Tag: louvre

Renoir, The Early Years – Basel – Switzerland

Pierre-Auguste Renoir (1841-1919) En été, 1868 Staatliche Museen zu Berlin, Nationalgalerie bpk / Staatliche Museen zu Berlin, Nationalgalerie / Jörg P. Anders

From April 1 2012 to August 12, 2012  – Kunstmuseum Basel

The spectacular exhibition Renoir. Between Bohemia and Bourgeoisie: The Early Years at the Kunstmuseum Basel will focus on the underappreciated early work of the great painter Pierre-Auguste Renoir (1841–1919).
Fifty paintings—portraits, landscapes, and still lifes, among them masterworks from the collections of major museums such as the Musée d’Orsay, Paris, the National Gallery, London, the Metropolitan Museum, New York, and the Art Institute of Chicago, as well as virtually unknown works from private collections, form a magnificent panorama of the formative years of Renoir’s art.
Pierre-Auguste Renoir was among the French painters who founded Impressionism. With a light palette, loose brushwork, and motifs from modern urban life and leisurely amusements in natural settings, he and his fellow innovators wrote art history. The painter’s Impressionist period and his late work have subsequently tended to eclipse other parts of his oeuvre. He has been celebrated as the “painter of happiness,” but that has also been a cliché to which he was reduced..

Pierre-Auguste Renoir (1841-1919) Café concert ou La première sortie, 1876 ©The National Gallery, London. Bought, 1923

e Kunstmuseum Basel now presents a grand survey exhibition, the first show ever to emphasize the artist’s outstanding and surprisingly complex early work, up to and including the eminent Impressionist paintings of the 1870s.
Renoir’s most important model during these first years of his career was his lover, Lise Tréhot. Their relationship lasted from 1865 to 1872. Lise sat for a series of important early works in which he staged her in a wide variety of roles and pictorial genres. This group of paintings constitutes a highlight of the exhibition. The two illegitimate children who issued from the relationship with Lise were given up for adoption—a fact that the artist kept secret throughout his life and that puts a new complexion on the ostensibly perfect idylls in his pictures of pairs of lovers and mothers with children.
Portraits of his friends and fellow artists Claude Monet, Frédéric Bazille, and Alfred Sisley form another distinct group. Renoir’s own contribution to Impressionism is most clearly apparent in his landscapes, especially those of the countryside around Paris, and in his scenes of la vie moderne. The period from the mid-1860s to the late 1870s is defined by extraordinary social, political, and artistic developments. The tensions between bohemia and the bourgeoisie, two milieus in which Renoir moved, are readily apparent in his oeuvre. He experienced the political sea changes from the conservative climate of the Second Empire to the revolution of the Paris Commune and hence to the Third Republic, even as he avoided involvement in these conflicts whenever possible. A young artist’s chances of achieving visibility depended on his work being shown in the Salon. Renoir and his fellow Impressionists rebelled against that institution by organizing exhibitions of their own. In the late 1870s, however, as his work slowly found official recognition, his attitude toward the Salon grew friendlier as well. Renoir’s early work lets us trace his evolution as an artist in fascinating paintings. Paintings from this period reflect the growing range of his pictorial imagination as he spent many days studying the paintings at the Louvre, but also took in the revolutionary innovations of his time: the realism of Gustave Courbet, the Barbizon school’s en plein air painting, and the inspirations he received from Édouard Manet and Claude Monet, his closest artistic associates at the time.

Museum Hours

Prints and Drawings – The Art of Paper – Paris – France

From June 9th to the 5th of September 2011 – Musee du Louvre

This exhibition brings together some sixty works dating from the 15th century to the present day. Organized in five sections, it illustrates the essential role of paper in the art of drawing, and demonstrates the range of its aesthetic potential, be it white, colored, transparent, oiled, ribbed, watermarked, cut, torn, distressed, or recycled.

The first section is devoted to colored papers: pink, with works by Botticelli, Degas, and Robert Barry; blue, with works including a drawing by Lavinia Fontana; and oils on paper, a very popular medium from the 18th century onward.

The second section explores the metamorphoses of paper: composite sheets by Rubens, glued paper by Braque and Picasso, gouache cut-outs by Matisse…

The third presents papers chosen for the effects they can create (made on demand or produced to meet the requirements of a specific graphic technique), together with papers reused by artists (such as the back of a cut-out print, or a piece of playing card).

The fourth section is devoted to transparent and transfer paper, with works by Le Brun, Cross, and Pierre Buraglio.

The final section is almost exclusively devoted to late 20th-century works—superimpositions by Claude Viallat, plaited canvases by François Rouan, and distressed papers by Miquel Barceló and Christian Jaccard.

Museum Hours

Pompidou Center Go Regional

A third of a century after its opening it is one of the most visited cultural institutions in the world (3.5 million visitors per year). Today the Centre Pompidou is opening out. As of 12 May the Paris headquarters will have a little brother in the Lorraine region. The Centre Pompidou Metz, designed by Japanese architect Shigeru Ban in the shape of an original Chinese hat, will welcome in its 5000 m2 of exhibition space, by rotation, a part of the Parisian collections: Paris holds nearly 60 000 works but can never present more than one thousand simultaneously. The vocation of the Centre Pompidou Metz is not to be a simple depot; it also intends to be a creative venue, with original exhibitions. This unusual experience will be followed very attentively. Indeed the decentralization of a large cultural center could easily be imitated: we are expecting for 2012 the opening of Louvre Lens, another clone of excellence in the province.
•The Centre Pompidou Metz suggests five days of «discovery» as of 12 May 2010, with a festive weekend on 15 and 16 May. The opening exhibition, Chefs-d’œuvre, will be held from 12 May to 25 October 2010.

Meroe Empire on the Nile – Le Louvre

Egyptian Antiquities
Until  06 of September 2010
Meroe, Empire on the Nile

In this first exhibition devoted exclusively to Meroë, capital of a great empire on the Nile, two hundred works of art highlight the majesty of an ancient civilization and its intermingling of African, Egyptian and Greco-Roman influences.

Situated in Sudan, two hundred kilometers (125 miles) north of present-day Khartoum, the royal capital of Meroë is famed for the pyramids of the kings and queens who dominated the region between 270 BC and AD 350.

Comprising for the most part loans from the Museum of Khartoum —including the celebrated gilt bronze statue of an archer-king— and from the British Museum in London, the World and Garstang museums in Liverpool, and institutions in Munich, Berlin and Leiden, the exhibition is an eloquent evocation of the creativity and power of the Meroë empire.

The main themes are everyday life, trades, social systems, the kings and their insignias of power, the role of the queens (“Candaces”), and religious practices fusing the gods Amun from Egypt and Dionysus from Greece with the people of Meroë’s own vision of the afterlife.

There will be special emphasis on the discovery of the ruins of the Meroë pyramids by Frédéric Cailliaud in 1821, and the archaeological explorations begun in 2007 on the Muweis site, in the heart of the former empire, by the Louvre’s Department of Egyptian Antiquities. A selection of finds made during the last three campaigns testifies to the work carried out in the field by the Louvre team.

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