48/14, La revue du musée d'Orsay, issue # 20, Spring 2005

48/14, La revue du musée d'Orsay
Collectif, Serge Lemoine, direction
Musée d'Orsay / Réunion des musées nationaux - 2005
soft cover
French
€ 11 - available

Etudes (Analysis)


Parahi te marae: where is the temple?
Dario Gamboni, professor of art history, University of Geneva
In what way did Gauguin use Polynesian sources? In what respect did his painting, with its many unresolved and ambiguous areas, refer to the lifestyle and rites peculiar to this alien culture? Taking a familiar work as his starting point, Dario Gamboni uncovers oft neglected clues within Gauguin's work and reassesses the interpretation of the artist's Tahitian period.

Vers le mieux: une devise nabie ?
Thérèse Barruel
From their very beginnings, the Nabis were particularly drawn to decorative, mural and monumental painting. Just as Seurat had done ten years earlier, they saw Puvis de Chavannes as an example to surpass. In the early 1880s, Maurice Denis and Ker Xavier Roussel even sought to associate themselves with the revival in municipal public art for which so many competitions were being organised.

Sada Yacco at the 1900 World Fair: the Japanese break on to the occidental stage
Sophie Jacotot, postgraduate history student, University of Paris I, Sorbonne
World Fairs always provided an opportunity to discover distant lands - adapted to European sensibilities - and in particular the Far East. And one of the best ways of entering that exotic other world was through exotic choreography. Around 1900, at a time of increasing international tension, the dancer Sada Yacco, although Modern in her interpretation, embodied the ancient Japan of legend.

Un Salon de Babel: the first exhibition of the Société des artistes indépendants
Dominique Lobstein, archivist, Musée d'Orsay
The exhibition of the independents, an alternative Salon "with neither jury nor prizes", has gone down in history for introducing Seurat and Signac's work into the public arena during the mid-1880s; a time when artistic and institutional structures were undergoing profound changes. Dominique Lobstein invites us to a closer examination of the motivations of the Salon's organisers, and suggests that they were not necessarily concerned with promoting a single aesthetic.

Nouvelles acquisitions (New acquisitions)


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