Archive pour la catégorie ‘Exhibitions’

Van Gogh / Artaud – The Man Suicided by Society

published on April 4, 2014
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Van Gogh,  known for his original works, and Artaud, generally known for his writing, acting and for dabbling in the theatre, are currently on show together, thanks to their history, at the musée d’Orsay.

How does associating Van Gogh with Artaud become The Man Suicided by Society?

On 23rd December 1888, after a violent argument, Vincent Van Gogh threatened Gauguin with a razor blade. Gauguin left quickly. During the night, in a moment of madness, Van Gogh cut off his left ear lobe. The story is well-known, but the fact that he then wrapped it in newspaper and set off to give it to his mistress Rachel as a gift, is far less known.

Van Gogh’s works include over 2,000 paintings and drawings mainly dating back to the 1880s, strongly influenced by his painter friends, notably by Paul Gauguin and Emile Bernard. His works made it to the European art world at the end of the 19th century.

An original exhibition focused on Van Gogh which will take you through his best works, as well as a choice of drawings, letters and graphic works by the poet-illustrator at the musée d’Orsay, just a few steps away from the Hôtel d’Orsay  or a few minutes from  the Hôtel Brighton.

The exhibition is an invitation to discover the multiple facets of the works of these two 19th century artists.

Van Gogh / Artaud - The Man Suicided by Society
Until 6th July 2014
Musée d’Orsay
1 rue de la Légion d’Honneur
75007 Paris
+33 (0)1 40 49 48 14
http://www.musee-orsay.fr/en

 

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Hervé Perdriel. Art Jingle Contemporary

published on February 17, 2014
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Hervé Perdriel
Art Jingle Contemporary
Exhibition from 5th February to 5th March 2014

Each of Hervé Perdriel’s photo portraits is like an ID card that acts as a story within a story, and takes viewer on a sort of treasure hunt:  the bright faces & portraits are contrasted by the plain black background, creating a near & far effect. From afar the portraits appear to be coloured, yet closer up you can see that each one is made up of numerous pieces of photographs. The artist sets an intimate portrait for each one, creating a type of invisible ID card of the person, whether fictional or real…

* * *

Perdriel’s portrait of Miles Davis has been on show in the Hôtel Aiglon’s lobby since 2012.

The piece of Art integrates the hotel’s Sense of place perfectly as it is linked to Montparnasse’s history: from the 50’s to the 70’s, the quarter was packed with cabarets & clubs during the Jazz musicians’ Golden Age.

If you have never seen Hervé Perdriel’s work, don’t miss the exhibition!

31 bis, rue des Tournelles
75003 Paris
+33 (0)1 40 29 40 03
www.artjingle.com

Open:
From Tuesday to Saturday, from 11.00am to 7.00pm
Sunday from 2.30pm to 7.00pm.

 

"Miles Davis", Hervé Perdriel.

“Miles Davis”, silver print on Diasec or Dibond, Hôtel Aiglon, Paris.

"Mick Paint", Hervé Perdriel, 2013.

“Mick Paint”, 2013, silver print on Diasec or Dibond, 90 x 120 cm, edition of 8. ©www.artjingle.com

"Red Head", Hervé Perdriel, 2014.

“Red Head”, 2014, silver print on Diasec or Dibond, 90 x 115 cm, edition of 8. ©www.artjingle.com

Frida Kahlo / Diego Rivera. « L’Art en fusion »

published on October 24, 2013
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Frida Kahlo / Diego Rivera. « L’Art en fusion »
Musée de l’Orangerie
From the 9th of October, 2013 to the 13th of January, 2014

If Frida Kahlo (1907-1954) is today one of the best known and most popular figures of 20th century Mexican art, it is undoubtedly because of her personality and the originality of a body of work that defies all efforts to classify it. Her work is, above all, the expression of a life – a tragic and turbulent life, one that challenged all conventions, a life known in all its detail and recently the subject of a film, making her a true icon.

The mere mention of her name excites enthusiasm and admiration, but her work is rarely exhibited, and has not been shown in France for fifteen years. The selection to go on show at the Musée de l’Orangerie includes major works by the artist, with masterpieces from the Museo Olmedo, which holds one of the main collections of Frida Kahlo’s work, including the very famous Colonne brisée [Broken Column].

The life and work of Frida Kahlo cannot be separated from those of her companion Diego Rivera (1886- 1957). Together they became figures of legend, and both have a place in the pantheon of 20th century Mexican artists. Famous for his large mural paintings, Rivera’s easel paintings, drawings and prints, which form a large part of his artistic production, are less well known to the public in Europe. The exhibition aims to trace his artistic career from the early Cubist images, revealing his links with the Paris artists whose works are a key element in the Orangerie collection, to the paintings that established him as the founder of the 20th century school of Mexican art. Visitors are invited to discover the many aspects of the art of Rivera. His travels throughout Europe influenced his vision and his repertoire without ever distancing him from his roots, thus confirming his place in history as the founder of the nationalist school.

The exhibition devoted to the legendary couple Diego Rivera and Frida Kahlo presents their works together, as if to confirm the impossibility of their divorce that was in fact finalised but reconsidered after just one year apart. It also gives us a better view of their respective artistic worlds, so different and yet so complementary, through the deep-rooted attachment they shared for their country: a cycle of life and death, revolution and religion, realism and mysticism, workers and peasants.


Frida Kahlo / Diego Rivera. « L’Art en fusion »
From the 9th of October, 2013 to the 13th of January, 2014
Musée de l’Orangerie
Jardin des Tuileries, côté Seine
75001 Paris
+ 33 (0)1 44 50 43 00
www.musee-orangerie.fr

Autorretrato con Traje de Terciopelo, 1926 Oil on canvas, 79,7 x 59,9 cm Private collection © Photo Francisco Kochen © ADAGP, Paris 2013

Autorretrato con Traje de Terciopelo, 1926 Oil on canvas, 79,7 x 59,9 cm Private collection © Photo Francisco Kochen © ADAGP, Paris 2013

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Autorretrato con Chambergo, 1907 Oil on canvas, 85 x 62,2 cm Col. Museo Dolores Olmedo, Xochimilco, México Photographs by Erik Meza / Javier Otaola ; image © Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris

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Vendedora de Alcatraces, 1943 Oil on masonite, 152 x 120,5 cm Private Collection © Photo Francisco Kochen © ADAGP, Paris 2013

Sebastião Salgado – “Genesis” – Maison Européenne de la Photographie

published on October 7, 2013
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Sebastião Salgado

Maison Européenne de la Photographie

From the 25th of September, 2013 to the 5th of January, 2014

It took 30 trips and 8 years of work to Sebastião Salgado to offer us “Genesis”, an exhibition of 245 photographs presented from September 25 until January 5, 2014 at the Maison Européenne de la Photographie. With “Genesis”, Sebastião Salgado remains faithful to his work in black and white, but he distanced himself from his photojournalistic favorite themes to suggest a trip to the scenic splendor still unaffected by the presence of man. The result is a majestic walk on the planet, organized around five geographical chapters: “At the edge of the South”, “Natural sanctuaries“, “Africa“, “Northern Land“, “Amazonia and Pantanal“.

Wanick Lelia Salgado, wife of photographer and curator of the exhibition says: “Genesis is a quest for the origins of the world, a world that has changed over thousands of years before being confronted with the pace of modern life, before forgetting what makes us human. This exhibition presents landscapes, animals and peoples that have escaped the modern world. It honours the vast, remote regions wherenature, intact and silent, still reigns in all her majesty.

In addition to the wonderful journey that offers viewers “Genesis” has a goal of raising awareness to protect the landscapes and cultures of our fragile planet.

Sebastião Salgado

From the 25th of September, 2013 to the 5th of January, 2014

Maison Européenne de la Photographie

5/7 rue de Fourcy
75004 Paris


+33 (0)1 44 78 75 00

www.mep-fr.org

 

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Southern right whales (Eubalaena australis), attracted to the two sheltered gulfs of the Valdés Peninsula, San José and Nuevo, are often seen with their tail flukes aloft.
Valdés Peninsula, Argentina, 2004. © Sebastião Salgado

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Waura Indians fishes in Piyulaga Lake near their village. The Upper Xingu Basin is
home to a very diverse population. State of Mato Grosso, Brazil, 2005. © Sebastião Salgado

Azzedine Alaïa at the Palais Galliera – Paris Fashion Museum

published on September 27, 2013
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Azzedine Alaïa
Palais Galliera – Musée de la mode
From the 28th of September, 2013 to the 26th of January, 2014

For its reopening exhibition, the Palais Galliera (Paris Fashion Museum) celebrates the genius designer Azzedine Alaïa and offers him his first Parisian retrospective in its renovated galleries. Through a selection of seventy styles, the exhibition traces Azzedine Alaïa’s unique creative journey.

His learning began with the made-to-mesure clothings he made rue de Bellechasse (close to the Hotel d’Orsay Paris) for his famous clients like Louise de Vilmorin, Arletty or Greta Garbo. Encouraged by his friend Thierry Mugler, he presented its first designer collection in 1979. His vision of fashion makes leather more sensual, he uses jersey and stretch, which he drapes the body, as the raw material of sculptures he studied at the Ecole des Beaux- Arts in Tunis. This learning of Fine Arts was fundamental in the way he works clothings,  to understand women’s bodies : “When I work clothing, it has to turn around the body, side and back.

Alaïa is one of the few to control all stages of the production of a garment: draw a pattern , draw on the canvas shapes and volumes he has in mind, cut, sew and tame fabric. The zips make their way around the dresses, eylets pierce coats, topstitching emphasize the curve of tailors…

Its fashion transcends time imagining new volumes, imposing a very personal style, sublimating the female body, emphasizing “a garment that last“.  Today , Alaïa does not follow the frenetic pace of collections imposed by the fashion industry. He presents his collections when they are ready. No snobbery but for the sake of fashion. This longevity is also visible in the loyal circle of his followers, models and friends he revealed as Naomi Campbell, Stephanie Seymour, Linda Spierings, Linda Evangelista, Veronica Webb and Yasmin Le Bon.



By choosing Azzedine Alaïa for its reopening, the Palais Galliera made a classic and obvious choice, celebrating fashion out of fashion. A tribute to a rare and sustainable work.

Azzedine Alaïa
From the 28th of September, 2013 to the 26th of January, 2014
Palais Galliera – Musée de la mode
10, avenue Pierre Ier de Serbie
75016 Paris
+ 33 (0)1 56 52 86 00
http://palaisgalliera.paris.fr/

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Georges Braque – Grand Palais – Paris

published on August 9, 2013
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Georges Braque
Grand Palais
From the 18th of September, 2013 to the 6th of January, 2014

Georges Braque (1882-1963) is one of the twentieth century’s major artists. He was a painter, engraver and sculptor, but first, as the founder of cubism and the inventor of paper collage, one of the leading figures in the avant-garde of the early twentieth century before focusing definitively on methodical, serial exploration of still life and landscape painting, which made him the French painter par excellence, the heir to Corot and Chardin and the depository of the classical tradition as well as the precursor of post-war abstraction.

The Grand Palais is hosting an ambitious retrospective of his oeuvre. It presents all the periods in his art from Fauvism to his last works, culminating in the dazzling series of large studios and birds. The exhibition’s chronological design insists on the highlights of his career, such as cubism, the canephors of the twenties or the last landscapes, which so appealed to Nicolas de Staël.

Thanks to the support of the Musée national d’art moderne, it gathers the artist’s key works and the series of thematic variations – landscapes, gueridons, canephors and studios – which amplify and sum up his experimental work.

Other perspectives are developed in the exhibition: his collaboration with Pablo Picasso in cubism; the resonance between his art and music and his closeness to Erik Satie; and his affinity with poets such as Pierre Reverdy, Francis Ponge and René Char and important intellectual figures of his time such as Carl Einstein or Jean Paulhan. One section of the exhibition is devoted to Georges Braque’s oeuvre seen by the photographers Man Ray and Cartier-Bresson.

This is the first retrospective of Georges Braque’s oeuvre presented in Paris since the major show at the Orangerie des Tuileries in 1973-1974.

Georges Braque
From the 18th of September, 2013 to the 6th of January, 2014
Grand Palais
Avenue Winston Churchill


75008 Paris 

01 44 13 17 30

www.grandpalais.fr

Roy Lichtenstein

published on June 24, 2013
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Roy Lichtenstein    
Centre George Pompidou
From the 3rd of July to the 4th of November, 2013

Through an exceptional selection of over a hundred major works, the Centre Pompidou will present the first complete Roy Lichtenstein retrospective (1923-1997) in France. This show will invite the public to acquire a new perspective on this emblematic figure of American Pop Art, going “beyond Pop” precisely in order to reconsider Lichtenstein as one of the first post-modern painters.

From his very first iconic paintings inspired by comics and 1960s popular culture, to works displaying his ongoing dialogue with the Grand Masters of modern painting and classical art, the exhibition offers a new take on the highlights in the career of a leading figure of the postwar art scene.

A pop painter, Roy Lichtenstein was also eager to experiment with materials, to invent icons and pictorial codes which blurred the lines between figurative and abstract art, between pictorial and 3-dimensional objects. His work as a painter kept feeding upon his early practice of sculpture and ceramics as well as his passion for prints. A connoisseur of modern art, he was fascinated above all by Picasso, Matisse and Léger – all of whom he quotes in a number of his works. Towards the end of his life, Lichtenstein returned to the traditional genres of classical painting: the nude, still-life and landscape.

The power of Lichtenstein’s work lies very much in his amused, critical yet never cynical aloofness that is unique to him and characterizes his whole career. And the exhibition shows this aspect of the artist too.

The prominence of sculptures and etchings distinguishes the Parisian show from those in the Art Institute of Chicago, The National Gallery of Art in Washington and the Tate Modern in London. The exhibition at Centre Pompidou reveals Lichtenstein’s exceptional artistic and technical inventiveness through a body of works which have never been shown in France.

Roy Lichtenstein    
From the 3rd of July to the 4th of November, 2013
Centre George Pompidou

Place George Pompidou

75004 Paris


Whaam!, 1963 Oil and Magna on canvas. Two panels : 172,7 x 203,2 cm each Tate Purchased 1966 © Estate of Roy Lichtenstein New York / ADAGP, Paris, 2013
M-Maybe [P-Peut-être], 1965 Huile et Magna sur toile 152,4 x 152,4 cm Museum Ludwig, Cologne Schenkung Ludwig
© Estate of Roy Lichtenstein New York / ADAGP, Paris, 2013
Before the Mirror, 1975 From the Mirrors of the Mind portfolio.108,6 x 81,2 cm Édition 63/100 Private collection © Estate of Roy Lichtenstein New York / ADAGP, Paris, 2013

Paul Signac, The colors of water

published on June 20, 2013
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Paul Signac, The colors of water
Musée des Impressionismes Giverny
From the 29th of March to the 2nd of July, 2013

The Musée des Impressionnistes in Giverny organizes an exhibition entitled “Signac, the colors of water”, to celebrate the 150th anniversary of the birth of the painter and at the occasion of the second edition of the “Impressionist Normandy” celebrating the  the theme of water.

From the first seascape painted on the Normandy coast with an impressionist vigor and freedom to the port architectures with almost fluorescent colors painted postwar, water and sky offered Paul Signac (1863-1935) an endless excuse to multiply color variations. Like Monet, Signac indeed found a constant source of inspiration in the evocation of water and colors. The reflection of light on the surface of the river and the sea are fragmented reality and the artist, an ardent defender of pure color. He found a natural illustration of the neo-impressionist division of tones theory in this pattern.



Signac was also an experienced sailor. He knew how to impart seascape a rigorous formal modernity without losing its evocative strength. Because beyond its technical colors division that naturally tends to abstraction, his work conveys a powerful poetic travel and escape.



The exhibition includes a hundred works, paintings, watercolors and drawings from the greatest public and private collections. It is supplemented by a documentary section presented with the assistance of Signac Archives and dedicated to research on the perception of color.


Paul Signac, The colors of water
From the 29th of March to the 2nd of July, 2013
Musée des Impressionismes Giverny
99 rue Claude Monet    
27620 Giverny

The red buoy, Saint-Tropez, 1895 Oil on Canvas, 81 cm x 65 cm Donation Dr. Pierre Hébert, 1957 Paris, Orsay Museum © RMN-Grand Palais (Orsay Museum) / Hervé Lewandowski
Concarneau. Evening calm (allegro maestoso). Opus 220, 1891 Oil on canvas, 64,8 cm x 81,3 cm New York, The Metropolitan Museum of Art, The Robert Lehman Collection, 1975.1.209

Eugène Boudin

published on March 14, 2013
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Eugène Boudin
Jacquemart-André museum
From the 22nd of March to the 22nd of July, 2013

The Jacquemart-André Museum presents the first Parisian retrospective since the end of the 19th century devoted to the painter Eugène Boudin.

Known for his seascapes and beach scenes, Eugène Boudin (1824-1898) was one of the first French artists to take his easel outside the studio to paint landscapes. In his numerous paintings, he especially focused on the rendering of elements and atmospheric effects. As such, he was one of the initiators of a renewed view of nature, and thus preceded the impressionists in this approach, not to mention his friend Claude Monet, who wrote late in life: “I owe everything to Boudin.”

Over the years, his palette became brighter and his touch lighter for a better rendition of reflections from the sky and water. From Normandy to Venice, which he discovered in his latter years, along with the beaches in the North, Brittany, and the South, he painted landscapes in movement in a subtle harmony of coloured greys. A genuine “King of the skies“, Eugène Boudin perfected the art of transcribing such changing elements as light, clouds, and waves. General director of the exhibition Laurent Manœuvre gathered nearly sixty paintings, watercolours, and drawings, thanks to loans from major international museums, portraying Eugène Boudin in his quest for light, from Honfleur to Venice, and paying a wonderful tribute to this artist so closely associated with the sea and its seascapes.

Eugène Boudin
From the 22nd of March to the 22nd of July, 2013
Musée Jacquemart-André
158 Boulevard Haussmann
75008 Paris
www.expo-eugeneboudin.com

Beach near Trouville 1864 Oil on canvas 67,5 x 104 cm Toronto, Art Gallery of Ontario, Musée des Beaux- Arts  de  l’Ontario  – Anonymous Gift, 1991 © 2012AGO
Fisherwomen on Berck Beach 1881 Oil on panel 24,8 x 36,2 cm Washington, National Gallery of Art, Ailsa Mellon Bruce Collection © Courtesy National Gallery of Art, Washington

Chagall – Between war and peace

published on February 21, 2013
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Chagall – Between war and peace
Musée du Luxembourg
From the 21st of February to the 21st of July, 2013

Chagall was nearly a hundred when he died in 1985. He had crossed most of the 20th century, living through one revolution, two wars and a period of exile, and rubbing shoulders with some of its most avant-garde artists. His personal experience of History, the memory of people he knew, his travels and his homeland shine through in his work. Twentieth-century art largely repressed allegory and narrative.

It was because Chagall did not follow the rules and codes (or even dogma) of modernist thought, while drawing nourishment from it, that he was able to stay figurative and bear witness to his time. He borrowed some of the forms of the avant-garde movements (Cubism, Suprematism, Surrealism) and sometimes seems to come close to them, but in the end remained independent. The parallel between the images of war and the images of peace reveals the complexity of an oeuvre which can never be reduced to a particular genre, but enfolds events, situations and the artist’s feelings. Depending on the circumstances, Chagall comes back to a few themes, enriching them each time with a personal dimension: his home town of Vitebsk, the Jewish traditions of his childhood, episodes from the Bible, including the Crucifixion, the couple and family life.

Opening with the outbreak of the First World War, the exhibition seeks to illustrate four key periods in Chagall’s life and work: Russia in wartime, Between the wars, Exile in the United States and The post-war years and the return to France.

This dialectic of war and peace in the broadest sense highlights the essential aspects of Chagall’s work. By exploring the decisive episodes in his life, it helps us understand the link between his vision of the human condition and his sincere, sensitive pictorial technique, which, thirty years after his death, is still strikingly innovative.


Chagall – Between war and peace
From the 21st of February to the 21st of July, 2013
Musée du Luxembourg
19 rue de Vaugirard
75006 Paris

The dance; 1950-1952; Oil on linen canvas, 238 x 176 cm; Paris, Centre Georges Pompidou, Musée national d’Art moderne / Centre de création industrielle, dation en 1988, en dépôt au musée national Marc Chagall à Nice; © ADAGP, Paris 2013 / CHAGALL ® © RMN-Grand Palais / Gérard Blot
Lovers in green 1916-1917; oil glued to a canvas backing, 69,7 x 49,5 cm; Paris, Centre Georges Pompidou, Musée national d’Art moderne / Centre de création industrielle, dation en 1988, en dépôt au Musée national Marc Chagall, Nice © ADAGP, Paris 2013 / CHAGALL ® © RMN / Gérard Blot
The red horse; 1938-1944; oil on canvas, 114 x 103 cm; Paris, Centre Georges Pompidou, Musée national d’Art moderne / Centre de création industrielle, dation en 1988, en dépôt au musée des Beaux-Arts de Nantes; © ADAGP, Paris 2013 / CHAGALL ® © RMN-Grand Palais / Gérard Blot
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