Limited in number, and neither too extravagant nor too shocking - such are the Spring “Vernissages” in Paris - a long-established artistic centre of Europe, and a meeting point for internationally-renowned masters.
The spring of 2005 proves no exception: a show of Klimt in the Musee Maillol; “Matisse. Une Seconde Vie. 1941-1954” in the Musee de Luxemburg; and “Neo-Impessionists. From Seurat to Paul Klee” in the Musee d'Orsay, to mention only the most impressive examples.
The Dina Vierny Foundation presents “Gustav Klimt - Erotic Papers”. Klimt, mostly known as a painter - the “enfant terrible” of the Viennese art scene - left at his death thousands of erotic drawings. He combined vibrant colour and decorative figurative ornament, thus producing in his portraits of women the pulsating feeling of life filled with erotic desires. Klimt's models - his nudes, his lovers, his “femmes fatales”: he certainly knew how to draw them in their total sexual availability, and how to attain a representation of desire. The numerous drawings speak of the emancipatory feelings of women, depicting them in all their erotic facets.
Intimate as they are, and not meant for the public eye, Klimt's drawings can be regarded as his diary. The exhibition in the Musee Maillol brings together for the first time 120 drawings of exceptional quality; it is a great event that reveals the most intimate part of the artist's work.
Matisse in the Musee de Luxemburg, displaying the artist's bold and colourful works will create - as the show's advertisements declare - the “art event of the season”.
Over 100 works by Matisse are on display in an exhibition which opened on March 16 2005, some of them never before exhibited in France. The exhibition was inspired by 1200 letters to Matisse's friend Andre Rouveyre, whom Matisse first met in the studio of Gustave Moreau. Their later meeting in 1941 launched a correspondence which was really intensive (sometimes they wrote to each other several times a day), and became an invaluable source of Matisse's ideas and thoughts in connection with the late period of the master's creative activity. Matisse also illustrated his letters with sketches. All this gives the viewer a brilliant opportunity to become acquainted with the artist's magnificent archive of letters alongside the works they describe. The whole exhibition sheds a new light on Matisse's personality as well as on his working process.
The Musee d'Orsay tempts the viewer with the exhibition “Neo-Impressionism - From Seurat to Paul Klee”. NeoImpressionists, like the Impressionists, are internationally renowned, and the show at the Musee d'Orsay is the first exhibition dedicated to them held in France.
The artists concerned depicted the world around them: landscapes (from the city, suburbs or the seaside) and contemporary everyday leisure life, seeking their own medium of artistic expression.
The movement originated from the early 1880s when George Seurat started to study optics and devised the technique of divided colours: the juxtaposition of minimal strokes of primary colours on the canvas created the “optical mix” in the viewer's eye. The paintings by Seurat, Signac, Camille and Lucien Pissaro were first exhibited in 1886. Soon they were joined by Albert Dubois-Pillet, Maximilien Luce, Charles Angrand and Henri-Edmond Cross. The movement spread quickly and was echoed in Belgium (with Theo Van Rysselberghe, Willy Finch, Henry Van de Velde and George Lemmen), and in Holland (Jan Toorop), as well as Germany, Switzerland and Italy.
The exhibition pays tribute not only to the artist-founders of the movement, but also re-establishes the reputation of painters who have long fallen out of the public eye. It is focused around the formal innovations of Neo-Impressionism: two-dimensionality, geometry, rhythm, arabesques, light and colour.
The “TretyakovGallery” Magazine thanks “Connaissance desArts”, Fondation Dina Vierny-Musee Maillol, Musee d’Orseyfor permission to publish the materials in Russian. All are presented in Russian in a reduced form.
China ink on verge paper. 52.7 by 40.7 cm
Private collection, Geneva
Gouache, pencil on paper cut-outs. 104 by 39.2 cm
Linocut. 11.5 by 20 cm
Jean-Claud Lantelme Collection
Gouache on paper cutouts, collage on canvas. 294 by 350 cm
Los Angeles, UCLA Collection, Hammer Museum, Gift of Mr. and Mrs. Sidney Brody
Pen on paper. 65 by 50 cm
Toulouse-Lautrec Museum, Albi
Oil on canvas. 54 by 81 cm
Pushkin Fine Arts Museum, Moscow
Pencil on paper. 56.9 by 37.3 cm
Pencil and red pencil on paper. 55.8 by 37.2 cm
Blue pencil on paper
Pencil on paper. 56.9 by 37.3 cm
Red pencil on paper. 44.9 by 32 cm
Pencil on paper. 37.4 by 56.9 cm
Black chalk on brown paper. 45.5 by 30 cm
Oil on canvas. 41 by 32.5 cm
The Art Institute, Joseph Winterbotham Collection, Chicago
Oil on canvas. 73 by 58 cm
Stiftung Seebull, Ada and Emil Nolde, Neukirchen/Niebull
Oil on canvas. 98.5 by 118.5 cm
Muse’e d'Orsay, Paris
Oil on cardboard. 67.3 by 96 cm
Carmen Thyssen-Bornemisza Collection, Madrid
Oil on canvas. 60 by 81.5 cm
Muse’e d'Orsay, Paris
Oil on canvas. 64 by 80 cm
Indianapolis Museum of Art, donation in memory of Robert S. Ashby
Oil on canvas. 73 by 60 cm
Gianni Mattioli Collection, loan of the Peggy Guggenheim Fondation, Venice
Oil on canvas. 68 by 90 cm
Collection of Mr. & Mrs Bruce E.Toll
Oil on canvas. 70.5 by 104.1 cm
The Metropolitan Museum of Art, New York
Oil on canvas. 80.4 by 68.5 cm
Staatliche Museen Nationalgalerie, Museum Berggruen, Berlin