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…
The Quebec organization responsible for statistics, Institut de la statistique du Québec, just published recent data on art pieces bought by institutions such as large corporations, museums and cities.