The resulting dialogue enables the collections to be perceived in a new light and lends a fresh resonance to their lasting modernity.
Edouard Manet, Le Déjeuner sur l'herbe (Lunch on the Grass)
Anthony Caro, Lunch on the Grass II
Anthony Caro has always been deeply interested in the art of classical antiquity and in the paintings of Goya, Cézanne and particularly, Manet. Here, he has set up a correspondence between Manet's Lunch on the Grass and his own sculpture, Lunch on the Grass II (1989, London, Tate Gallery). Caro has had fruitful exchanges with influential critics such as Clement Greenberg and Michael Fried. The latter encouraged Caro's sculptural evolution by introducing the concept of the table, enabling Caro to free his sculptures from the constraint of the base, so achieving more dynamic forms. Resting on an angle, Lunch fans its steel tangles into space in a subtle composition which echoes that of Manet's painting.
Vincent Van Gogh, Autoportrait (Self Portrait)
Braco Dimitrijevic, Triptychos Post Historicus
As early as the 1970s, Braco Dimitrijevic sought to pin point everything which, according to him, had made the history of art into source of error - and thereby an error in itself - such as the importance of contingency and chance, and the narrow limits of time and geography. Following this, he inscribes his work in what he terms Post-History. He has created an installation that continues his series of Triptychos Post Historicus, in which he combines three elements, vegetable matter, a manufactured object, and a work generally considered a "masterpiece" - here Van Gogh's Self Portrait. The series has included installations in other museums employing paintings by Rubens, Delacroix, Turner, Kandinsky, Modigliani and Malevich.
Serge Lemoine, President of the Musée d'Orsay
Periodical48/14, La revue du musée d'Orsay, issue # 20, Spring 2005
Musée d'Orsay / Réunion des musées nationaux