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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.

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