Chéri Samba – born in 1956 in Congo – is undoubtedly the most famous African painter of his generation. Ambassador of “popular painting” of Kinshasa, he has largely contributed to making this informal movement known with his figurative paintings in frank colors which challenge, denounce, caricature and provoke, most often with humor, in a style which is anything but naive .
This exhibition at the Maillol Museum is the first retrospective of the painter’s work, covering 40 years of creation. With more than 50 paintings, she presents a journey through several “Sambaian” themes: the self-portrait as a central element of her painting, the Congo and Africa, geopolitics and the environment, the history of art and finally women, theme with which an unprecedented dialogue with the work of Maillol appears in the museum.
All of the works brought together for the occasion come from the Jean Pigozzi collection, the most important collection of contemporary African art in the world, which has contributed for more than thirty years to the recognition of sub-Saharan African artists on the scene. international.
Nearly a century after the meeting between the two men in 1914, this exhibition aims to return to one of the emblematic moments in the life of Amedeo Modigliani, the one when Paul Guillaume became his dealer. It will seek to explore the way in which the links between the two characters can shed light on the artist’s career.
When he arrived in Paris in 1906, Modigliani, a Jewish artist of Italian origin, was a painter. His meeting with Constantin Brancusi, a sculptor of Romanian origin, in 1909, acted as a revelation for him: he was introduced to sculpture and devoted himself to it almost exclusively until 1914. His break with this practice was as sudden as total: from 1914 to his death in 1920, he returned to painting and produced numerous paintings devoted mainly to the human figure alone. It is this practice of painting which is at the heart of the relationship between the artist and the dealer. Paul Guillaume encouraged him, rented him a studio in Montmartre, and made his paintings known in Parisian artistic and literary circles. He buys, sells and collects his works.
It was through the poet Max Jacob (1876-1944) that the young gallery owner and collector Paul Guillaume discovered Modigliani in 1914. He then probably became his dealer, as we understand when reading the correspondence between Paul Guillaume and his mentor, the poet and art critic Guillaume Apollinaire (1880-1918) then at the front. It is in this Parisian context that Modigliani immortalized his gallery owner in a series of painted and drawn portraits that have remained famous: he produced no less than four between 1915 and 1916. The first of them, kept at the Musée de l’Orangerie, proclaims the privileged relationship between the dealer and the artist. Guillaume, who was only twenty-three years old at the time, is depicted in a suit, gloves and tie as a visionary avant-garde pilot, overlooking the words “Novo Pilota”. This inscription lets us see that the gallery owner arouses great hope in the painter. Guillaume, through his stories, also gives us the portrait of a more intimate Modigliani with whom he shares artistic and literary affinities. Their common interest in African art is obvious. Both men are equally sensitive to literature and poetry. Guillaume thus remembers that Modigliani “loved and judged poetry, not in the cold and incomplete manner of a professor, but with a soul mysteriously gifted for sensitive and adventurous things. »
In addition to the five paintings by Modigliani kept today at the Musée de l’Orangerie, more than a hundred canvases as well as around fifty drawings and around ten sculptures by the artist are said to have passed through the hands of the dealer. This number denotes both the gallery owner’s involvement in promoting the artist but also his personal taste for his works, largely present on the walls of his various apartments. There are portraits of the notable figures of Paris of the time, Max Jacob, André Rouveyre, Jean Cocteau, Moïse Kisling, but also unknown models, as well as very beautiful sets of portraits of the women who shared the painter’s life. , the writer Béatrice Hastings first of all, then the young painter Jeanne Hébuterne, his last companion and the mother of his child.
The exhibition thus evokes, through the choice of emblematic works, the different characteristics of this corpus while exploring the links between the painter and his dealer in the Parisian artistic and literary context of the 1910s as well as the role of Paul Guillaume in the diffusion of Modigliani’s work on the art market in both France and the United States in the 1920’s.
September 15, 2023 – January 15 2024
Musée de l’Orangerie
Jardin des Tuileries Place de la Concorde (côté Seine) 75001 Paris
Few 19th-century photographers received as much attention as Julia Margaret Cameron. His approach, very personal and so criticized in his time, to photographic technique, from blur to various errors, has established itself as the mark of a pioneering style, integrating imperfection and accident in an innovative way. Original and timeless, the work, produced in barely a decade, between 1864 and 1875, represents one of the most beautiful illustrations of the epic breath of the beginnings of photography.
The exhibition, produced by the Victoria and Albert Museum, is mainly made up of works by the artist from the collections of the British museum. For the Parisian stage of this exhibition, the only one in Europe, it benefits from exceptional loans from the National Library of France, the Orsay Museum and the Maison Victor Hugo.
The first retrospective of this magnitude devoted to him in France in 40 years, the exhibition reveals around a hundred photographs, from his first experiments to historical, literary or figurative allegorical compositions, including an impressive gallery of portraits of his contemporaries.
https://www.germanopratines.fr/wp-content/uploads/2023/10/Julia-Margaret-Cameron-3.webp25001879Hélènehttps://www.germanopratines.fr/wp-content/uploads/2019/12/logo-germanopratines-3-1030x221.pngHélène2023-10-12 20:22:002023-10-27 09:58:23Julia Margaret Cameron
Begun in Rome in 1835 and continued until 1881, The Poem of the Soul is the great work of the Lyon artist Louis Janmot (1814-1892), both pictorial and literary. It illustrates in 34 compositions accompanied by a long poem the initiatory journey of a soul on Earth. Made up of two cycles respectively composed of 18 paintings and 16 large drawings, it was described by Henri Focillon, director of the Museum of Fine Arts in Lyon from 1913 to 1924, as “the most remarkable, the most coherent and the most strangeness of romantic spiritualism.”
Janmot, painter of the soul, is a very unique artist in his time, but his work echoes that of several other artists such as William Blake, Philipp Otto Runge or Francisco de Goya before him, his contemporaries the Pre-Raphaelites, or even , later, the symbolists, in particular Odilon Redon who was in contact with him. The exhibition places The Poem of the Soul and its author at the crossroads of literary, religious and philosophical as well as artistic references, influences and currents.
The first cycle, completed in 1854, recounts the first years in Heaven and on Earth of a soul, represented in the guise of a young boy and accompanied by a young girl. We follow the stages and vicissitudes of their journey, from the birth of the boy to the premature death of the young woman. Théophile Gautier and Baudelaire were attracted by these paintings exhibited at the Universal Exhibition of 1855, thanks to the intervention of Delacroix. Completed in 1881, the second cycle tells how the boy, now alone, is confronted with the temptations and misfortunes of the human soul. A poem of 2814 lines, written by Janmot and entitled The Soul, accompanies the works. It reinforces their meaning and is inseparable from them. The whole composes a hybrid work, literary and pictorial, which invites contemplation, listening, wandering.
The exhibition will reveal The Poem of the Soul in its entirety. If the first cycle is exhibited in the permanent exhibition of the Museum of Fine Arts of Lyon, the second, more fragile, is very rarely shown. Like the protagonists of the Poem of the Soul, the public will explore the mysteries hidden in these images, during a step-by-step stroll, an initiatory journey through the works. The exhibition will allow the two modes of expression, visual and textual, to coexist. Thus, the visitor will be able to hear the poem while contemplating the paintings.
In the run-up to the 2024 Olympic Games, the Paris Museum of Decorative Arts presents an exhibition that explores the fascinating links between fashion and sport, from Antiquity to the present day. This large-scale project reveals how two seemingly distant universes share the same social issues, around the body.
450 pieces of clothing and accessories, photographs, sketches, magazines, posters, paintings, sculptures and videos highlight the evolution of sports clothing and its influence on contemporary fashion. Jean Patou, Jeanne Lanvin, Gabrielle Chanel, Elsa Schiaparelli are among the pioneers who, during the interwar period, took an interest in the sporting world and transcribed it in their haute couture creations.
The exhibition also shows how sportswear has made it possible to divert sports clothing from its specific use to integrate it into the daily wardrobe. The question of comfort, the common thread of the exhibition, allows us to understand the reasons why jogging and sneakers have become fashion essentials, both for everyday life and for haute couture, from Balenciaga to Off-White.
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The Musée d’Orsay in Paris is devoting its back-to-school exhibition to works produced by the artist during the last two months of his life, spent in Auvers-sur-Oise (Val-d’Oise). Organized by the Public Establishment of the Orsay and Orangerie Museums in Paris and the Van Gogh Museum in Amsterdam, “Van Gogh in Auvers-sur-Oise. The Last Months” is the first major event dedicated to this crucial and rich period of Van Gogh’s work.
Tested by the violent crises he suffered in Arles (including that of December 23, 1888 when he cut off his left earlobe) and during his internment in the psychiatric hospital of Saint-Rémy-de-Provence, Vincent Van Gogh leaves the Midi to be closer to his brother Théo who lives in Paris. On May 20, 1890 he then went to Auvers-sur-Oise, the village in which lived Dr. Paul Ferdinand Gachet (1828-1909), a doctor specializing in the treatment of melancholy and friend of the Impressionists. The painter died there on July 29 following a suicide attempt.
Installed at the Ravoux Inn, Vincent Van Gogh regained creative momentum and during these two months in Auvers-sur-Oise produced 73 paintings and 33 drawings (sometimes producing more than one painting per day), including masterpieces. emblematic works such as Doctor Paul Gachet, The church of Auvers-sur-Oise or even Wheat field with ravens. There he experimented with new approaches to color, subjects, brushstrokes and formats. This renewal in Van Gogh’s work allows the artist to develop his style, although it remains marked by his psychic tension.
In its large exhibition space, the Musée d’Orsay will present around forty paintings and around twenty drawings by Vincent Van Gogh. The two curators, Nienke Bakker, collection manager and curator at the Van Gogh Museum, and Emmanuel Coquery, general curator of heritage and deputy director of conservation and collections at the Musée d’Orsay, will retrace this Auvers period, from the first views from the village to portraits, including colorful floral still lifes, landscapes of the surrounding countryside and a series of paintings in panoramic format. The institution will also reserve a few documentary sections to put this crucial chapter in Van Gogh’s life into context with, for example, an overview of Auvers-sur-Oise as the village was at the end of the 19th century and a focus on Dr. Gachet, a key character in this story.
https://www.germanopratines.fr/wp-content/uploads/2023/10/Van-Gogh-a-Auvers-sur-Oise.jpg16001125Hélènehttps://www.germanopratines.fr/wp-content/uploads/2019/12/logo-germanopratines-3-1030x221.pngHélène2023-09-03 16:53:002023-10-27 10:13:07Van Gogh in Auvers sur Oise
On the wall, a photograph of a Milanese cabbage, a sort of artifact that pays homage to Claude Lalanne’s L’Homme à la tête de chou, which inspired Serge Gainsbourg in 1976 for the title of his eponymous album. This sculpture which was always a bit of his double and which can be found in the center of his house. The place, which has become cult since his death in 1991, has remained identical, timeless, preserved as it is by Charlotte Gainsbourg, who had long wanted to make it a museum.
On the ground floor of this universe imagined by Serge Gainsbourg and the English decorator Andrée Higgins, who over the years has entered the collective imagination, we discover a large room with walls hung in black like the rest of the house. It was here that he worked, composed, entertained, lived a large part of his days and nights. The entire world of the famous dandy is there, before our eyes: musical instruments, photographs, manuscripts and works of art come together in a clever mix. Dali or Klee dialogue with Chopin, Rouget de Lisle or even Bardot. Collections of rare or unusual objects accumulated over the years. Gainsbourg was a collector, but above all he kept everything, and each thing, once it had found its place, never changed.
Upstairs, portraits of the women in his life: Jane, Brigitte, Catherine, Marylin… tiny, overloaded pieces: a library of rare books, first editions or collections of poetry, the complete works of the esthete Joris-Karl Huysmans. The dolls’ room, Jane Birkin’s, and the composer’s room, always black. In the bathroom, the sublime crystal chandelier, but also Jane’s perfumes which have not changed, as if they had always waited for her return…..
Opposite, at 14 rue de Verneuil, Charlotte Gainsbourg wanted to create a museum in homage to her father: a space dedicated to permanent exhibitions and another to temporary exhibitions. In the permanent tour, eight chronological chapters immerse us in the incredible life of the composer. 450 original, emblematic objects, manuscripts, clothing or jewelry behind windows, and opposite, screens broadcasting a selection of photographic, cinematographic, television or radio archives, some of which are unpublished and which remind us of the immense heritage left by the artist.
Still at 14, a bar, prettily named Le Gainsbarre, not only in homage to Serge Gainsbourg’s dilapidated years, but also to those, at the very beginning of his career, when he played the piano in the cabarets of the Left Bank.
Like the artist, Le Gainsbarre will also live from early morning until the end of the night, offering lunches, dinners, but also Afternoon Tea, then piano bar. From live concerts to film screenings, the place should obviously become unmissable.
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A major exhibition on the story of an extraordinary friendship between two icons of the 20th century, Pablo Picasso and Gertrude Stein. The exhibition spans a century of art, poetry, music and theater through great figures of art.
“A writer should write with his eyes and a painter paint with his ears.” Gerstrude Stein
A phrase that could characterize the fertile dialogue between the poet Gerstrude Stein and the painter Pablo Picasso. A friendship that was formed around their respective work, the founders of Cubism and the literary and pictorial avant-gardes of the 20th century.
Gertrude Stein, an American Jewish immigrant, settled in Paris shortly after the arrival of Pablo Picasso in 1901. Their position as foreigners, with approximately mastery of French, and their marginality founded their belonging to Parisian bohemia and their artistic freedom. Their friendship was sealed by the portrait of Stein that Picasso decided to paint in 1905, shortly after their meeting. This painting will require no less than 90 pose sessions and will forever fix the features of the poet and patron. United by the same fascination with Cézanne, the painter was inspired by the Portrait of the Woman with a Fan hanging in Stein’s apartment, rue de Fleurus. Gertrude also places the birth of her writing under the aegis of this pictorial work.
As her friendship with Picasso deepened, Gertrude Stein played an increasing role in painting purchases. Around 1907-08, she and her brother acquired a set of fourteen studies for the Demoiselles d’Avignon and the Nude à la draperie, testing to a real commitment to the painter’s side as he approached the difficulty and then little understood phase of his pre -cubist painting. It was at this time that works as significant as the Nude with a Towel or the Three Women appeared on the walls of the Rue de Fleurus.
Building her writing on the flatness of a continuous present, an unfolded, deconstructed syntax, which plays on the orality of repetition, Gertrude Stein began her great fresco, The Making of Americans, in 1910. She wrote portraits, notably those of Matisse and Picasso, a diptych published in Stieglitz’s magazine, Camera Work, in 1912, which were perceived as Cubist texts, like the works of Picasso that she collected. Crowned with her status as protector of the arts, since the war she has been surrounded by young Americans who come to train in the artistic capital. It was she who named the young writers who visited her, Ernest Hemingway, Scott Fitzgerald and Sherwood Anderson, “Lost Generation”.
The exhibition highlights the posterity of the two artists through great figures of art: Henri Matisse, Juan Gris, Marcel Duchamp, Jasper Johns, Andy Warhol, Bruce Nauman, Carl Andre, Joseph Kosuth, Hanne Darboven, Glenn Ligon , John Cage, Steve Reich, Bob Wilson, Philip Glass… 28 works centered around the Cubist years and the Demoiselles d’Avignon, as well as the archives of the patron and poet.
The American posterity of this dialogue forms the second part of the exhibition (the “American Moment”) with emblematic works from Steinian writing, from the 1950s to the present day: from the Living Theater and the musical, plastic and neo-dada and fluxus theatrical works, through minimal art around language and the circle, to neo-conceptual and critical works.
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Reaffirming the importance of collaboration between European museum institutions, the Louvre Museum has entered into a partnership of unprecedented scope with the Capodimonte Museum for the year 2023. Former hunting residence of the Bourbon rulers, the palace (the Reggia in Italian) now houses one of the largest museums in Italy and one of the most important art galleries in Europe, both in number and in quality. exceptional works preserved. Capodimonte is one of the only museums on the peninsula whose collections make it possible to present all the schools of Italian painting. It also houses the second drawing cabinet in Italy after that of the Uffizi as well as a remarkable set of porcelains.
Around sixty of the greatest masterpieces of the Neapolitan museum will be exhibited in three different places in the Louvre, the Salon Carré, the Grande Galerie and the Rosa room. The desire of the two museums is to see the emblematic masterpieces of Naples mingle with those of the Louvre, in a truly exceptional presentation: the combination of the two collections will offer visitors for six months a unique insight into Italian painting from the 15th century. in the 17th century, also allowing a new vision of both the Louvre and Capodimonte collections.
Thirty-three paintings by Capodimonte, among the greatest of Italian painting, will enter into dialogue with the collections of the Louvre (works by Titian, Caravaggio, Carracci, Guido Reni to name but a few), or complete them by allowing the presentation of schools little or not represented – in particular, of course, the singular Neapolitan school, with artists with dramatic and expressive power such as Jusepe de Ribera, Francesco Guarino or Mattia Preti.
It will also be an opportunity to discover the moving Crucifixion by Masaccio, a major artist of the Florentine Renaissance but absent from the Louvre’s collections, a large historical painting by Giovanni Bellini, The Transfiguration, of which the Louvre has no equivalent or three more of Parmigianino’s most magnificent paintings, including the famous and enigmatic Antéa. The confrontation of these works with the Correggios of the Louvre certainly promises to be one of the highlights of this meeting.
The Capodimonte collection is the result of a unique history in Italian collections, which largely explains the diversity of the works presented there. Before the unification of Italy (the Kingdom of the Two Sicilies was attached to it in 1861), three dynasties played an essential role in the constitution of this impressive ensemble: the Farnese, the Bourbons and the Bonaparte-Murat.
Bringing together such important paintings as the Portrait of Pope Paul III Farnese with his Nephews by Titian and the Portrait of Giulio Clovio by Greco, spectacular sculptures and art objects, which are all exceptional loans – including the Cofanetto Farnese, the most precious and refined of Renaissance goldsmith works with Benvenuto Cellini’s Salt Shaker of Francis I, and Filippo Tagliolini’s extraordinary biscuit, La Chute des Géants – the exhibition in the Chapel room will allow visitors to discover the richness of this collection, reflection and witness of the different golden ages of the Kingdom of Naples.
Rich in more than 30,000 works, the Cabinet of Drawings and Prints of Capodimonte owes part of its treasures to Fulvio Orsini, humanist, great scholar and librarian of Cardinal Alessandro Farnese, known as the Grand Cardinal and grandson of Pope Paul III . Orsini constituted the first collection in the world to consider study drawings and preparatory drawings. This new and revolutionary approach will make him acquire four fabulous cartoons which were then considered to be the hand of Raphael and Michelangelo. Moses before the Burning Bush by Raphael and the Group of Soldiers by Michelangelo are preparatory to the decorations of the Vatican and today recognized as rare autograph works. The cartoon of the Madonna of Divine Love and that of Venus and Cupid are considered works executed in the immediate entourage of the two masters.
These extremely rare works will be presented at the Louvre in dialogue with famous cartoons kept in the Cabinet des Dessins du Louvre, such as Saint Catherine by Raphaël or the cartoon of La Moderation by Giulio Romano, Raphaël’s closest pupil and collaborator, recently restored. An ambitious cultural program will give this invitation, beyond the rooms of the museum, the dimensions of a true Neapolitan season in Paris.
https://www.germanopratines.fr/wp-content/uploads/2023/05/NAPLES-a-PARIS-Exposition-Musee-du-Louvre-5.jpg16821010Hélènehttps://www.germanopratines.fr/wp-content/uploads/2019/12/logo-germanopratines-3-1030x221.pngHélène2023-05-30 12:23:472023-06-06 19:55:02Naples à Paris
