For Yves Saint-Laurent, the Left Bank was not just a place or a perfume, but above all a state of mind. Today, we no longer truly appreciate the earthquake that the opening of the Saint Laurent Rive Gauche boutique in Saint-Germain-des-Prés represented in 1966. Yet, it was the first time that a great couturier had created a ready-to-wear collection and it was a real upheaval in the world of fashion. Yves Saint-Laurent was proud of two things: that of having established a true dialogue with women, by refusing to impose a style on them, and that of having transposed masculine garments such as the tuxedo, the trench coat, the pea coat, and the safari jacket into a feminine universe, giving these clothes femininity and seduction, without any form of androgyny. After Tom Ford (2000-2004), Stefano Pilati (2004-2012) and Hedi Slimane (2012-2016), the Italian-Belgian Anthony Vaccarello is now in charge of the House’s collections.
The exhibition focuses its attention on Asian ghost stories, delving into the world of spirits, terror and fantastic creatures as it takes visitors on a journey to the edges of reality, through religious art, theatre, cinema, contemporary design and manga.
From Buddhist to J-Horror, from Hokusai prints to Pac-Man, from the Thai spirit culture to horror manga, the figure of the ghost has haunted the Asian imagination for centuries. In China, Thailand and Japan – the lands that the exhibition focuses on – the popular infatuation with terror is very real, and one that permeates a wide variety of cultural productions.
From spirits that wander the forest, vengeful cat-women and hungry spirits that return from the dead (“the walking dead”) to jumping vampires and yokaïs (supernatural creatures in Japanese folklore), these can appear in multiple guises and play on artistic periods and media.
Ghosts and Hells – the underworld in Asian art explores their omnipresence not only in objects and documents but also in the performing arts, cinema and comics in an attempt to better understand how they work. After all, whilst Buddhism has played its part in the formation of this imagination – implying that souls are in waiting between two reincarnations –, it is indeed on the fringes of religion, in popular and secular art, that the representation of ghosts has truly come into its own.
https://www.germanopratines.fr/wp-content/uploads/2019/12/logo-germanopratines-3-1030x221.png00Hélènehttps://www.germanopratines.fr/wp-content/uploads/2019/12/logo-germanopratines-3-1030x221.pngHélène2018-06-04 16:42:122018-07-02 18:37:36Ghosts and Hells The underworld in Asian art
After showing her work recently at the Villa Tamaris art center, the Château de Maisons and the Château du Rivau, British artist Lucy Glendinning returns to Galerie Da-End for her third solo exhibition, titled ‘Only Human’. Since the beginning of her career, she pursues protean researches on the representation of the human body, a theme that she mainly deploys in her sculptural work, but also in series of drawings that will be presented here.
Lucy Glendinning’s art stages the intrusion of fantastic within our everyday life, illustrating with brio the notion of uncanny conceptualized by Freud in 1919. Her half-animal half-human figures, somewhere between mythological stories and transhumanist experimentations, allow her to express her own epistemological and philosophical interrogations as for man’s place in nature.
From the 1890s onward, the art of dance was transformed, with new experiences revolutionizing what was sometimes an urbane and codifi ed form of entertainment. Rodin’s keen interest in these innovations led him to meet such exceptional figures as Hanako and Loïe Fuller. A particular highlight was his encounter with the dancers of the Cambodian royal ballet during their visit to Paris to perform at the World’s Fair.
When they left, in the sculptor’s words, they “took the beauty of the world with them.” Inspired by his complicity with the shapers of this revolution, Rodin associated dance and sculpture, both of which explore the possibilities of the human body. He turned his attention to all forms of dance: regional and oriental folk dances, cabaret performances, outstanding contemporary dancers, and dance as it was practiced in Antiquity – an interest he shared with Isadora Duncan.
The exhibition, centered on the “Dance Movements” series, will survey all Rodin’s research and experimentation. The sculptor used assemblages to convey the body’s tensions, inventing audacious portés that combine e ffects
of void and solid, balance and imbalance.
Rodin’s creativity focused on expressing the life force of the body, its vital energy, strength and equilibrium – just as dance explores the body’s relationship with space and weightlessness through extension, flexibility and freedom of line.
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Antoine Clavé opened his gallery in 1921 in a unique location, César’s former studio redesigned by Japanese architect Kengo Kuma. Its exhibition program is varied, between the presentation of recognized and established artists and that of emerging artists with the aim of promoting the young talents of tomorrow.
Permanently presented artists : Jean Michel Basquiat, Louise Bourgeois, Alexander Calder, César, Eduardo Chillida, Christo, Antoni Clavé, Jean Dubuffet, Julio Gonzalez, Hans Hartung, Sheila Hicks, Yves Klein, Roberto Matta, Pablo Picasso, François Réau, Germaine Richier, Pierre Soulages, Antoni Tapies, Marie Helena Viera da Silva, Zao Wou-Ki
https://www.germanopratines.fr/wp-content/uploads/2023/04/Clave-Fine-Arts-3.jpg10451125Hélènehttps://www.germanopratines.fr/wp-content/uploads/2019/12/logo-germanopratines-3-1030x221.pngHélène2018-04-30 18:40:002023-05-21 18:59:35CLAVE FINE ARTS
August Macke, “Paysage avec vaches, voilier, et figures”, 1914
This exhibition presents two major figures of German Expressionism and the Der Blaue Reiter [The Blue Rider] movement, Franz Marc (1880-1916) and August Macke (1887-1914). These artists forged a friendship in 1910 based on their shared interest in French art and more specifically in Cézanne, Van Gogh, Gauguin and Fauvism, who they discovered during their time in Paris. Both expressed the same spiritual fascination for landscapes and nature in their initial paintings, often painted “en plein air”.
Franz Marc, Le Rêve (Der Traum), 1912
Their paintings took a more radical, stylised turn when they met Vassily Kandinsky in 1911 and founded the Der Blaue Reiter Almanach [The Blue Rider Almanac]. Franz Marc abandoned plein air painting in favour of his famous blue horses which inspired the title of the almanac. While Marc co-edited the Almanach with Kandinsky, August Macke compiled the ethnographic visuals and wrote a study on African masks. Highly active in their field, they also helped organise international avant-garde exhibitions like the ones held in Cologne in 1912, and in Berlin in 1913, while continuing to develop their art. As part of this evolution, Franz Marc turned to Abstract art in 1913 under the influence of the Italian Futurists exhibition and Robert Delaunay’s paintings. Macke, for his part, moved away from Kandinsky’s intellectual spirituality and towards a clearer relationship between humans and nature, particularly during his travels to Tunisia with Paul Klee.
Franz Marc, The First Animals 1913
Drafted in 1914, both artists were killed in combat leaving unfinished yet emblematic works that represent the hedonist, colourful and seductive side of German Expressionism.
March, 6 – June 17, 2019
MUSEE de L’ORANGERIE
Place de la Concorde, Jardin des Tuileries 75001 Paris
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Designed as both a store and a workshop, Julie de Libran speaks of a “workshop/boutique” where she welcomes her clients into her world. Her limited-edition Ready-to-Wear collections, her jewelry, her Couture collection (by appointment), everything is there. The woman who was the artistic director of the house of Sonia Rykiel for five years after collaborating with Gianfranco Ferré, Gianni Versace, Prada and Louis Vuitton presents the chic, sophisticated or casual wardrobe of the Parisian woman as we imagine her around the world.
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The independent states that make up the Baltic countries, Estonia, Latvia and Lithuania, were established just after the end of the First World War. To celebrate this centenary, this exhibition presents Baltic Symbolism from the 1890s to the end of the 1920s.
European Symbolism and the emancipation of consciousness that it disseminated are inseparable in the Baltic countries from their independence. This exhibition illustrates the interplay of influences and resistances through which artists forged a creative language appropriate to their intellectual world.
Taking elements from popular culture, folklore and local legends, as well as from their unique landscapes, they have created a genuinely original art form.
With the exception of the internationally renowned Lithuanian painter and composer Mikalojus Konstantinas Čiurlionis, the works of the majority of these artists are being shown outside their country for the first time.
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In partnership with the Metropolitan Museum of Art in New York, in spring 2018, the Musée du Louvre will be hosting an exhibition dedicated to the artistic career of Eugène Delacroix. For the first time since the 1963 exhibition celebrating the 100-year anniversary of his death, this event will pool over 180 artworks by the artist, including a large number of paintings: from the young artist’s big hits at the Salon of 1820 up to his final less known and mysterious religious and landscape compositions.
The exhibition will showcase the tensions that formed this artist, striving for individuality while driven by aspirations to follow in the footsteps of 16th- and 17th-century Flemish and Venetian artists. The installations and information provided will provide insight into his long, rife, and diverse career.
Visitors will have the chance to familiarize themselves with this engaging character: infatuated by fame and devoted to his work; curious, critical, and cultivated; and a virtuoso writer, painter, and illustrator.
March 29 – July 28, 2018
MUSEE DU LOUVRE
Every day except Tuesday, 9 AM – 6 PM
Late night on Wednesday, Friday until 9:30 PM
This bookshop created by Karl Lagerfeld presents a great selection of books about photography, decorative arts and architecture and some trendy magazines.
Yves Gastou is a specialist for furniture and sculpture of the 1940s, 1950s, 1960s, 1970s. He hunts for, rediscovers all the forgotten designers of those years. He was the one who since 1985 has organized the first exhibitions in France of Ron Arad, Ettore Sottsass or Shiro Kuramata, that he then confronted with the works by older major designers of the 1940s and 1950s as André Arbus, Jacques Adnet, Paul Evans, Gabriella Crespi, Joe Colombo and many others. It is thanks to gallery owners like him that we now enjoy the return of Art Deco in the forefront. Joined by his son Victor in 2005, Yves Gastou continues to exhibit the spatial and playful furniture of the 60s and 70s, cherishing the dream of a free and relaxed way of life, of an art democratized thanks to the introduction of new materials, such as resin, brass, stainless steel, and stone geodes, while integrating a sleek contemporary design. Victor has continued the adventure alone since Yves’ disappearance in 2020.
It resonates like a little slap, a snapping of fingers…Knapp! Depending on one’s generation, he is reminiscent of Dim Dam Dom, the cult TV show of the 1960s, or of Elle magazine, and for others, he is a benchmark in graphic design or is closely associated with the New Realists. More than anything, it was the photographs that made the man. With Peter Knapp, girls take flight, futuristic silhouettes dazzle us, and designer boots jog through the streets of Paris. The time is right. The decades of the 60s and ‘70s are, in terms of fashion and in mood, synonymous with freedom and creativity. The photographer is not just a witness to this incredible era; he is part and parcel of recording this new world in pictures. Whether it was for couture houses (André Courrèges, Emanuel Ungaro, Yves Saint Laurent, Pierre Cardin, among others) or for magazines (Elle, Stern, Vogue...), Peter Knapp mastered the art of what was required. He accepted constraints and followed all that Paris offered in terms of innovation, sometimes even of irreverence.
The «Dancing in the Street – Peter Knapp and Fashion, 1960-1970» exhibit offers us the chance to discover, through nearly a hundred images, most of which have never been on display, one of the most imaginative collections that fashion photography produced during that period.
From spirits that wander the forest, vengeful cat-women and hungry spirits that return from the dead (“the walking dead”) to jumping vampires and yokaïs (supernatural creatures in Japanese folklore), these can appear in multiple guises and play on artistic periods and media.
August Macke, “Paysage avec vaches, voilier, et figures”, 1914
Franz Marc, Le Rêve (Der Traum), 1912
Franz Marc, The First Animals 1913
