48/14, La revue du musée d'Orsay
Collectif, Serge Lemoine, direction
The autumn exhibitions
Musée d'Orsay / Réunion des musées nationaux - 2003
€ 11 - available
- At the Origins of Abstraction (1800-1914)
- Installations by Ann-Veronica Janssens
- Family Ablums : Figures of Intimacy, Photography Gallery
- Gauguin-Tahiti. The Workshop of the Tropics
- Vuillard (1868-1940)
- Algeria from Delacroix to Renoir
Programmation of the auditorium
- Pierre Puvis de Chavannes, Maternity, 1887, oil on canvas
- Claude Monet, Wind Effect, series of the Poplars, 1891, oil on canvas.
- Barthélémy Thalamas, Metaphorical Portrait, circa 1850, daguerreotype.
Lars Kinsarvik (1846-1925), Armchair, circa 1900, sculpted and painted wood.
- The Chat Noir silhouettes
Etudes (Research)So Far Apart, Yet So Close : Paul Gauguin and André Fontainas
by Laurent Houssais
A symbolist poet close to Mallarmé, André Fontainas became critic for the Mercure de France
in December 1896. He replaced Camille Mauclair, who a short while before had enjoyed pulling to pieces Gauguin's work and its "deformations". During the exhibition organised by Abroise Vollard, Fontainas was to prove more amenable to the Tahitian painter. The two men enjoyed a complicity tainted with reserves.Between Tradition and Transgression : Vuillard and Modern Portrait Painting
by Laurence des Cars
"Vuillard portraitures wildly" Thadée Natanson wrote in July 1897. He thus hailed with a happy turn of phrase the growing place portrait painting then occupyied for this artist reputed intimate. Vuillard practised this genre assiduously until the 1930's, meeting a sustained demand and with a concern to rank among the greatest. Conciliating Rembrandt and Raphael, admiring Ingres as much as Degas, Vuillard signed the portrait of all an era.Edouard Vuillard and Maurice Denis : The 1898 Turn to Classicism
by Jean-Paul Bouillon.
The letter, until now unpublished, that Vuillard addressed to Maurice Denis on February 13, 1898, a month after the publication of Zola's J'accuse
, allows us to measure more accurately the effects of the Dreyfus Affair on the Nabi group and on their art. Unlike Vuillard, Denis was not really a partisan of the deposed captain. Thus the modern classicism he promoted on the threshold of the 20th century may also be assessed in the light of this profound schism.Portrait of the Artist as Regulus
by Pierre Wat
Hero of the war waged by Rome and Carthage against one another, Regulus is its exemplary martyr. His loyalty caused him to have his eyelids cut off and be exposed in the sun until blind. After it was illustrated by Turner, this bedazzlement by the sun was understood as a metaphor of modern art, identifying with the motif up to the abolition of the distance between image and reality. This fusion, at the other end of the century, was to lead to different forms of abstraction.