48/14, La revue du musée d'Orsay, issue # 14, Spring 2002

48/14, La revue du musée d'Orsay
Collectif, Serge Lemoine, direction
Kupka. Cosmopolitan artists
Musée d'Orsay / Réunion des musées nationaux - 2002
soft cover
French
€ 11 - available

Actualités (News)


New acquisitions (including 14 pages about drawings by Kupka for L'Assiette au beurre)
Presentation of forthcoming exhibitions:

  • Eakins
  • Last portrait
  • Mondrian
  • Kupka



Etudes (Research)


From Gautier's Italy to Barrès's Italy
by Yves Hersant, Head Professor at the
Ecole des Hautes Etudes en Sciences sociales.
Ranging from nostalgic poems to travel reminiscences, Italy has held a central role in French literature ever since the Renaissance and its worship for the mother land. During the XIXth century, the scholarly quest for the Ancients gave way to another image and a different use of the peninsula: from Gautier to Barrès, both travelling writers, an exotic, primitive Italy; even maybe a perilous and certainly tantalizing one; has increasingly partaken in an æsthetic of unwonted sensations.

Threefold Rome : Bourget, Zola, Jarry
by Agathe de Longevialle, Professor of French Literature
A French speciality ever since Madame Gervaisais, written by the Goncourt brothers in 1869, novels on Rome were cast according to the reigning fashion at the end of the XIXth century. The Eternal City; decadent and marked by the revival of religion for Bourget, still in the clutches of papistry for Zola, and pagan as ever for Jarry; gave form to an enchanting mosaic between the Italian unity and the law of separation.

Parodic Venice, or the erosion of a myth
by Sophie Basch, Professor at the Université de Haute Alsace, Mulhouse
Around 1900, Venice as seen by the romantics; the city of Sand, Musset, Ziem or Gautier; was hardly alive. As opposed to those who mourned for it, conjuring the image of a phantom isle akin to a fashionable club, caricaturists were bent on destroying its myth. However, between Proust and Allais, the tourist industry asserted itself as the third main protagonist of a tragdy in camera.

Edelfelt in Paris, an artist's itinerary
by Laura Gutman-Hanhivaara, art historian
Albert Edelfelt's travel to Paris where he met with instant success encouraged a great number of Finnish artists to come over in their turn. For many, the capital only corresponded to one of the stages in their training as artists. But for Edelfelt, this international artistic scene allowed him to win renown as a member of the naturalist movement. Five addresses stand out as landmarks in his Parisian itinerary that led him to 147 avenue de Villiers where he lived for 25 years.

Formulaic farce: Kupka and satirical drawings
by Emmanuel Pernoud, Assistant Professor in contemporary art history at the Université de Picardie-Jules Verne
At the dawn of the XXth centry, satiric drawings offered a privileged place of experimentation for modernism from Juan Gris to Duchamp, or a place of refuge for scoff experts like Steinlen or Forain. Before becoming one of the first abstract painters, Kupka won renown with the most scathing and most equivocal type of caricature in L'assiette au Beurre, in which he resolutely worked on the sacrilegious inversion of academic standards

Documents


  • "autobiographical" letter by Kupka to the Czech writer Machar, illustrated by half a dozen drawings by Kupka, insisting on the symbolist period, unpublished in French before
  • Article by Monique Nonne about French trade in the United States in the latter half of the 19th century.


Manifestations





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