À l'occasion du centenaire de la naissance de Simon Hantaï (1922-2008), la Fondation Louis Vuitton organise une importante exposition rétrospective de l'oeuvre de l'artiste (du 18 mai au 29 août 2022). D'origine hongroise, Hantaï s'installe à Paris en 1948, ville où il réalise l'ensemble de son oeuvre, d'une fécondité et d'une originalité exceptionnelles, qui le conduira à représenter la France à la 40? Biennale de Venise en 1982.
Grâce à l'introduction des commissaires d'exposition et à une sélection de 50 oeuvres et archives inédites accompagnées d'une courte chronologie, cet album bilingue (français-anglais) présente l'activité créatrice du peintre pendant l'entre-deux-guerre et permet de découvrir la métamorphose que le peintre fait subir à son modèle et épouse au fur et à mesure de l'évolution de leur relation conjugale.
The Fondation Louis Vuitton's unprecedented exhibition brings together one hundred and thirty masterpieces, among the most iconic of the collection created in Moscow by the great Russian art patron, Sergei Shchukin. From Le Déjeuner sur l'herbe (1866) by Claude Monet, the hieratic Mardi gras (1888-90) by Paul Cézanne, Paul Gauguin's Tahitian odalisque Eh quoi, tu es jalouse? (1892), the luminescent panel L'Atelier du peintre (1911) by Henri Matisse, to conclude with Pablo Picasso's Trois femmes (1908) and the collage Compotier, grappe de raisin, poire coupée (1914), the magnificence of Shchukin's collection is most fittingly exhibited here.
Extended by a group of sorne thirty major works from the Russian avant-gardes, including Counter Relief (1916) by Vladimir Tatlin, Green Stripe (1917) by Olga Rozanova, and Kazimir Malevich's monochrome painting, Black Suprematie Square (1929), Icons of Modern Art covers the extreme breadth of this journey through nineteenth- and twentieth-century creation. The presentation of these exceptional works, where our collective gaze cornes together, constitutes an exemplary "painting lesson."
Unique évidemment, érotique et politique, très autobiographique, ironique souvent, et tourné en permanence vers l'espace public, l'art de Manet fut ludique aussi. Mettre en jeu, se mettre en danger, ramasser la mise si possible, les trois choses étaient vitales à ce grand ambitieux. L'ancien marin naviguait à vue et toujours en pleine mer. Nul repli, nulle chapelle, nulle dérobade. Manet eut moins peur de ses doutes que de l'échec et de la routine. S'enfermer dans une formule ou une spécialité eût été le pire des renoncements. Révolutionnaire sans doute, peintre d'histoire à sa façon, il fut surtout un peintre de salon, prêt à en découdre avec le jury et le public pour imposer le Moderne dans le grand art.
The Origins of the World : The Invention of Nature in the 19th Century delves into the interrelation of arts and sciences in the very century in which arose the issues we continue to grapple with today. In many respects, the long nineteenth century that stretched to the outbreak of the First World War was a pivotal moment, essential to understanding our present day.
Set against the backdrop of the Industrial Revolution and the rise of colonial empires, this critical period saw the cataloguing of nature take shape at the same time as modern science, fuelled by the discoveries of countless scientific expeditions, was consolidating its substance. As knowledge progressed in every field, science organized and systematized itself; and in the century of the ordering of the world came the invention of the modern museum, replacing the eclectic cabinet of curiosities.
This was also the era in which the still-porous borders between arts and sciences allowed exchanges and back-and-forths between these two spheres of knowledge. Fed by abounding exploration, the imaginary of science and nature was still very powerful, with each milestone reached in scientific progress prompting a parallel in the arts. This catalogue reveals the close and often little-known ties that connect the development of these spheres. The nineteenth was a century of fruitful interactions, before art and science were definitively separated in the twentieth.
This book is the product of a remarkable collaboration between historians, art historians, curators, architects, scholars, scientists, and restorers. For the first time, they tell the full tale of the Apollo Gallery in the Louvre from its ambitious design in the seventeenth century to its dazzling restoration today. Featuring texts by forty contributors, illustrated by remarkable photographs of the paintings, sculpture, woodwork, and furnishings, this volume traces the history of a complex decorative scheme and reveals the artistic and technical stakes behind a vast restoration project.
The Apollo Gallery is located at the very heart of what was once a palace - now the world-famous museum - and has always been one of the most glamorous halls in Europe, comparable to the Hall of Mirrors in Versailles. It notably serves as a showcase for France's crown jewels.
Its lavish decoration provides a true panorama of the history of French art. The country's greatest artists, from Charles Lebrun in the seventeenth century to Eugène Delacroix in the nineteenth, succeeded one another in adding their personal touch to this stately gallery, now brought back to life by the Musée du Louvre.
L'art du XVIIIe siècle est souvent perçu comme une marche progressive du petit goût rocaille vers un grand goût classique. Cette exposition souhaite, au contraire, mettre en lumière les différentes expériences qui, dans l'Europe entière, ont été menées pour renouveler les formes et les thèmes artistiques, entre 1720 et 1790. Dans cette quête, le regard sur l'antique est central. Peintures, sculptures, dessins, gravures, arts décoratifs : quelque cent cinquante oeuvres majeures illustreront ces processus d'innovation, d'émulation voire de résistance à l'antique dans l'Europe du XVIIIe siècle, qui éclairent les tensions au coeur même de la démarche créatrice. Bénéficiant de la contribution exceptionnelle de Marc Fumaroli, de l'Académie française, cette exposition réunira des pièces de premier ordre venues du monde entier. Textes de Guillaume Faroult, conservateur au département des Peintures du musée du Louvre ; Marc Fumaroli, de l'Académie française ; Thomas Gaehtgens, directeur du Getty Research Institute, Los Angeles ; Christophe Leribault, conservateur en chef au département des Arts graphiques du musée du Louvre et directeur du musée national Eugène Delacroix, Paris ; Christian Michel, professeur à l'université de Lausanne ; Guilhem Scherf, conservateur en chef au département des Sculptures du musée du Louvre.
The second installment of Icons of Modern Art, the major exhibition organized by Fondation Louis Vuitton, brings together more than 170 unparalleled masterpieces from the collection of modern French and Russian art created by the Muscovite brothers Mikhail and Ivan Morozov.
Following the exhibition of the collection of Sergei Shchukin, Fondation Louis Vuitton continues its exploration of the cultural and intellectual world of Russia's collectors and patrons, pioneers of modern art. Presented for the fi rst time outside Russia, the Morozov collection includes iconic works by Manet, Rodin, Monet, Pissarro, Toulouse-Lautrec, Renoir, Sisley, Cézanne, Gauguin, Van Gogh, Bonnard, Denis, Maillol, Matisse, Marquet, Vlaminck, Derain, and Picasso, alongside works of celebrated Russian artists from the turn of the twentieth century, such as Repin, Vrubel, Korovin, Golovin, Serov, Larionov, Goncharova, Malevich, Mashkov, Konchalovsky, Utkin, Saryan, and Konenkov. The unprecedented presentation of work by these artists represents an exceptional opportunity for discovering them anew.
The philanthropic brothers Mikhail Abramovich Morozov (1870-1903) and Ivan Abramovich Morozov (1871-1921) dominated Moscow's cultural life from the end of the nineteenth century until the early twentieth century, along with the Tretyakov, Mamontov, Ryabushinsky, and Shchukin families. Their unconditional support of European and Russian contemporary art was integral to the international recognition of modern French painters.
Obviously unique, erotic and political, highly autobiographical, at times ironic, and always turned toward the public space, Manet's art was also playful. To gamble, to take risks, and to collect the winnings if possible, all three things were vital to this man of great ambition. The former sailor navigated by sight, always in open waters. No retreat, no safe haven, no evasion. Manet feared his doubts less than he feared failure and routine. To become tied down to some formula or particular genre would have been, for him, the worst way of giving up. A revolutionary, certainly, a history painter in his own way, he was above all a Salon painter, ready to do battle with the jury and the public so as to impose the Modern into great art.
