Ebook
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KLEE: A Contrapunctal (e) Motion
Exhibition: Rosso, Klee, Sonnier and more Date: Nov 9 2018 to Mar 7 2019 Venue: Hilti Art Foundation, Vaduz, Liechtenstein Exhibition:Paul Klee: The Berggruen Collection from The Metropolitan Museum of Art Date: Nov 16, 2018 – Mar 17, 2019 Venue: National Gallery of Canada, Ottawa, Canada In a collection of his writings titled The Thinking Eye, Paul Klee once asked his readers to take a “little journey” with him to “the land of Better Understanding.” He was speaking of the technical aspects of art, but the same invitation can be made at the outset of this brief profile of the artist. The Swiss-born Paul Klee (1879-1940) was one of the most inventive, witty,…
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Texte fondateur : Les Peintres cubistes, méditations esthétiques par Guillaume Apollinaire
Exposition : Le Cubisme Date :17 octobre 2018 au 25 février 2019 Lieu : Centre Georges Pompidou, Paris Les vertus plastiques : la pureté, l’unité et la vérité maintiennent sous leurs pieds la nature terrassée. En vain, on bande l’arc-en-ciel, les saisons frémissent, les foules se ruent vers la mort, la science défait et refait ce qui existe, les mondes s’éloignent à jamais de leur conception, nos images mobiles se répètent ou ressuscitent leur inconscience et leurs couleurs, les odeurs, les bruits qu’on mène nous étonnent, puis disparaissent de la nature. Ce monstre de la beauté n’est pas éternel. Nous savons que notre souffle n’a pas eu de commencement et ne cessera point,…
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Is Cubism Just Art in Cubes?
Exhibition: Le Cubisme Date: 17 Oct 2018 to 25 Feb 2019 Venue: Centre Georges Pompidou, Paris In 1907, one painting signalled the prelude to a change in painting: Les Demoiselles d’Avignon. When Pablo Picasso first exhibited this bordello scene with five female figures, even the collector Sergei Shchukin and his friend Georges Braque considered the painting to be “a loss for French painting”. However, the significance of this new view of reality was not lost on Braque. In this work, Picasso crafted for the first time a clear and rational lens without any aesthetic allusions. Taking Cézanne’s analysis of shape further, Picasso fragmented the forms into small cubes. It was the task of…
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Shelley’s Art Musings – Claude Monet
The 11th November is Armistice Day, and this year marks 100 years of this monumental date, but did you know that Monet presented “Water Lilies” to the state as a monument of peace. This was done by writing to the Prime Minister and his friend George Clemenceau. The pair had been friends for over 30 years, and in Monet’s letter he wrote: “I am on the verge of finishing two decorative panels which I want to sign on Victory day, and am writing to ask you if they could be offered to the State with you acting as intermediary.” On November 14th this year, the Musee Orangerie will be holding…
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Monet – Clemenceau (part 2)
You can read part 1 here. When Monet was in Paris he could most often be found in his favourite district on the right bank near the railway station of Saint-Lazare. These were familiar haunts for Monet, as he used to arrive here from Le Havre and leave from here when travelling out into the environs of Paris. He covered canvas after canvas here, creating in the first cycle of his career Saint-Lazare Station (1877). The theme of the railway was not a new one in European art. The views of Saint-Lazare station and his landscapes of Montgeron were Monet’s major contributions to the Third Impressionist Exhibition, but neither the…
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Monet – Clemenceau
The exhibition file illustrates the links that existed between Claude Monet (1840-1926) and Georges Clemenceau (1841-1929), both from a personal point of view and against the background of the First World War and artistic creation. The exhibition will focus mainly on the Great Decorations project of the Water Lilies in the Musée de l’Orangerie, a work that crystallises the links and ambitions of the two men, with the aim of bringing together art and nation at a crucial moment in history. Numerous portraits of Monet have survived — self-portraits, the works of his friends (Manet and Renoir among others), photographs by Carjat and Nadar — all of them reproducing his…
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Henri de Toulouse-Lautrec
‘You know, if one were a Frenchman, or dead, or a pervert – best of all, a dead French pervert – it might be possible to enjoy life!’ laments afrustrated and unsuccessful artist in an illustration in the German satirical magazine Simplicissimus issued in 1910. He is endeavouring to paint while his domestic life crowds in on him from every direction: children run about screaming, toys lie scattered on the floor, and his wife is hanging up washing on a line stretched across his studio. The idea that genius and domesticity are incompatible with one another was hardly new, but the artist’s comment shows how quickly the turbulent lives and…
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Design and Decoration: Art Deco, Jewelry, Fashion, and Architecture
The Art Deco style manifested across the spectrum of the visual arts: from architecture, painting, and jewelry to the fashion and decorative arts. While Art Deco practitioners were often paying homage to modernist influences such as Cubism, De Stijl, and Futurism, the references were indirect; it was as though they were taking the end results of a few decades of distilling compositions to the most basic forms and inventing a new style that could be visually pleasing but not intellectually threatening. We have collected the 6 most inspirational Art Deco books. Each book has their unique qualities that open up the possibility to explore the world of Art Deco – geometric shapes, intense,…
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Les Brueghel
Après une première période d’éclat, l’art des Flandres, parvenu dès ses débuts à la perfection, avait peu à peu décliné. Bien qu’une étude aujourd’hui plus approfondie de ses origines nous ait révélé, surtout chez les miniaturistes, des tentatives et des oeuvres qui, même avant les Van Eyck, méritaient d’être signalées, cette perfection à laquelle les deux frères ont atteint reste merveilleuse; elle tient surtout à leur génie. Ils dépassent de si haut leurs prédécesseurs qu’on chercherait en vain dans l’histoire une transformation de l’art aussi brusque, aussi décisive, aussi glorieuse que celle qu’ils ont accomplie. Sans s’élever jusqu’à leur niveau, les artistes qu’ils avaient formés directement ou ceux qu’avaient stimulés…
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Pieter Bruegel the Elder
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