Signac - Musée des impressionnismes Giverny

Transcription

Press packet
avril 2013
The Colors of Water
Signac
Paul Signac
Concarneau, calme du soir, opus 220
(Allegro Maestoso), 1891
Huile sur toile, 64,8 cm x 81,3 cm
New York, The Metropolitan Museum of
Art, The Robert Lehman Collection,
inv. 1975.1.209
© The Metropolitan Museum of Art,
Dist. RMN-Grand Palais / image of the
MMA
Contents
3
The Festival Normandie Impressionniste
5
The Exhibition Signac, les couleurs de l’eau
10
Visuals presse
Festival
Normandie Impressionniste
2013
A Masterly programme
For this new edition, four major exhibitions will be co-produced with the
Réunion des Musées Nationaux. Reflected Colour – Impressionism on the
Water’s Surface, mounted at the Musée des Beaux-Arts de Rouen, will
bring together works by five great painters (Monet, Pissarro, Caillebotte,
Renoir and Sisley) focusing on the motif of water. Also at the Musée des
Beaux-Arts de Rouen, before it moves to the Musée des Pêcheries de
Fécamp, the exhibition The Cliffs of Monet, Those Other Cathedrals will
introduce us to lesser known paintings that today are considered to be the
among most beautiful and accomplished of the artist’s works, which he
painted beside the sea in an extreme setting, in this case at the top of the
cliffs. Summer at the Water’s Edge – Leisure and Impressionism at the
Musée des Beaux-Arts de Caen will bring together 80 paintings celebrating
a trend that blossomed rapidly in the second half of the nineteenth century,
that of leisure activities related to water. Thus we will see scenes of the joys
of seaside bathing, canoeing and sailing… outdoor activities that allowed
the Impressionists to integrate the human figure into their cherished
landscapes. Finally, Pissarro and the Ports at the Musée d’art moderne
André Malraux in Le Havre will present those works of Pissarro centred
fully on an urban theme. Other cultural centres in Normandy will also be
celebrating this multifaceted theme. The Musée des Impressionnismes in
Giverny will be holding the exhibition Signac, the Colours of Water as well
as a tribute to Monet’s famous Lilies by the contemporary Japanese painter
Hiramatsu Reiji. The Seine in the work of Victor Hugo, water in the
paintings of Maurice Denis, the Impressionist sensibility of Christian Dior,
the motif of rain among painters, the earliest photographs of the Côte
Fleurie, and the Orne Valley seen by the photographer Olivier Mériel will
be some of the many other exhibitions to discover in Granville, Cherbourg,
Vernon, Evreux, Pont-Audemer, Saint-Lô, Trouville and Jumièges.
Théo Van Rysselber ghe, Signac sur son bateau, 1896
Huile sur toile , 92,2 x 113,5 cm
Colle ction particulière
© Tous droits réservés
Practical
Signac, les couleurs de l’eau
Musée des impressionnismes G iverny
99 rue Claude Monet | 27620 Giverny
02.32.51.94.65 | [email protected] | www.mdig.fr
From Ma rch 29th to July 2, 2013
every day from 10 am to 6 p m
Last admission 5:30 pm
Tickets on-line:
www.mdig.fr
www.fnac.com
www.ticketnet.fr
On site: restaurant-tea-room, b ook store
4
Signac,
The Colors of Water
March 29 - July 2, 2013
Exhibition organized by the musée
des impressionnismes Giverny with
the collaboration of the Musée Fabre
Montpellier
As part of the second Normandie Impressionniste festival, which will
focus on the theme of water, the musée des impressionnismes Giverny is
organising the exhibition "Signac, the colours of water".
Like Monet, Paul Signac found a constant source of inspiration in the
depiction of water and its colours.
Curator :
Marina Ferretti,
directeur scientifique du musée des
impressionnismes Giverny et
responsable des Archives Signac.
From his early seascapes, painted on the beaches of Normandy with an
Curator in Montpellier:
impressionist vigour and freedom, to his large post-war architectonic
Michel Hilaire et
port scenes in almost fluorescent colours, the description of the water
Marie Lozón de Cantelmi
and sky offered Signac an inexhaustible pretext to experiment with all
variety of chromatic combinations.
The exhibition will number approximately 120 paintings, watercolours
and drawings. These will be supported by substantial documentation
(photographs, publications and correspondence) that will be presented
with the assistance of the Archives Signac.
Service presse : Catheri ne Dufayet & Anne Samso n Communications - catheri [email protected]
Léopoldine Turbat - 01 40 36 84 35 - leopoldine@annesamso n.com
Au musée : Géraldine Brilhault - 02 32 51 92 48 - [email protected]
Dossier de presse - avril 2013
5
The exhibition
1. Signac impressionist: 1882-1885
The young Signac decided to become a painter as a result of his visit to the first
solo exhibition of Claude Monet, held in June 1880. He immediately chose to
paint the banks of the Seine and it was at Port-en-Bessin in 1882 that he
attempted to learn the genre of seascapes autodidactically. Close to the art of
Monet, the landscapes of his early years are however distinguished from them
Paul Signac
Port-en-Bessin. Le Catel, 1884
Huile sur toile , 45 x 64 cm
by their use of strong colours and a fondness for frontal composition.
In 1885 Signac met Armand Guillaumin, who introduced him to Camille
Pissarro. With assistance given by the latter, Signac’s work was shown in 1886
with that of Seurat at the eighth and last Impressionist exhibition, where an
entire room was allocated to the younger painters.
Signac’s temperament and his love of the open air and colour naturally led him
to an Impressionist-like approach to painting that continued to be reflected in
his watercolours and the vigorous treatment he gave to studies painted directly
from the motif.
2. Colour theories
Signac met Georges Seurat in 1884, from which time he shared the elder
painter’s research into the harmony of lines and perception of colours. In 1885
they visited a retrospective of Eugène Delacroix (1798–1863) at the École
des Beaux-Arts, whose production and journal published in 1893 were to have
a decisive influence on Signac. They also visited the Gobelins manufactory to
Paul Signac
Application du cercle chromatique
de Mr. Ch. Henry
(progra mme du Théâtre-Libre), 1888
Lithographie, 16 x 18,5 cm
Archives Signac
© Tous droits réservés /
Photo : André Morin
witness applications of the theories of Michel-Eugène Chevreul (1786–1889).
In 1888 Signac based a design for a programme for the Théâtre Libre on the
theories of his friend Charles Henry (1859–1926). In 1890 he also designed the
diagrams and plates in Henry’s Application de nouveaux instruments de précision
(cercle chromatique, rapporteur et triple-décimètre esthétique) à l’archéologie and
Éducation du sens des formes.
These scientific texts attest the extent to which research into colour perception
was current during the 1890s. The corollary works by Signac and Louis Hayet
are indicative of its impact on artistic creation.
6
3. First Neo-Impressionist series: 1886-1891
In winter 1886–86 Seurat entirely repainted La Grande Jatte (1884–86,
Chicago, The Art Institute) using, for the first time, the theory of the optical
mix of tones as the basis of his technique. He juxtaposed tiny dots of pure
colour without mixing them on the palette, leaving it to the eye of the viewer
to combine them.
Signac immediately took up this technique, to which he would always remain
faithful. In spring 1886, he painted his first set of Neo-Impressionist
paintings at Les Andelys, employing colours to match the weather conditions
and time of day.
The application of small dots gave his canvases a delicately vibratory effect
Paul Signac
Les Andelys, la berge, 1886
Huile sur toile , 65,3 cm x 81,5 cm
Paris, musée d'Orsay
© RMN-Grand Pa lais (musée
d'Orsay) / Hervé Lewandowski
suited to the variations of the light. His waterscapes express an abstract
poetics, which Signac emphasised by naming them after musical tempos
(allegro maestoso, adagio).
4. Saint-Tropez: light and colour
In 1892, Signac discovered Saint-Tropez where he rented, then bought, a
villa – La Hune. His paintings were almost exclusively views of the small port
and during this period his use of tone division gradually became increasingly
liberated. These more colourful works are marked by a broader touch and
effects of contrast. At this time he ceased numbering his paintings and began
writing a journal that marked the start of his artistic theorising and led, in
1899, to the publication of a treatise on Neo-Impressionism called D’Eugène
Delacroix au néo-impressionnisme
Paul Signac
Saint-Tropez, La Bouée rouge, 1895
Huile sur toile , 81,2 cm x 65 cm
Paris, musée d'Orsay, donation Dr. Pierre
Hébert, 1957, inv. RF 1957-12
© RMN-Grand Pa lais (musée d'Orsay) /
Hervé Lewandowski
7
5. The call of the sea: 1895-1935
Beginning in 1897, Signac started once again to paint sites that had inspired
the works of his youth: the English Channel at Mont-Saint-Michel and the
Seine close to Paris. He also visited large European ports: Venice in 1904 and
1908, Rotterdam in 1906, Istanbul in 1907, and in France La Rochelle and
Saint-Malo where he was attracted by the fishing boats. During these trips, he
Paul Signac
Rotterdam. Les fumées, 1906
Shimane (Japon), Shimane Art Museum, inv . OF-10
made preparatory studies in watercolours for full works that he later created in
his studio. As from 1900, his interpretation of the colours in the landscapes
became increasingly free, while his compositions, featuring large arabesques,
were invested with classical traits characteristic of the works of Claude Lorrain.
In contrast, his studies painted direct from the motif were filled with vigour
and movement typical of the Impressionist years.
6. Graphical works
Signac’s paintings were preceded by drawings and works in China ink and wash
on card that were also an important part of his oeuvre.
Watercolours, which he discovered in Saint-Tropez in 1892, remained his
favourite technique and allowed him to work freely out of doors. He sometimes
used his watercolours as colour studies to develop more ambitious compositions
in his studio. They were on occasion treated as independent works and dated,
signed and exhibited. From 1910 he produced more watercolours than oils.
During this late period, the restrained decorative scope of Signac’s preparatory
washes on card contrasted with the free and colourful treatment seen in his
watercolours, in which his fundamentally Impressionist temperament
continued to shine through.
Paul Signac
Saint-Tropez. Le clocher, 1896
Aquarelle, 20,2 x 15,5 cm
Photo : Atelier 53
8
Paul Signac
New York, The Metrop olitan Museum of A rt, The Robert Lehman Collection,
inv. 1975.1.209
© The Metrop olitan Museum of A rt, Dist. RMN-Grand Pala is / Ima ge of the MMA
9
These visuals are available only throu gh the illustration of a rticles about the exhib ition and
during his term rights reserved for any other use.
Visuals
Paul Signac
New York, The Metrop olitan Museum
of A rt, The Robert Lehman C ollection,
inv. 1975.1.209
© The Metrop olitan Museum of A rt,
Dist. RMN-Grand Pala is / Ima ge of the
MMA
Paul Signac
Les Cyprès de Sainte-Anne (SaintTropez), 1905
Plume et aquarelle, 25,6 x 42,7 cm
Paul Signac
Les Andelys, la berge, 1886
Paris, musée d'Orsay
Hervé Lewandowski
Paul Signac
Port-en-Bessin. Le Catel, 1884
Paul Signac
Concarneau. Pêche à la sardine. Opus 221
(adagio), 1891
New-York, The Museum of Modern
Art, Mrs. John Hay Whitney Bequest,
1998, inv. 585.1998
© 2013. Digital ima ge, The Museum of
Modern A rt, New York/Scala, Firenze
10
Paul Signac
Antibes. Matin (étude), 1918-1919
Huile sur bois, 18,8 x 23,5 cm
Photo : Piotr Trawinski
Paul Signac
Herblay. Coucher de soleil. Opus 206, 1889
Glasgow A rt Gallery and Museum
© CSG CIC G lasgow Museums
Colle ction
Paul Signac
Calanque à Saint-Tropez, 1906
Mine de plomb et aquarelle,
28 x 43,7 cm
Colle ction James T. Dy ke
Paul Signac
Rotterdam. Les fumées, 1906
Shimane (Japon), Shimane Art
Museum, inv. OF-10
These visuals are available only throu gh the illustration of a rticles about the exhib ition and
during his term rights reserved for any other use.
Paul Signac
Saint-Tropez. Le clocher, 1896
Aquarelle, 20,2 x 15,5 cm
Photo : Atelier 53
Paul Signac
Saint-Briac. La Garde Guérin Opus 211,
1890
Huile sur toile , 65 x 81,5 cm
Remagen, A rp Museum Bahnhof
Rolandseck, C ollection Rau p our
UNICEF, inv. GR 1.520
© Collection Rau p our U NICEF
Photo : Peter Schälchli, Zürich
Paul Signac
Voiles et pins, 1896
Paul Signac
Application du cercle chromatique
de Mr. Ch. Henry
(progra mme du Théâtre-Libre), 1888
Lithographie, 16 x 18,5 cm
Archives Signac
Photo : André Morin
Paul Signac
Saint-Tropez, La Bouée rouge, 1895
Huile sur toile , 81,2 cm x 65 cm
Paris, musée d'Orsay, donation Dr. Pierre
Hébert, 1957, inv. RF 1957-12
Hervé Lewandowski
Théo Van Rysselber ghe
Signac sur son bateau, 1896
11
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12
Musée des impressionnismes Giverny
From March 29th to October 31st, 2013
every day from 10 am to 6 pm
Last admission 5:30 pm
Press Service:
Catherine Dufayet & Anne Samson Communications
Léopoldine Turbat - 01 40 36 84 35
[email protected]
Communication in musée des impressionnismes:
Géraldine Brilhault
tél. 02 32 51 92 48
[email protected]
Mécène de l’exposition :
Avec le soutien de :
Photos : © J. Faujour, © A. Lagarde, © N. Mathéus, © cg27, © mdig
99 rue Claude Monet
BP 18
27620 Giverny
France
tél. 33 (0) 232 51 94 65
fax 33 (0) 232 51 94 67
courriel : [email protected]
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Signac - Musée des impressionnismes Giverny

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