Chronology

Saint Phalle began developing her « Giardino dei Tarocchi » on the land of Carlo and Nicola Caracciolo in Garavicchio, Tuscany, Italy. She created the first models, based on the major arcana of the tarot.

Niki de Saint Phalle rented a small house near the Tarot Garden; she hired workers from the surrounding farms who helped her carry out the development of her project.

The Dutch artist Dok van Winsen met Saint Phalle in Amsterdam and later collaborated with Jean Tinguely (and Saint Phalle) on the sculpture Cyclop. At the end of 1981, he arrived in Garavicchio for the first time.

Saint Phalle moved into The Empress, conceived in the form of a sphinx, which served as her studio and home for the next seven years, a period during which she worked tirelessly to complete the Garden.

Dok van Winsen, assisted by Tonino Urtis, welded the second group of architectural sculptures: The Emperor, The Tower, Justice, the chapel, and The Hierophant (which Niki de Saint Phalle described as « Jean’s favorite sculpture in the entire Garden »)

Marco Iacotonio began working at the Garden, finishing the concrete by hand.

In 1984, the concrete work was completed for the second group of architectural sculptures (The Emperor, The Tower, The Hierophant and The Justice).

Kilns were purchased and installed within the Tarot Garden (up to three) for the production of ceramics, which from then on were all made, molded and fired on site.

Saint Phalle created models for Temperance (card no. XIV), Death (card no. XIII), and The Lovers (card no. VI).

The mirrors on the exterior of The Tower were begun in 1984–1985. Started in 1984 and completed in 1985, the large serpent of The High Priestess was made in molded ceramic.

The face of The Magician was completed at the same time.

Ricardo Menon introduced Marcelo Zitelli to Niki de Saint Phalle. He became an important assistant and collaborator of the artist.

The mirrors on the exterior of The Tower were completed in 1986–1987.

Claudio Celletti began working at the Tarot Garden.

Between 1987 and 1993, Saint Phalle once again began spending more time in Paris. There she created many works for the Tarot Garden, including Death, The Hermit, The Fool, The Devil, The Chariot, The Hanged Man, The Oracle, The Sage, The World, The Star, The Conversation, and The Serpent Pouf.

In March, Saint Phalle created an enlarged version (300 cm) of The Moon (card no. XVIII) based on the 1983 model. This version was judged too small and replaced by an even larger one (500 cm) made in 1992–1993.

The Hierophant and Justice were completed in 1987–1988.

Saint Phalle asked Pierre Marie Lejeune to create the benches around the fountain at the foot of The Empress (the Sphinx). Lejeune proposed a small amphitheater with seats set into the rocks.

In January 1988, Saint Phalle created the life‑size version of Death (card no. XIII), based on the model from September 1984, with the help of her assistant Marcelo Zitelli. The Hermit (card no. IX) was created in clay in June 1988. Both were produced in polyester by Haligon.

All aspects of The Magician (card no. I) and The High Priestess (card no. II) were completed in 1988–1989. Work then focused on The Empress (card no. III) and, immediately afterward, on The Emperor (card no. IV).

Finding it too oppressive to live in « the belly of her mother »—that is, The Empress (the Sphinx)—Saint Phalle had a New York loft‑style studio built underground at the Tarot Garden.

By 1988, she was already spending part of her time there, and eventually settled there permanently.

In September 1990, an enlarged version of The Plate Fountain was created from a model dating from June 1974. The Hanged Man (card no. XII) was installed in The Tree of Life of the Tarot Garden in November; The Devil (card no. XV) was installed the same month.

By the late 1980s and early 1990s, Saint Phalle was spending less and less time each year at the Garden.

Nevertheless, work at the Tarot Garden continued, with the maintenance of the Garden and its sculptures becoming increasingly important.

In 1992–1993, the restoration of certain sculptures began, using new gluing techniques and acetic silicones for the mirrors and glass.

At the same time, Niki de Saint Phalle worked to legalize the status of her Garden.

In 1994, for health reasons, Saint Phalle moved to La Jolla, California, where she would live for the next eight years.

There she set up a studio to work with mirror, glass, and stone, materials she increasingly used in her sculptures instead of paint.

Pierre Marie Lejeune traveled several times to California to source materials and to set up a mosaic workshop there.

The “anti‑boutique” and the Garden’s furniture, created by Pierre Marie Lejeune, were installed.

The Tarot Garden Foundation was established in Rome on 4 August 1997.

In 1997, Stefano Mancini began working as administrator of the Tarot Garden, succeeding Gigi Pegoraro, who had handled administrative matters.

The architect Mario Botta built an entrance gate for the Tarot Garden.

« I asked my friend Mario Botta to create an entrance to the Garden that would contrast with the interior », wrote Saint Phalle.

« Mario built a masculine wall, similar to a fortress, using local stone, clearly marking the separation between the outside world and the inner world. For me, this wall symbolizes protection, like the dragon that guards the treasure in fairy tales. »

The Tarot Garden (which had already been attracting visitors for some time) was officially opened to the public on 15 May 1998.

Niki de Saint Phalle always considered the Tarot Garden as the work of her life.

Over her years in Maremma, she built a local team, still largely active today: Alessia Celletti, Giulia Celletti, Claudio Celletti, Marco Iacotonio, Massimo Menchetti, Gian Piero Ottavi.

Those who joined the team later: Pino Arcangeletti, Mauro Carruana, Dario Fortunato, Nicoletta Russo;

and those who are no longer active within the Foundation: Ugo Celletti, Alessandro Celletti, Tonino Urtis.

Niki de Saint Phalle imagined and conceived an « esoteric promenade between nature and culture ».

To preserve her Tarot Garden, she created a foundation in 1999, personally appointed the members of the board of directors, and clearly defined its mission: preservation.

In accordance with Saint Phalle’s wishes, the designated holder of her moral rights became president of the Tarot Garden upon her death.

The board of directors meets at least once a year.

The main missions of the Foundation are:

– « To preserve and maintain the spirit of the whole and the works that compose it for future generations, in the state in which it will be at the moment of her death. »

– « To open the museum to the public. »

– « To ensure the management and maintenance of the whole. »