Her son, Yves Klein, today remains one of the most prominent figures of the nouveau réalisme movement.

Raymond would go on to become a prominent social figure in the Parisian post-war movement until the death of Yves Klein which had a profound impact on her life and art.

The inspiration she gained from the Mediterranean sea and colors from Southern France had an impact on Raymond's later work.

[4] Some say that her artistic life only started when she met her husband, as prior to meeting him she had never left the South of France or seen a painting dating before her period.

The post-war liberation movement had an impact on Raymond as in 1944 she abandoned references to landscapes and nature and started focusing on organizing shapes, colors, and lines in her paintings.

In 1946, following the exhibition, Estienne assembled the works of these 5 artists and displayed them at Denise René’s gallery which he called “Peinture abstraite”.

In July 1946, she participated in the first ‘Salon des Réalités nouvelles’, from then on Raymond became one of the most prominent artistic discoveries of the 40s.

[11] Robert Fleck stated that “Raymond is the only female painter to experience such a rapid rise in post-war France”.

The ‘Lundis de Marie Raymond’ assembled many French and European artists, art critics, photographers, and gallery owners.

Some of the emblematic figures to attend this event were Gerard Schneider, Pierre Souage, Colette Allendy, Charles Estienne, Willem Sandberg, and many more.

Likewise, she supported some of Klein's friends such as Raymond Hains and Cezar whom she invited to her weekly Monday events.

Moreover, she invited the art critic Pierre Restany and a future important gallery owner Iris Clert.

In an interview held in 2004, when asked about her ‘Lundi de Raymond’ she would first recall the name of the younger artists such as Heins or Villegle instead of the more famous figures of the 50s.

The death of her son Klein had a deep impact on her relationship with his friends which may be one of the main reasons for her strong bond with them after his passing.

[16] Starting in 1946, Raymond additionally worked as an art critic for a column in a Dutch magazine called ‘Kunst en Kultuur’.

[citation needed] Raymond used her chronicle to bring light to Dutch painters in the Parisian scene such as the Bram brothers, Nicolas Warb, Geer van Velde and Christine Boumeester.

Raymond's most powerful chronicle was deemed to have been her interview with Matisse in 1958 discussing his opposition to the abstract movement.

Raymond ended her work with Kunst en Kultuur in 1958 as it coincided with the fall of the abstract movement.

[20] In 1952, Raymond was selected to take part in the ‘salon de Mai’ presented at the Kamakura museum in Japan.

Following this exhibition, in 1957, the Stedelijk Museum in Amsterdam dedicated the artist's first retrospective called ‘Marie Raymond’.

On 6 June 1962, Raymond's only son Yves Klein who would later become an emblematic figure of the nouveau réalisme movement died of a heart attack.

Restany, the creator of the nouveau réalisme movement, was a regular visitor of the apartment on Rue d’Assas.

[citation needed] The second important impact Raymond had on Yves was their shared interest in the Rosicrucianism Roman Catholic Church.

[25] Raymond combined her faith and her vibrant colors to enable her viewers to transcend into the material world.

[33] In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London.