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Splendeurs et misères - Orsay Museum

Through the Splendours and Miseries exhibition, presented at the Orsay Museum until January 17, 2016, we see that prostitution is a central topic in the nineteenth century if not ubiquitous.An essential subject at a time as in the fine arts, but also in the illustrated press of the century in question. Our ambition is to show how the subject could inspire artistic creation and in very different registers and movements, Fauvism naturalism through impressionism and symbolism.To grasp how artists have taken a difficult subject to grasp. Although the theme is not new, then our case was marked by a boom in prostitution, including clandestine prostitution. This was tolerated and did not constitute a criminal offense provided they are framed primarily brothels.
All the girls were registered there as well as some who were working in the street from police headquarters. We even considered then, after the monumental study from prostitution in the city of Paris, conducted and written by Alexandre Parent Duchatelet in 1836 that prostitution was a necessary evil.We had to do and avoid adverse consequences on the population, with medical visits and places specifically devolved. Thus, the company's balance and harmony were preserved married.
Despite all these precautions, develops a clandestine prostitution out of control. These women are thus confused with the so-called honest therefore arouse fascination mingled with fear. Any woman in the street could then potentially be a prostitute, generating a lot of anxiety and concern at this time. When representing prostitutes, artists can invest their work for some provocative dimension. While some will try not to hit a potential bourgeois clientele, distilling their paintings in subtle clues. So our ambition is to return to the public today reading key works that time were more or less explicitly related to the world of prostitution.
Until 19 january 2016.

Watteau - Jacquemart-Andre

With the Pompadour with Boucher, Chardin and Fragonard, Watteau defined an era. Yet when Watteau dies at age 37 in 1721, Boucher has only 18 Fragonard is not born, it takes twelve years, and this year even the Pompadour was born. And Watteau, which symbolizes the emotions of youth in the age of Enlightenment, he lived his short life under the rigid reign of Louis XIV. He has followed that of six years in the grave. The king, who ended his reign in weariness and Watteau, bringing new time, witnessed the same events. Watteau was also the courtisan of Louis XIV. In 1702, while Watteau just try success in Paris, new classes have emerged, from the dress or high finance. Girls of this rich bourgeoisie entered by their marriage in the aristocracy. A real osmosis is established between these social categories and Parisian salons where women like Marquise du Deffand receive the intellectual elite of Europe. They appreciate small decorative paints for garnish trim salons and boudoirs. This is the painting associated with "time of recklessness" that Jacquemart-André Museum devotes its exhibition on the theme of the fete galante, made fashionable by Watteau but already outdated at the end of the career of Fragonard. With the death of Louis XIV, the cultural light of France will move from Versailles to Paris. The new intelligentsia will take Antoine Watteau under their protection. It first passes through the workshop Gillot he became a student and help. The teacher introduced him to the Italian theater and biting wit. No teaching could be more hostile to the art of Grand Siècle. Watteau found Pants, Harlequin and Isabelle in his second master, Claude Audran III. By him, he will apply his talent to new accreditation and privacy where the paint no longer deploys the adventures of heroes and gods decor, but spawns the amorous subjects. Conversations in a landscape, the ladies toilet, who try repeatedly brush Watteau, and even more, that of his successors, when needed. This tradition themes lovers back to the thirteenth century and the discovery of courtly love. Prefiguring the world of Watteau occurs in effect in Honoré d'Urfé, whose lovers dream only to escape everyday life and join the enchanted island Cythera Watteau baptize. In his drawings, even more than in his paintings, the master prefers a sharp line, griffonis nervous, rapid windings. A baroque inspiration. And Watteau is it reflects the determination of the eighteenth century emerging renew its sources. His vision has exercised such influence over his successors that from 1720, Quillard and Lancret will capture his subjects. We find the theme if Italian comedia in The Pleasures of the ball, and then in The Pilgrimage to Cythera, work that allowed Watteau joining the Academy in 1717 in a style created especially for him, that of the fête galante. The world of Watteau was born. François Boucher, who admired Watteau, engraved with fervor many of his drawings. But the comparison stops there. In the case of Boucher, more than gallant festivals, it is pastoral, a genre which he is the creator. The protagonists of these scenes are usually brought to the loving couple where the woman is no longer the elegant Parisienne Watteau but a shepherdess costume, where costumes are not rich fabrics but gallant party hardy clothing Boucher was the favorite painter of the Marquise de Pompadour. She had been brought to Paris in the movement of new ideas in art as in philosophy. It will bring air from the capital to the king and the court of Versailles. She really the idea of a "century of Louis XV" and turn to the glory of the reign activity of the greatest artists of the time. More importantly, it will play a key role in the evolution of style that will mark the middle of the century. The friendly and fanciful rock taste, first mark the triumph of imagination over reason. But it is in the name of reason, in 1750, to draw a violent reaction that impose on the arts "return to antiquity." Fragonard will pay the price. He was trained in the workshop of Boucher, who turned an essential intermediary between him and Watteau. From 1767 he abandoned history painting to devote himself to private commissions often dealing with love issues, which are the interpretation of the theme of Fragonard fête galante. His exceptional sense of fantasy and illusion ensures customer of the Court and Madame Du Barry, who succeeded Madame de Pompadour as patron of arts him. In 1770, she Fragonard four control panels to decorate the pavilion of Louveciennes themed Progress of love. They mark the top of the painter's career, but an art show that appears already passed the name back to antiquity. Yet few artists have openly sought to paint the picture of a personal dream. The contribution of the theme of the fete galante helped to link art to the idea of an escape in itself. While for centuries, the painting was bent translate into images the myths and dogmas of the community, it became a secret of the soul. To do this, it took until the eighteenth century, and even more, his encounter with the painting by Watteau.
Musée Jacquemart-André, 158, boulevard Haussmann, 75008 Paris, until 21 July 2014.

Lichtenstein - Centre Pompidou

Lichtenstein in Paris is the most beautiful symbol of America. A fabulous artist. His sudden death, at age 73, in 1997, crowned him as a myth for ever. A new flag raised high, shamelessly, for the New World. An innovative wind born after the war and vice versa strongholds of art posted on each side of the Atlantic. A disruption of the painting dug into popular culture, but also in the history of the most museum art, from Delacroix to Cezanne. A sense of immediate communication with the image, as shown Whaam!, His most famous painting, transforming the war in 1963 BD for large (bought in 1966 by the Tate Modern in London). Sizes XXL and devour their dotted frame and primary colors, however large picture rails as New York lofts. France is the final step in this long journey pop started brilliantly at the Art Institute of Chicago (visual shock in the hall of honor), split over two floors at the National Gallery in Washington, and then deployed in large cubes design the Tate Modern in London. In the spring, fans of pop art crossed the English Channel without waiting to see this retrospective. The luxurious sequence of icons and the profusion series "larger than life" left them dazzled, perhaps filled. How the Centre Pompidou was he challenged to do as well, if not better? True to France, Beaubourg left its biggest space Hantaï Simon (1922-2008), our unsung New York Hungarians. This painter folding Yet the exact contemporary of Lichtenstein, born in 1923 in Manhattan. Only a third of the tables of London came to Paris. And yet, what exhibition! The constraint is the artist, Picasso said. It also makes the curator, and Camille Morineau already very inspired for the "Panorama" by Gerhard Richter, a year ago, turns this lack more. By focusing on pieces often disdained his art, sculpture and printmaking, the teacher becomes the journey of a life bubble 100% creative. In a hundred works that respond in a real formal tennis, it invites the visitor in the same workshop of Roy Lichtenstein. In the spirit of this thin, ironic and reserved man that magnifies the "American way of life" in extreme close-ups, types of understatements in pictures. His studio, real, Roy has painted, and three huge sizes of its series of Artist's Studios are there to establish his mental decor, its own tables and references to Matisse's Dance in 1909 which embodies background the eternity of the painting, fruit (lemons well), its green plant with her pitcher. The set design is both simple as child's play (Magenta maze of blue alcoves where marry sculptures, paintings, enamel on steel and sketches on paper) and as a sophisticated art historian who has read everything (what I create is of the form, a great little book of interviews with the artist often unpublished). The coupling of both chronological and thematic raises many alpha a very long artist, hatched with pop art life, and the aggressiveness of the commercial art and beyond the age of icons quickly ( Drowning Girl, 1963, MoMA loan, or Step-On Can with Leg 1961 star auction and ready for the Louis Vuitton Foundation). Manufactured objects painted black and white replay of the Cathedrals by Monet, Picasso Bathers of the ink landscapes of ancient China, there is this constant search for the form of experimentation, the material to explore as the first day. The more confined space of the Centre Pompidou forced to move closer to work. Their humanity and science pop you in the face.
"Roy Lichtenstein" until November 4 at the Centre Pompidou

DALI - Centre Pompidou

The National Centre for Art and Culture Georges Pompidou has until 25 March 2013, one of the creators of the most complex and prolific twentieth century. Salvador Dalí (1904-1989) is both one of the predominant figure in the history of modern art and one of the most popular. It is also one of the most controversial artists, often criticized for his bizarre attitude, his love of money and provocative political stance. More than thirty years after the institution retrospective dedicated to him in 1979-1980, this exhibition remains to this day the most successful attendance in its history. It illuminates the character of Dalí through an exceptional choice of major works. New attendance record in 2012 for the National Centre for Art and Culture Georges Pompidou. Attendance at the Centre Pompidou in 2012 exceeded the record level set in 2011 and 3.8 million visits to the museum and exhibitions, up 5.5% compared to the previous year. This growth attests to the exceptional success of the program of temporary exhibitions, as evidenced in 2012 several exhibitions that have been and are still the event: after Matisse, Pairs and sets (495,000 visitors) and Gerhard Richter, Panorama (425,000 visitors) The public's enthusiasm was confirmed at the end of the year by welcoming it reserves the Dalí exhibition that draws from its opening on 21 November, some 6,700 visitors per day. More than two hundred works (paintings, sculptures, drawings ...) are presented in a course designed by chrono-thematic sections: the dialogue between the eye and the brain of the artist and the viewer: Dalí, pioneer performance, author of ephemera, media manipulator considering art as a fact of global communication. Among the masterpieces exposed, you can admire some great Icon - The Persistence of Memory (Soft Watches), 1931, The Great Masturbator, 1929 The specter of sex appeal, 1934 or The Endless Enigma, 1938 - and discover a hundred works on paper, objects, projects for the theater or cinema, films, photographs and excerpts from TV shows. The visitor of the exhibition began its entry into the world of the artist through an airlock ovoid evoking the intrauterine life, a symbol of birth and origin. He graduated with a labyrinthine hall showing the brain of the artist. Around the exhibition this international conference will be held over two days, will bring together contributions from leading experts in Dalí's work, crossed through the eyes of contemporary artists.This public institution established by the governments of Catalonia and the Balearic Islands in 2002, aims to promote the Catalan language and culture through the internationalization of its creators, the diffusion of artistic and cultural exchanges, and support for language studies and Catalan culture in the academic field.

Bohêmes - Grand Palais

This exhibition about la Boheme, modern myth, is hold at Grand Palais from 26 September 2012 to 14 January 2013. The fact that it is organized by NMR - Grand Palace and the fundación Mapfre, Madrid is more attractive and promising. If Leonardo da Vinci, Van Gogh, Modigliani and Picasso are of course invited, Especially as the Bohemian reminds each of us so much, and sometimes so different ... Artists, exoticism, music, as countries where the man would still be a wolf to man and hide for days in his dreams! And the blurb, which we take here so long excerpts, is written so so sensitive! It is true that the "Bohemian" is firmly entrenched in our imagination. In many ways and forms very diverse. It is as much a part of us as our great modern myths. It was sung, filmed, verse, exalted, declared dead a hundred times, and percent once adjusted. The idea of Bohemia appeared in the middle of the nineteenth century in the company of Romanticism and Realism. It marked the transformation of the status of the artist, who left the protection of the prince to become "solitary genius, miserable and misunderstood that anticipates the convulsions of society." Poets (Nerval, Baudelaire, Rimbaud, Verlaine ...), painters or musicians (Courbet, Van Gogh, Satie, Modigliani, Picasso ...), many great heralds of modernity that gave a face to one facets of this tumultuous concept.
Rebels all conventions, drummers paved cow eating rabid fans of women and drinks they have, for generations of apprentice artists, turned the dream of redemptive glory that is gained at the risk from oblivion and death. The literature and the press, theater and opera, La Boheme has quickly gained immense popularity and has entered the collective imagination and forever linked the image of Paris in the Latin Quarter, Montmartre, then Montparnasse. Last twenty years of work on external fields as the history of marginality, migration, nomads, renewed analysis of this phenomenon. The myth of Bohemia is now part of history, much richer and more complex, the report of the European peoples to the gypsy nation. Egyptian called the classical period, and then appointed the most diverse names - Gypsy Manouche bigot - the Bohemian became shortly after its appearance in the West in the fifteenth century, a hero of the novel (Cervantes at first) and favorite subject for artists (Calot, Vouet, Georges de la Tour). The mystery of its origins, long incomprehensible language, his intimate relationship with nature, his ability to tell the future, are a legend. His sudden appearances and disappearances feed the fantasy of a life without ties, without rules, intense and sensual. The artist, fascinated, found him in his master free. Gypsies and bohemians have therefore a related party. Figures of liberty, of wandering, they share marginality and misery. Elusive, clever, insider secrets to inaccessible, permanently reduced to the standard, they disturb, provoke and delight our sedentary society. This is of course the term gypsy who come from the pen of the first descriptors bohemian life emerging. And under the Nazi regime, artists and gypsies will be combined in the same detestation. By being in a new relationship as well as on the intersections between disciplines (painting, literature, photography, music), based on more than 180 works and unpublished discoveries combining outstanding loans (The Fortune Teller, Georges de la Tour , Metropolitan Museum New York, L'Absinthe, Edgar Degas, Musee d'Orsay, Paris, in Montmartre area, Vincent van Gogh, Van Gogh Museum, Amsterdam, La Gitane Van Dongen, MNAM, Paris ...), this exhibition aims to bring a new light on this common history. The scenography is Robert Carsen. The visitor crosses the centuries and will cross the most picturesque representations of people wandering. Then penetrate the world of the painter, his garret, his studio, his shelter, to complete his race in the cafes of Montmartre. When, out of the tavern he resumed his way, he will quickly sobered by the inauguration of the exhibition hall Gypsy has degenerated Art in Munich 1937 ... Through a journey of four centuries and fifteen themes, a phenomenon that sheds light bohemian, Leonard da Vinci Picasso, throughout the history of art and societies, and still resonates in our contemporary world. As Puccini's opera, this exhibition is a large popular rendezvous, mixing fantasy and severity, entertainment and melancholy, misery and glory.

Bohemians at the Grand Palais from 26 September 2012 to 14 January 2013