Henri Bernard Goetz (September 29, 1909 – August 12, 1989) was a French American surrealist painter and engraver.

He began drawing because the books told that a child needs a certain number of hours outside in a day, and as such he was not allowed to come home before six.

[2] In September 1935, Goetz met Christine Boumeester at the Académie de la Grande Chaumière.

In 1939, Goetz, Christian Dotremont, and Raoul Ubac created La Main à Plume, the first surrealist publication under the Occupation.

The group made false documents for a Czech poet who, upon being caught by the German authorities, told them of the surrealists who would be meeting in a few days.

However, Ubec was arrested, and the authorities found a note from Goetz detailing instructions on forging identity cards.

However, he started taking evening art classes and began to devote his summer vacations to painting instead of apprenticeship.

He decided to enroll at Harvard University, also in Cambridge, where he attended art history lectures with the intent of becoming a museum curator.

He left Harvard the next year to attend the Grand Central School of Art in New York City, where he enrolled in morning, evening, and night classes.

In July, 1930, he decided to leave America to go to Paris, using money he had saved working as a golf caddie and as an apprentice electrical engineer.

Bauer also taught Goetz about left-wing politics, Sigmund Freud's ideology, and avant-garde poetry and music.

Goetz visited a new studio each week and, through this, met with artists such as Pablo Picasso, Constantin Brâncuși, Wassily Kandinsky, Julio González, Francis Picabia, and Max Ernst.

Resnais went on to win an Academy Award in 1950 for the Best Short Subject, Two-reel film for Van Gogh.

"[2] In 1968 he accepted a teaching position at École des Beaux-Arts, but the school was closed due to student strikes two weeks later.

Christine had taken classes in the subject before World War II at the Académie des Beaux-Arts, and had taught Goetz.

Johnny Friedlaender gave them a small printing press that he no longer used, and Fin, Pablo Picasso's nephew, helped them modify it.