Marc Gauthier

[Overview of Room 9, back]

The exhibition Québec City and its Photographers, 1850-1908. The Yves Beauregard Collection offers unique pictures of the Old-Capital. Despite some good efforts from the Museum to showcase this collection, it is highly likely that the public will not to hurry at the gates. 

This exhibition offers a selection of approximately 400 photographs, ambrotypes, tintypes and other printing processes of light on a support. Today, digital photography makes picture-taking easily and inexpensively available to all. Putting what we see onto a picture has never been easier. From the click of a button of a camera to the click of the mouse manipulating digital files, the (relative) ease of tools at our provision makes us forget the complexity of the technical aspects hidden in our instruments.

Québec City and its Photographers unveils the beginning of this technology, taking Quebec as a benchmark. Most photographs are presented in a showcase, as artifacts of time past. Their cracks, yellowish or brownish appearance, curves are part of their history, and in that sense, they add a sense of memory.  Other images are framed, wrapped by a large all-white, creating a vacuum around them. Each frame is hung on a brown wall, so that the the visitor seems to look through a window to the past. This staging is successful. 

From a practical point of view, Room 9 is separated into four different themes: Sights of Quebec City, Life in Quebec City, processes and major studios.

[Ellisson & Co., Le Château Haldimand, Québec, between 1860 and 1879, albumin (2006.1071)]

Sights of Quebec City welcomes the visitor upon entry. It is composed mainly of panoramic views and of city monuments. Here, Quebecers will not be surprised to note that their city has been presented for a long time in a picturesque way, from the advent of photography. Since these images have become commonplace, it is not surprising to find in the text presentation a cliché presenting the city as the ‘Gibraltar of America [1]“.

In particular, one must take the time to reflect upon Quebec viewed from the St. Lawrence taken around 1885 by Notman or Quebec seen from Levi taken around 1865 by Smeatons. These documents put the spectator in a bygone era. Better yet, these large-format photographs have lived through the centuries in a remarkable condition, witnesses to the care that their owners have provided.

However, the Museum work surrounding these groups of pictures leaves a bit to be desired. Examples include the text of presentation in the series of historic sites. It invites us to observe the evolution of the same place over time and under the eye of various photographers. A fascinating idea. However, it would help that images taken in the wake of these lines were placed in a coherent manner. Where is the juxtaposition of these photographs? Where is the series of views of Quebec City so that we can monitor the city over time? Rather than make our work much easier, the Museum sends us across the room in search of those pictures. 

The texts could also have improved the visit when places that are now missing are illustrated. Thus, the Scene of Finlay Market presents real historical evidence of Quebec trade life when this photograph was taken. Only problem: where was this market located? How is one supposed to know this information? How will one make  the connection between time past and today? For the sake of argument, let us indicate that the market was located approximately between Place Royale and the St.Lawrence River [2]. These are small irritants, but they eventually tend to add up. 

Life in Quebec City groups portraits and some aspects of daily life. Here, the ranking of portraits according to social rule is mentioned. Also, children’s portraits or images of the celebrations surrounding the 300th anniversary of Quebec City are grouped together. Once again, the presentation texts sometimes cause problems. Thus, in the text next to Ahatsistari, Huron Chief Emeritus, there is an inconsistency reported between the Huron costume and the classical decor by using an exclamation point. However, somewhere not too far away, we are reminded that this type of scene was current in photo studios to suggest a classical architecture, and therefore timelessness. Greater consistency in those two texts would have been appreciated. 

[Ellisson & Co., Ahatsistari (André-Napoléon Montpetit, 1840-1898), chef huron honoraire, 1878, albumin (2006.1211)]

Also, the theme Life in Quebec City is scattered all over the room. One could easily believe that all the exhibition is grouped under this term, providing a bit of confusion for the visitor. 

One must not miss the section of studio portraits. Thus, we are rightly reminded of details that enrich our experience. For example, the presence of head restraints is reported on several photographs. People whose picture was taken with the same clothes or in the same scene are also placed side by side to reveal an aspect of these photographs in a serial way. Better yet, two photographs of different women but in the same clothes, both standing before the same scenery, can not fail to surprise and delight. This find from researchers exploring the Yves Beauregard collection deserves to be highlighted.

If the images on the walls are worth a look, the scientific interest of the exhibition is located in its center. The heart of the the first part of the room is occupied by processes used by photographers working in Quebec City. In a simple language and with a chronological order, the daguerreotype, the ambrotype, the tintype, dry gelatin, albumin and gelatin silver processes are presented alternatively.  With examples from the Collection, visitors can see the evolution of these processes and their use by studios. The journey leading to our digital cameras is enormous.

[A stereoscope]

In the same section, two stereoscopes are accessible. These devices allowed photographers to create the illusion of three-dimensional pictures. It is a real pleasure to be able to use these apparatus. In the same way, the evolution of visit cards is presented. Furthermore, the work of the major studios of Lemire, Livernois and Vallée is displayed. Seeing the Vallée Car on the Dufferin Terrace is an important testimony this photographer who was playing tourist in his city.

Note that in the room, most objects are placed in windows. Chairs are inviting people to sit and observe these witnesses of time past. However, this choice of furniture is doubtful. Most visitors are reluctant to sit down, probably from fear to take the entire area for themselves. In this sense, putting a bench would have been a neat way to break this natural nuisance while achieving the same effect. 

Also, it should be noted that the text alongside the photographs is poorly prioritized. Photographer, topic, date: these informations are arranged in a set too compact for easy reading. If the photographer is put forward as an artist - and that choice is obvious - it seems that the topic represented is the information that most visitors would be wishing to read first. A subtle enhancement of the text might have been able to refine this aspect of the exhibition.

Finally, it is pertinent to ask whether a dialogue between images of past and present could have been achieved. In fact, what is the exposure of these witnesses of the past without thinking about time passing? These are beautiful objects, signs of a know-how gone by, but without context, it falls a little flat. We leave this exhibition pleased to have enriched our mind with images, but without any real reflection on the matter. The visitor enters the rooms, looks for familiar landmarks on the images, marvels of the passing time, leaves.

One can wonder about the  opportunities offered by this important museum exhibition. It is not certain if Québec City and its Photographers is the best possible exhibit one could have thought of. Why not use photographs to recreate an image of a Quebec gone by, or present celebrations of the 300th anniversary of foundation more proeminently, or focus only on the studios or the processes? If the wealth of the collection makes it difficult to keep the focus on one aspect, the Museum could have made it easier for the visitor to center his interest one one aspect of the Collection. 

Overall, Québec City and its Photographers deserves a look. The quality of the photographs exhibited are worth the attention. If the setting leaves something to be desired and a tightening of the theme Life in Quebec City would have been appreciated, this does not spoil the visit.

Nevertheless, the real brakes for accessing this exhibition is its exorbitant price. Thus, your wallet will offload 15 dollars if this post makes you want to go to the Museum. That is the same price you will pay if you go see The Louvre in Quebec City and all Museum exhibitions. When the Louvre has finished its run, and Québec City and its Photographers will be the only temporary exhibit until early December, one has to wonder who will be in the room in November? Indeed, we noticed very few visitors entering in the room to see this single exhibit at the time of our visit. Rather, it was people who were waiting for the Louvre, touring the Museum rooms while wasting some time or explorers of the permanent collections for whom the doors were closed. It is a pity that the Museum did not reduce its entrance fee for visitors of this single exhibit. Attendance will unfortunately suffer.

- USEFUL INFORMATION -

• Québec City and its Photographers, 1850-1908. The Yves Beauregard Collection is presented at the Musée national des beaux-arts du Québec [Quebec Art Gallery] from September 25h, 2008 to January 4th, 2009. Opening hours and useful informations are available on their site.
• Regular admission fee is 15 dollars. Some group rates are offered.
• The is no audioguide availaible.
• The catalogue is worth the purchase since all the photographs of the exhibit are reproduced.

The temporary exhibition The Refectory is a command of the Naval Museum of Quebec to Isabelle Laverdière. We must welcome the initiative of a military institution seeking a visual artist to create an installation to celebrate the 400th anniversary of Quebec City. This “bold” [1] gesture is placed under the sign of fraternity transcending armed conflict.

Figure 1. Isabelle Laverdière, The Refectory [view of the installation], 2008.

At first glance, hearing is stimulated to create an evanescent impression. If the floor the building is usually made up of a concrete slab, both rigid and impersonal, here it is covered with a rough wooden floor. Big plates fit roughly one in the other. Their crackles are heard as visitors walk on them, recalling the sounds that probabaly animated ships of war centuries ago. Even better, these boards are slightly mobile creating instability, just like a boat on water. To this crackling contributing to the atmosphere is added a series of marine noises. David Dandy, Martien Bélanger and Alexandre Zechariah have created the sound environment. The ensemble is serene; sound and music are not of the military type, but rather meditative.

The temporality of the exhibition is ackowledged by a significant visual element. Thus, space is closed through mobile white canvases. It is the same structure that suberbans use to protect their car from the winter weather. Instead of using walls, the artist has tended those surfaces that move following air currents. It creates a reminder of the sails of ships of past eras in a subtle way. The incongruity of the installation is also reported by a game of Chinese shadows that is created when occupants of the Naval School roam the nearbycorridors of the institution. Fragility and instability dominate the stage. Another time in space has been created with these simple tools.

Figure 2. Isabelle Laverdière, The Refectory [detail], 2008.

The use of materials from the country anchors the work in the area of Quebec City. The old speaks with the present. The boards of the floor are made of planks from a stable and the furniture is covered with wool. Opposing these warm materials are the white plastic canvas walls the the use of glowing fluorescent lights falling from the ceiling.

The facility itself is an exploration of the theme of the refectory. At the beginning, it was a place of gathering where monks took their meals in monasteries. The term then spread to designate any room where a community takes its meals. In The Refectory, Laverdière places players of the maritime history of Quebec around the central table in a continuous dialogue through time. Six pairs of captains areopposed around the St.Lawrence River. The river is represented by a central table on which are placed artifacts and contempory ceramics. The historical figures assume their presence by chairs and their silhouette is cut on a mirror. On each seat is recorded the date of an armed conflict. Behind, the silhouette of the protagonist takes place over a text in which he outlines his views on the armed conflict. In this clever game ofcorrespondences, they are no longer simply two counts of fleet clashing but rather two visions of history.

Figure 3. Isabelle Laverdière, The Refectory [detail], 2008.

The first conflict the artist refers to is the battle between Kirke and Champlain in 1629. On the table are plates from the period and a valve found on the site the Abitation of Quebec. The ceramic creations from Isabelle Laverdière are alongside these historical treasures. For the French side, she created a plate where three vessels navigate on the bottom. For the English side, the dish contains eleven ships. Laverdière reinforces the message of numerical superiority of British forces by using contemporary creativity. This game on the forces involved is present in the various conflicts illustrated. It ends in the last confrontation during the Second World War, were submarines sail through the plates.

More precisely, armed conflicts represented in exhibition occurred in 1629 (Champlain, Kirke), 1690 (Frontenac, Phips), 1711 (Walker), 1759 (Saunders and Durell, Vaudreuil) 1779 (Haldimand) and 1942 (Fortin, Hartwig). The attentive visitor will note that the aggressors and defenders are all grouped on the same side of the room. They are British nationals or Americans facing of the French and Canadians.A work of art installed in a military school can hardly evacuate propaganda. Here, it is manifested by a sense of friendship side that trenscends the conflicts. Without evacuating the historical dimension, it is surprising that the horrors of war are not even mentioned once. No death is noted among the conflicts represented. We are rather in a duel of the mind where the fight is done by using good words and flowers. In a typical example, of thirty dead of the Phips expedition, zero are reported.

Instead of the horrors of war, the emphasis is placed on a camaraderie among sailors that goes beyond war. The torpedoing of the German submarine U-877 by the St.Thomas corvette illustrates this vision. Let us briefly recall the facts. In December 1944, two Canadian vessels attacked a German ship. As the German crew was forced to throw itself in icy waters, the Canadians recovered them. A relationship of friendship grew after the war between belligerents, especially first lieutenant Stanislas Déry and Deputy Commander Peter Heisig. The exhibition ends on this idyllic note.

In the context of a command in a particular context (the 400th anniversary of its founding Quebec) by a sponsor (Naval Museum), Isabelle Laverdière manages to sail successfully in treaterous waters. She achieves a tour de force, creating an atmosphere of instability and warmth in a rigid space. The visual metaphors are supported by an original use of materials from the country. Her ceramic creations support the exhibition of historical artifacts. Standing on the border between a marketing operation and an artistic creation, The Refectory remains, despite its defects, an incursion of contemporary art at the military. If only for this last quality, this work is worth a look.

- USEFUL INFORMATION -
* The installation The Refectory by Isabelle Laverdière is presented by the Naval Museum of Quebec until Nivember 15th, 2008. [map]
 
* Admission is free.
 
* Opening hours are available by calling the Museum at (418) 694-5387. 

- NOTE -
[1] In its accompanying document, the Naval Museum says it is a first in Canada.

- BIBLIOGRAPHY -
CÔTÉ, Nathalie. « L’art contemporain chez les marins ».  Le Soleil, [online], August 9th, 2008, (page visited on August 15th, 2008).
LÉTOURNEAU, Jocelyn. Le coffre à outils du chercheur débutant. Montréal, Boréal, 2006, 266 p.
STACEY, C. P. « Phips, sir William » in Biographi.ca, [online], 2000, (page visited on August 15th, 2008). 

[Cliffs near Dieppe, Claude Monet, 1897, oil on canvas, 65x100 cm]

A Frenchman living in Florida was indicted this week for attempting to sell stolen paintings. He was trying to sell the four artworks stolen at gunpoint from the Museum of Fine Arts in Nice last year - and that have been found since. The asking price? Three million dollars for the four paintings, a bargain!

Makes me wonder how many stolen works are sleeping in the coffers of wealthy individuals without scruples at this very moment…

[El Coloso [The Colossus], attributed to the School of Francisco de Goya y Lucientes, c.1808-1812, oil on canvas, 116 x 105 cm, Museo del Prado]

The Museo del Prado (Madrid) has made it official: El Coloso will now be attributed to the School of Goya but not to the Spanish master. The site of the museum has not yet been updated.

The first sign that something was wrong about this painting first appeared in April: El Coloso was not part of a comprehensive retrospective of the Prado devoted to the painter.

[El Coloso [The Colossus] (detail), attributed to the School of Francisco de Goya y Lucientes, c.1808-1812, oil on canvas, 116 x 105 cm, Museo del Prado]

The poor quality of the bulls represented in the painting raised the suspicions of the curators since Goya was very familiar with the anatomy of these animals.

Keep your museum guides, they are now part of art history…

* The exhibit Le Louvre à Québec [The Louvre Museum in Quebec City] now has a microsite.

* Claude Monet’s The basin of waterlilies sold for 80.5 million Canadian dollars this week. In an AFP article, printed by several newspapers across the world, the conversion from British pounds to Euros is completely crazy. Forty million pounds is equivalent to about 50 million, not 80… Jeers go to Montreal daily Le Devoir for reproducing the mistaken conversion while cheers are in order for Cyberpresse. Perhaps the agency issued a correction that was not published? More details at Le Figaro.

[newyorkcitywaterfalls.com]

* Waterfalls will flow under the Brooklyn Bridge and three other spots the East River this summer. [article]

* How to detect forgery? Easy: you just have to check for the presence or absence of nuclear isotopes caused by nuclear explosions. [article]

* Who knew that John McEnroe and Tatum O’Neal had been captured by Andy Warhol? The double portrait is on sale in London on 1st July. [see the work]

* A new copyright law could see the light of day in the USA. It would allow the reproduction of works whose authors can not be traced. In Canada, you have to go through the Copyright Board when such a case occurs to fill out an application. Board then possibly delivers a license.

* Always the same debate: one commentator finds that art is empty.

[City of Shadows, Alexey Titarenko]

* I’ve been observing these pictures from Alexey Titarenko and I don’t get tired. In his serie City of Shadows, he stretched the exposure time of his camera to catch the passage of people on his film prints. The result provides ghostly photographs where passerbies seem to leave parts of themselves behind them… [see all images]

* In computer news, Carnegie-Mellon (PA) has developed software to determine the most likely place where a photograph was taken. An algorithm is looking for similar photos on Flickr… One step closer to the recognition of images by computers. [article]

* Quebec City launched a contest for the realization of a work of contemporary art in the borough of Beauport. The work will fit a place with water jets on the avenue Royale. Budget: $ 80.000. Deadline: July 7, 2008. [details]

* Montreal daily Le Devoir reported in its weekend edition that the National Gallery of Canada could terminate its agreement with the City of Energy in Shawinigan. The budget cuts of the Conservative government would be to blame.

[Ron Mueck, Baby; source: wikipedia.org]

All the more reason to enjoy the exhibition by Ron Mueck and Guy Ben-Ner, which runs until September 1st 2008.

* Le Moulin des images [The Mill of Pictures] from Robert Lepage is projected on the mill of the Bunge in Quebec City’s port. No narrative but a series of impressions. You will find a slideshow of interest on the site of Ex Machina.

[Ex Machina]

* The Naval Museum of Quebec deserves to be better known. Located in the Old Port, it offers two exhibitions this summer. The Refectory is a work by Isabelle Laverdière which interprets exchanges that occurred between marine enemies over centuries on the St. Lawrence River. By Sea and In Stone covers the development of defensive works in the region. The exhibition is presented in collaboration with the Museum of the Royal 22nd Regiment [Citadel], the Museum of the Regiment of Voltigeurs of Quebec [Armoury; currently closed due to fire] and the Musee du Regiment de la Chaudière.

* Quebec Gold presents the works of 17 artists from the nation in Reims (France) this summer, in collaboration with L’Oeil de Poisson. Those invited are: Jean-Pierre Aubé, Mathieu Beauséjour, BGL, Sylvain Bouthillette, Michel de Broin, Cooke-Sasseville, Doyon-Rivest, Jérôme Fortin, Dominique Gaucher, Pascal Grandmaison, Isabelle Hayeur, Guillaume Lachapelle, Emmanuelle Léonard, Yann Pocreau, Yannick Pouliot, Michael A. Robinson et Ève K. Tremblay.
Note that Michel de Broin, Cooke-Sasseville, Doyon-Rivest, Isabelle Hayeur and Yannick Pouliot are also part of the Triennial of the Museum of Contemporary Art of Montreal.

* Many works of contemporary artists were acquired by Loto-Quebec after Manif d’art 4. Works of the following artists have been acquired: Éveline Boulva, Eve Cadieux, Don Darby, Isabelle Véronique, Lucia Lefebvre, Reno Salvail, Helga Schlitter, Bill Vincent and Giorgia Volpe. Moreover, Nathalie Thibault and Cooke-Sasseville received scholarships. Note that the latter is part of the Triennial of The Museum of Contemporary Art of Montreal and, as mentioned earlier, his works will be exhibited in Reims.

* The Montreal Museum of Fine Arts offers a free and individual tour next Wednesday. [details]

* In conjunction with the exhibition The Louvre in Quebec, the National Gallery of Quebec [Musée national des beaux-arts du Québec] offers free shows of the film Louvre, the visit. Performances are at 13h30 and 15h00 on the following dates:
June: 15, 18, 22 and 29
July: 2, 9, 13, 20, 23, 27 and 30
August: 3, 6, 10, 13, 20, 24, 27 and 31

* The market for contemporary sculpture continues to be strong. For example, the sculpture My Lonesome Cowboy by Takashi Murakami was sold for $ 13.5 million in May. Artprice provides a market analysis.

[Takashi Murakami, My Lonesome Cowboy, 1998, epoxy resin]

* Mexico is too small for the Guggenheim.

* Collector Charles Saatchi bought many works of three graduates in visual arts.

* Going by San Francisco? An exhibition on women Impressionists has just begun at the Museum of Fine Arts. A selection of works is available on the Museum’s Picasa account.

[Berthe Morisot, Interior, 1872, oil on canvas]

* And on a more personal note, I finished my intensive summer course in art history. Entitled Impression and Sensation: Aspects of the Artistic Subjectivity in Modern Painting in the Nineteenth Century, it was a deepening experience of landscape painting, the Impressionists and Cezanne.

Half of Quebec museums operate with a budget of less than $ 123,000.

Manif d’Art 4 draws to its end - we’re in the final sprint until Sunday.

The Museum of French America [Musée de l'Amérique-Française] presents Forgotten Presence: The Huguenots in New France until March 22, 2009.

[photo credits: Idra Labrie, Musée de l'Amérique-Française]

This week is also the good time to visit the archaeological area of the Palais in Quebec City. It is open to the public until June 13. It is on this location the Palace of the Intendant of New France was located. It is also where the first brewery operated in Quebec. The Côte du Palais draws its name from the building.

The Visionaries’ Garden [Le Potager des Visionnaires] was inaugurated this week. Charming - but I didn’t take my breath away.

Another week, another grandiose architectural project for Dubai. This week: a new amphitheatre for the opera, designed by Zaha Hadid and Patrik Schumacher. It must be where all that money from oil is spent. [Other photos]

[Draft of a cultural centre and an opera, Dubai; Source: Dezeen Blog]

A museum guard who did not like a painting by Vija Celmin decided to cut it with a key. The act of vandalism has proved fatal to the work. The painting Night Sky # 12 was exposed in the Carnegie Museum in Pittsburgh.

Some gold artworks stolen from the Museum of Anthropology at the University of BC are back.

In 1957, an art gallery in California is closed by police in Los Angeles. The exhibition by Wallace Berman is considered obscene. It will be the only solo exhibition of the artist.
In 1962, Andy Warhol presents his first solo exhibition at the same place: Andy Warhol: Campbell’s Soup Cans. Five cans were sold at $ 100 each, but the owner of the gallery bought the lot to keep it intact.
Both events took place in the Ferus Gallery. Its story is told in the documentary The Cool School, which was broadcasted this week by Independent Lenses. It reruns on Vermont Public Television (WETK) (Thursday 12, 3:00; Friday, 13, 22.00) and PBS Mountain Lake (WCFE) (Sunday 15, 23:30). Set your VCRs!

The photographer Claude Dityvon died in La Rochelle.

The exhibition of contemporary art Art Basel ended with a massive crowd success: 60,000 people have passed through the doors.

A Russian billionaire decides not to sponsor a retrospective devoted to Kabakov. The event will take place anyway.

Tate Britain asks the public to help it buy an oil sketch by Rubens. The work in question, The Apotheosis of James I, is a study of the ceiling of the Banqueting House in London. It is important for some English people.

[Banqueting House; source: wikimedia.org]

* The Montréal Museum of Fine Arts offers tours of 30 minutes over lunch to discover an artist. A pleasant way to feed one’s soul. Upcoming events: 4th and 5th of June 2008 at 12.15. The artist: Jean-Paul Riopelle. [More]

* The Manif d’art 4 currently takes place in Quebec City. It takes a lot of courage and almost a survival guide to organize your activities on the website of the event. I’m still looking for a way to get a Manif card, necessary for the visit of Toi / You, la rencontre [You/You, The Encounter].

Despite these difficulties, it should be noted that the annual exhibition of visual arts students from Laval University, presented by Loto-Quebec, opens this Friday, May 30th.

* Television channel artv offers new episodes of the French series Palettes. Narrated by art historian Alain Jaubert, each episode explores the history behind a work of art that has marked Western art. If it isn’t found in the list of programs of the specialty channel, it still is worth a look, having been celebrated at the last FIFA Montreal. Being the happy owner of the 18-DVD box set, I recommend these films that are pleasantly instructive. This week: Burial at Ornans by Courbet [May 25 at 7:30, 28 / 5 3:28, 28 / 5 15:29].

[Gustave Courbet, Burial at Ornans, 1849-1850, oil on canvas, 314x663 cm, Musee d'Orsay, Paris; photographic source: Wikipedia]

* Quebec painter Claude Théberge died. The municipality of Notre-Dame-du-Lac has devoted a website to the artist.

* Record books will have to be revisited: skyscraper Burj Dubai is now the highest structure in the world. Peaking currently at 650 meters, it is expected to reach 819 meters by the end of its construction. By way of comparison, the CN Tower stretches over 553 meters [it is time to update the Web site describing it as the highest structure in the world, a title lost a few years ago ...], the 1250 René-Levesque of Montreal [IBM-Marathon] measures 230 metres and the Complex G Quebec stands at 176 meters, with the antenna.

[Burj Dubai; photographic source: Wikipedia]

* The sequel to A Night at the Museum, starring Ben Stiller, began its shooting. The action takes place at the Smithsonian Institute in Washington. It is the first time in 162 years that the institution allows the use of its name in a film.

* Sir Anthony Caro, British sculptor, has be answered ‘No thank you!’ by the City of London. He offered them his most ambitious sculpture to date. Result: the work Millibank Steps is now on sale for nearly $ 5 million.

* The only complete copy of the Manuscrit du surréalisme by André Breton was sold this week for $ 5.5 million at Sotheby’s Paris. The lot included eight other manuscripts that many feared would be dispersed.

I’ve recently taken a trip to Paris. this explains the infrequent updates on the blog.

I first stopped at the Museum of Modern Art at Centre Georges Pompidou. In the large space, an oversized payer mill greets visitors. Usually, a Buddhist monk turns such an object - a smaller version — reciting a prayer. Here, the projection of the object to another level highlights the dangers of religion and politics, linking them together.

[Ehi Ehi Sina Sina, Huang Yong Ping, 2006; Photo: Marc Gauthier]

Among the exhibitions presented is the first retrospective devoted to Louise Bourgeois. It was a discovery for me. The artist offers a very personal vision over two hundred works on display. Born in 1911, living in New York since 1938, we feel a certain unease about the relationship between this artist and France. Having left the country for 70 years, is she still a French artist? As the program says by making a comparison with Marcel Duchamp, she is declared an American artist born in France. In addition to these geographical considerations, the exhibition gave me the impression of entering the head of Louise Bourgeois. In fact, when I think about it, we get no so much in her head but rather in this intimate space populated by impulses and secret desires fueled by the frustrations of childhood and repressed desires. Proposed in multi-faceted aspects (People, Places of Remembrance, …), sculptures, paintings, drawings and prints are not always accessible at first glance. I wonder what art history will make of this production.

In the permanent collection, I would like to propose “Dynamism of a car” (1912-1913) by Luigi Russolo. This work is very representative of Futurism, the Italian movement based in Milan - among other places - advocating speed to oppose the archaic past of Italy. In this sense, machines producing speed such as cars, airplanes and trains are valued. In this painting, Russolo expressed with color and lines of forces the philosophy of flow developed by Henri Bergson.

[Dynamism of a car, Luigi Russolo, 1912-1913; Photo: Marc Gauthier]

Throughout the days, other places of interest for the art historian in me have been visited. The department store Le Bon Marché was part of the tour, and not only to buy an umbrella on these rainy days in the capital. Rather, I enjoyed a visit to one of the first private places where works of art have been exposed. Thus, in the 19th century, some painters could exhibit their paintings on the top floor of the department store. The brightness was really good, which surprised me. I wonder what this place looked like 150 years ago… Today, the top floor is occupied by furniture.

[Le Bon Marché, Paris Photo: Marc Gauthier]

At the Musée d’Orsay, great paintings are always a pleasure for the eyes. I noticed details that I had never seen before. Thus, the upper left corner of the painting “The Church of Auvers”, Van Gogh swirls black and blue and makes the brush stroke very visible. For the anecdote, I will recall that this painting was acquired with the assistance of Paul Gachet and a Canadian anonymous donation in 1951.

[The Church of Auvers, Vincent Van Gogh, beginning June 1890; Photo: Marc Gauthier]

[The Church of Auvers (detail), Vincent Van Gogh, beginning June 1890; Photo: Marc Gauthier]

Orsay proposes two dialogues between works in the museum and contemporary artists. The first of those matches that I viewed was between “Showcase - Rue de Sevigne” by Bertrand Lavier and “Reading” by Manet. The touch proposed by Lavier explores the painting of Monet in a very surprising way. You feel the kinship between the two works without a sense of imitation. Coup de coeur.

[Showcase - Rue de Sevigne, Bertrand Lavier, 2005; Photo by Marc Gauthier]

[Reading, Edouard Manet, circa 1865-1867; Photo: Marc Gauthier]

[Reading (detail), Edouard Manet, circa 1865-1867; Photo: Marc Gauthier]

The other dialogue comes in a multimedia showcase. On the walls are projected words and symbols, displayed in a continuous movement and changing colors. This plays on movement, time and color reminiscent of the work on colour and light made by Impressionnists. It is the dialogue between Monet and Charles Sandison. Another coup de coeur.

[Blue Water Lilies, Charles Sandison, 2007-2008; Photo: Marc Gauthier]

[Blue Water Lilies, Claude Monet, circa 1915-1920; Photo: Marc Gauthier]

Among other news worthy of mention is my disappointment not to find “The Angelus” and “Les Glaneuses” by Jean-Francois Millet. The two best-known works of the painter were on loan. This choice seems unwise. It’s as if I bought a bag containing 100 candies and I realize that it lacks two; I might be satisfied but there’s still something missing…

Also, large paintings by Courbet were being restored. The work is carried out in front of visitors. While museum professionals must feel like animals under observation, it is always pleasant to see these expert hands at work. “The workshop of the painter” by Courbet underwent at least a dozen of retouchings.

[The workshop of the painter, Courbet; Photo: Marc Gauthier]

A trip to Paris is impossible for an art historian without making a stop at 7, rue des Grands Augustins in Saint-Germain des Pres. At this address is set the action of the short story “Unknown Masterpiece” by Balzac. The story that the author tells is that of a painter who presents his masterpiece to friends. These are stunned by what they see: they do not understand the canvas which is under their eyes.

This is a literary figure of premonition because it is also at this address that Picasso settled in 1930. He painted one of its best-known paintings: Guernica.

The Museum of the Romantic Life of the city of Paris presented “The Golden Age of German Romanticism - Watercolors and Drawings at the time of Goethe.” Although I liked the place, the exhibition left me a little cold. However, it allowed to become aware of my ignorance about German art and these artists.

I also attended my first auction at the Hotel Drouot-Richelieu. A highly rewarding experience which confirms my interest in the life of the art object after its artistic creation.

As always, exhibitions at the Museum of Luxembourg are sought after by Tout-Paris. During my visit, “Vlaminck - A Fauve instinct” was running. A total success that alloed me to see many paintings of the artist in one place. There, I bought another catalogue that I will read back home!

Another artist that I do not know much was Gustave Moreau. Ingenious, he spent the last years of his life setting up a museum dedicated to his work. It was therefore a discovery of his paintings but also many drawings of this Symbolist. Only problem in the museum: many canvas proposed are those of unfinished works. Personally, I like this type of work because it helps us understand the method of work of an artist.

[Inside the Gustave Moreau museum; Photo: Marc Gauthier]

[Drawing no. 1015 (detail), Gustave Moreau; Photo: Marc Gauthier]

To be continued…