calendario eventi  :: 

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18/6/2007

Two exhibitions

Musee d'Orsay, Paris

La galleria Vollard

Da Cezanne a Picasso

(english below)

A cura di: Anne Roquebert

Pioniere tra i mercanti d'arte della fine del XIX secolo, Ambroise Vollard (1866-1939) svolge un ruolo decisivo nello sviluppo dell'arte moderna fino ai primi decenni del XX secolo. Grazie al suo intuito, al suo genio commerciale e alla sua audacia, Vollard riesce a crearsi una posizione di tutto rispetto nel mercato dell'arte mostrando un notevole interesse per gli artisti sconosciuti o "messi al bando". Vollard non solo organizza la prima mostra monografica su Paul Cézanne nel novembre del 1895 ma, nella sua galleria d'arte, espone le opere dei Nabis e prende le difese di molti giovani pittori come Derain o Rouault. Le sue scelte illuminate e innovative sembrano proprio anticipare i tempi.

Vollard intrattiene rapporti privilegiati con tutti i "suoi" artisti, mentre la sua sorprendente sensibilità gli permette di scoprire la specificità del loro talento. È proprio lui che esorta Maillol e Renoir a dedicarsi alla scultura. D'altra parte, i legami che Vollard intesse tra gli artisti, i grandi collezionisti e altri mercanti assicurano al ristretto mondo dell'arte parigina ramificazioni internazionali.

Vollard, inoltre, è anche una figura chiave nel mondo dell'editoria, all'epoca in pieno fermento. Egli infatti non solo è l'artefice di numerosi album di litografie originali e l'editore dei "libri di artisti" ma è anche l'autore di monografie su Cézanne, Degas e Renoir, senza contare il racconto delle sue memorie.

Tutte queste attività fanno di Vollard un vero e proprio promotore dell'arte moderna, una delle principali figure della vita artistica del suo tempo.


Anne Roquebert, conservatrice del museo d'Orsay, in collaborazione con Isabelle Cahn, responsabile degli studi documentari del museo d'Orsay.

La Mostra è anche presentata al Metropolitan Museum of Art di New York, dal 13 settembre 2006 al 7 gennaio 2007 e all'Art Institute of Chicago di Chicago, dal 17 febbraio al 13 maggio 2007.


.........english


Curated by: Anne Roquebert

A pioneer among late nineteenth-century art dealers, Ambroise Vollard (1866-1939) played a decisive role in the development of Modern Art until the early decades of the 20th century. Thanks to his intuition, his talent for business and his boldness, he has achieved a special place in the art market by his passionate defence of unknown or "banned" artists. In particular Vollard was the first to organise a one-man exhibition devoted to Paul Cézanne in November 1895; he exhibited the Nabis and he supported several young painters such as Derain and Rouault. His enlightened investments now seem incredibly far-sighted.

Vollard maintained a special relationship with each of "his" artists, whilst his extraordinary sensitivity enabled him to discover the unique talent of each. In particular, he encouraged Maillol and Renoir to produce sculpture. Moreover, the way he developed relationships between creators, great collectors and other art dealers gave the small world of Parisian art an international dimension.

Finally, Vollard also played a crucial role in the world of publishing, which was then undergoing profound changes. He published many albums of original lithographs and "artists' books". He was also the author of monographs on Cézanne, Degas and Renoir, not to mention the account of his memories.

All these activities make Vollard a true promoter of Modern Art and one of the major figures of the art world of his time. Exhibition produced in conjunction with the Réunion des musées nationaux and organised with the Metropolitan Museum of Art and the Art Institute of Chicago, also presented from September 13, 2006 to January 7, 2007 at the Metropolitan Museum of Art, New York and from February 17 to May 13, 2007 at the Art Intitute of Chicago.

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Correspondences

Vincent Van Gogh + John Chamberlain + Georges Seurat + Claude Rutault

In “Correspondences” contemporary artists put their own creation in resonance with a work chosen in the collection of the Musée d’Orsay. John Chamberlain and the French artist Claude Rutault have been invited in this new series.

Vincent Van Gogh, Dans le jardin du docteur Paul Gachet, 1890 / John Chamberlain, Lipstick Canteen, 2000
Georges Seurat, Hommage à Puvis de Chavannes, 1881 / Claude Rutault, Hommage à Georges Seurat, 2007

Vincent Van Gogh, Doctor Gachet’s Garden, 1890 / John Chamberlain, Lipstick Canteen, 2000.
Born in 1929, the American artist John Chamberlain studied at the school of the Chicago Institute of Art, where an exhibition of the Chester Dale collection showing some of Van Gogh’s most beautiful paintings made a deep impression on him. In 1955, he left Chicago to go to the Black Mountain College, an important incubator for post-war American art. During these formative years, Chamberlain was greatly influenced by Abstract Expressionism which had won recognition for American painting at that time, with figures like Jackson Pollock, Willem de Kooning and Franz Kline, as well as the work of sculptor David Smith, who used everyday materials for his sculptures. Since then, directing his artistic aims towards an intimate and powerful relationship between movement and artwork, John Chamberlain has been creating abstract sculptures using salvaged materials, mainly car body parts and scrap metal which he assembles, compresses, welds, paints…

This creative principle leaves beauty to chance and improvisation, the artist judging the effect and composition as the piece is assembled, resulting in an unusual and expressive work. Following the invitation from the Musée d’Orsay and renewing his early interest in Van Gogh, Chamberlain chose Doctor Gachet’s Garden, with its exuberant vegetation, and confronts it with Lipstick Canteen, with its coloured metal leaves extending into space.
“So, when I think of the Musée d’Orsay… you could say that I’ve gone full circle, and come back to where I began. It was Van Gogh who got me started in a way, and here I am, fifty years later, coming back to visit him with my sculpture Lipstick Canteen” (conversation with Ann Hindry, April 2007).

Georges Seurat A Tribute to Puvis de Chavannes, 1881 / Claude Rutault, A Tribute to Georges Seurat, 2007
Born in 1941, French artist Claude Rutault, since first developing his definition/method in 1973, has continued to “seek to make painting visible”. In a constant effort to push the boundaries in these pictorial experiments and refusing to resort to the spectacular, he has since developed his definitions/methods whose invariable principle is as follows: “a stretched canvas painted the same colour as the wall on which it is hung. all standard sizes which are available commercially, whether rectangular, square, round or oval, can be used. the presentation is traditional”.

The principle can be considered as instructions for use, a sort of user’s guide to the work – and its display – for the collector, the exhibition curator, the gallery curator or the gallery owner. Thus, the definitions/methods present the conditions for the creation of the work, and above all the procedure for its evolution. The artist readily includes an intrinsic change in the works which he conceives from the unpredictable and random perspective of appropriation/modification at the actual starting point of the creative process.

Echoing Seurat’s reference to Puvis de Chavannes, Rutault, here, aims to update this principle of definition/method, by again putting forward the issue of tribute to the old masters. “My admiration for Seurat’s chosen path quickly became a priority […], and even more necessary as it brings into play two very different works from the museum. In this presentation it is purely a question of a painter’s work, not a historian’s work. Today I merely present the two paintings and their structures through my painting itself, in my main concern for moving beyond the limits of the painting, and for the finished object.” (Conversation with Françoise Ducros, April 2007).

Musee d'Orsay
1, rue de la Legion d'Honneur - Paris
Hours: Every day, from 9:30 AM to 6:00 PM, Thursday until 9:45 PM Closed on Monday
Admission: Full rate: 7,50 euro Concessions and sunday: 5,50 euro

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