Rouault
à la Pinacothèque de Paris
The Paris art gallery presents
the only French exhibition celebrating the fiftieth anniversary of the
death of Rouault, best known abroad than in France. Two years ago, more
than a hundred works of the painter and sculptor Georges Rouault
(1871-1958) were met at the Museum of Modern Art in Strasbourg while de
la Ville de Paris mentioned his friendship with Matisse. It finally
talk of this great French artist in his country. No significant event
had indeed been held since the hundredth anniversary of his birth in
1971. Today, the fiftieth anniversary of the disappearance of
the colorist unclassifiable as powerful as, commemoration takes place
primarily abroad (fifteen exhibitions listed in the world), therefore
far from the hills of Montmartre and Belleville where Rouault was born
and worked. Fortunately for all those who believe that good painting is
primarily a mystical experience inside a Parisian joins still in the
tribute. The friend novelists and essayists and Andre Leon Bloy
Suarès, the Symbolist painter Gustave Moreau, who was his
master, the Catholic philosopher Jacques Maritain and art dealers
avant-garde and Druet Vollard short, the strong link of what may be
defined as the Christian spirit of the French first half of the
twentieth century, is in the spotlight. Near the Madeleine,
led by art historian Marc Restellini, the Paris art gallery, private
exhibitions installed in a building of Credit Agricole, shows a rich
selection of the collection Idemistu, the first private collection of
Rouault in the world , Held in Tokyo. Besides the invitation to
compassion, this communion with the suffering humanity offered the
visit, in addition to the ongoing impact of a harsh and austere
aesthetic, any pictorial material, the installation responded to a
timely question to the At the 150th anniversary of friendship
french-japan. How an artist as bright and innovative in the
context of Western painting has been neglected in his home when he
became very popular away from our borders and particularly in Japan,
yet far from our Judeo-Christian beliefs? Marc Restellini
book several runways. Formally, Rouault, who has experience of stained
glass, stresses its forms with a black ring, delivering a game to shine
and transparency that is not unlike the art of Zen calligraphy.
Moreover, his characters are expressive and cosmetics than those of
white Kabuki theater. Cartels, unfortunately too small and in black and
white, show next few famous ukiyo-e prints. It will be more obvious
from the Cernuschi Museum where these sheets telling the
splendor of imperial courtesans, also from collections Idemitsu will be
shown from Friday until January 4 2009. From 1924, Katsuzo Satomi
(1895-1981), one of the major painters of Japan visiting Paris, La
Femme deemed to red garters Rouault as "a nude painting furiously when
the beautiful red ink, black and blue seem to have been planned once.
It is full of freedom and the force that found in ink painting Far
East. " More importantly, what the enthusiasm is the integrity of this
deeply religious painting. In its response, many are artists and
intellectuals to Japanese Nobel Prize in literature, Yasunari Kawabata,
committed suicide in 1972 to see behind the bitter and tormented
Rouault, as the cartoonist violent profound mystical base.
Thus, while a small handful of Westerners discovered in the
author Series Miserere, an inner vision, an aspiration to the sacred as
authentic as that of a Titian or a Goya, Japan, always loving
perfection , Passed overwhelmingly le Parisien as one of his spiritual
son.
Until
January 18, 28, Place de la Madeleine, 75008.
