzerland |
| 1969 | São Paulo | Groupe des peintres suisses | Brazil |
| 1970 | Los Angeles | Galerie Roca | United States |
| 1970 | Montreal | La vie des Animaux, exhibition on stained blown glass | Canada |
| 1973 | Lübeck | Musée Overbeck Gessellschaft | West Germany |

## Tributes

During her lifetime she received the Swiss Prize for Best Children's Book twice—once in 1962 for Les Fables de La Fontaine, and again in 1965 for Le Vogelgryff. In 1977, the municipality of Sarlat honored her at the municipal theater, followed the next year by a tribute from the Société Industrielle de Mulhouse at the Galerie A.M.C., and later by the Salon d'Art Sacré in Paris.
After she died exhibitions were held in the three cities where she had lived and worked:
Paris – Salon d'Art Sacré, 1978
Sarlat – Théâtre Municipal, 1977; École Jules Ferry, 1978; Chapelle des Pénitents Blancs, Femmes en regard(s) (a collective exhibition with the FRAC of Toulouse), 2021
Mulhouse – Société Industrielle et Galerie AMC, 1978; Musée des Beaux-Arts, municipal tribute marking the 40th anniversary of her death during the reopening ceremony of the Musée des Beaux-Arts, 2017/2018
In Mulhouse, a nursery school bears her name. In Sarlat, Dordogne, the Cour Véronique Filozof, located in the heart of the medieval city, is dedicated to her. At the Protestant cemetery in Mulhouse, where she is buried, her grave—on which one of her drawings is reproduced—is protected by the city in recognition of her memory and history.