calendario eventi  :: 

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30/1/2006

Correspondences

Musee d'Orsay, Paris

Gustave Courbet The Trout / Brice Marden Extremes
Edward Steichen Balzac. Towards the Light, Midnight / Alain Kirili A throw of dice has never abolished sculpture

CURATORSHIP:
Serge Lemoine, Orsay museum President, with Olivier Gabet, curator at the museum.

A new confrontation between the masters of the past and the creators of the present

To demonstrate how art of the 19th and the beginning of the 20th centuries has inspired artists living in the 21st century, three times a year, the Muse'e d’Orsay offers two contemporary artists, one French and the other foreign, the opportunity to present one of their works in relation to a work of art they chose themselves in the museum, in order to confront the two.

Extremes
Brice Marden is an American artist born in 1938 who lives and works in New York. He chose Gustave Courbet’s La Truite -The Trout (1873). It is emblematic of the last part of his life and reflects the detention the artist experienced at the prison of Sainte-Pe'lagie and its consequences on his later creations. This work shows a deep renewal of the subject and of the form. The painting gives an impression of real anguish and through it Courbet goes far beyond the traditional theme of a fishing still life.
One is surprised by Brice Marden’s choice as we tend to see in him a tenant of minimalist and litterary abstraction. But Marden also drew inspiration by confronting works by Jasper Johns, Alberto Giacometti, Robert Rauschenberg, as well as Greek-Roman architecture and art discovered in Rome and Pompey. He progressively turned away from the monochrome wax polish he had so subtly used in the 70s, and followed the path of gestural a bstraction. He thus gave a breath of fresh air to his paintings in which the movements of paint clearly took on their individuality. The canvas breaths and becomes a space where our glance can wander between the layers of matter, in a complex game of lines and cells.

A throw of dice has never abolished sculpture
Alain Kirili, born in 1946, lives between Paris and New York. Through exhibitions and conferences he has paid homage to the artists who “accompany" his own itinerary : sculptors, David Smith, Alberto Giacometti, Julio Gonzalez, Pablo Gargallo, Medardo Rosso, as well as Henri Matisse, Barnett Newman, Louise Bourgeois. A special place is reserved for Rodin. As early as 1985, une exposition-dialogue was organized at the Rodin museum between the master’s works and Kirili’s. Once again the figure of Rodin is referred to in Edward Steichen’s (1879-1973) photographs, published in Camera Work in 1911, and dedicated to views of the sculpture of Balzac at Meudon.
Since the 1970s and up to the recent public commision Ascension, for the abby of Montmajour in 2002, Kirili’s art has clearly developed into a vertical and monumental statuary that encounters a sensitive referent here in Rodin’s masterpiece. A recent ensemble of five sculptures fr om the Segou and theTotems series is placed near the photoengravings taken from Camera Work. The upward movement proper to Kirili’s work underlines how << the renewal of verticality in (his) sculpture cannot be separated from the statuary , from music nor from dance >>.
Illustration ALAIN KIRILI A throw of dice has never abolished sculpture 2005, painted forged iron, 274 x 400 x 310 cm (c) Patrice Schmidt, Paris, muse'e d'Orsay

PUBLICATION
Gustave Courbet/Brice Marden, English/French,160x240, paperback, 64 pages, copublication Muse'e d'Orsay/Argol, 13 euros.
Edward Steichen/Alain Kirili,English/French,160x240, paperback, 64 pages, copublication Muse'e d'Orsay/Argol, 13 euros

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Objects and their Doubles
Curator: Olivier Gabet, curator, Muse'e d'Orsay

While the role of drawing within the alchemy of painting is well documented, its place within the field of the decorative arts is less well known. The design "sheets" of the 17th and 18th century ornamentalists have come to be much valued but their 19th century equivalents are still waiting for rediscovery although fate has not been generous as regards their survival.
Since its creation, the Muse'e d'Orsay has been anxious to assemble a significant collection of such drawings, some of which hail from the collections of the most emblematic artists of their day such as Viollet-le-Duc, Lassus, Bracquemond, Bugatti, Galle', Lalique, Van de Velde...

This exhibition airs many stunning examples; from a design for a soup tureen for the Maison Odiot to a setting for ostrich eggs by Zoegger, from Rudolphi's jewellery designs to Grandhomme's projects for painted enamels; some drawings are highly finished whilst others offer a quick stylisation which presages industrial design. Seen together, the exhibits give an excellent overview of the rich variety to be found in ornamental and decorative art drawing, whether it be the encapsulation of the first germ of a creative idea which either did or did not come to realisation, or the only remaining trace of a vanished object. To complement some of the designs, a few objects from the collections will be exhibited alongside.

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Image: BRICE MARDEN (born 1938), Extremes, 2004-2005, oil on canvas,183 x 244 cm (2 panels) Artist's collection (c) Brice Marden, Courtesy Matthew Marks Gallery, New York, (c) ADAGP, Paris, 2006

PRESS CONTACTS:
Ame'lie Hardivillier 01 40494856
Patricia Oranin 0140494742 E-mail presse@musee-orsay.fr

MUSE'E D'ORSAY
Entrance through the square
1, rue de la Le'gion d'Honneur Paris
OPENING HOURS:
Every day, from 9:30 AM to 6:00 PM,
Thursday until 9:45 PM
Closed on Monday
PRICES OF ADMISSION:
Museum: Full rate: 7,50 €
Concessions and sunday: 5,50 €
Free admissions: under 18, and holders Carte blanche du muse'e d'Orsay, Muse'O, La Carte jeune du muse'e d'Orsay

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