Press packet / February, 2017 In Concert! Musical ... · PDF filePress Packet / February 2017 In Concert! Musical Instruments in Art, ... André Morin In Concert! Musical Instruments

Press packet / February, 2017

In Concert!

Musical Instruments in Art,

1860-1910 From March 24 to July 2, 2017

www.mdig.fr

In Concert! Musical Instruments in Art, 1860-1910

3

Press Packet / February 2017

musée des impressionnismes Giverny

summary

4 A word from the directors 6 presentation of the exhibition In Concert! 8 overview of the exhibition 12 chronology 14 list of lenders 16 press images 20 catalogue 22 permanent exhibition: Monet in the middle 24 next exhibition: Manguin, the Joy of Colour 26 practical information

Édouard Manet (1832-1883) La Leçon de musique (détail), 1870 Huile sur toile, 141 x 173,1 cm Boston, Museum of Fine Arts, Anonymous Centennial Gift in memory of Charles Deering, 69.1123 © Boston, Museum of Fine Arts

4 musée des impressionnismes Giverny

In Concert! Musical Instruments in Art, 1860-1910 Press Packet / February 2017

5 musée des impressionnismes Giverny


In the musée des impressionnismes Giverny’s extensive exploration of Impressionism and its repercussions, the subject of music has yet to be tackled. The exhibition In Concert ! , which focuses on musical instruments and their importance in the art of this period, rectifies this omission.

The painting produced in the years 1860 to 1910 captures the rich and varied musical life of the times, embracing it in its entirety. It also gives us a glimpse of the close links forged between painters and musicians at a time when the two arts were going through radical, parallel developments.

This exhibition is thus an invitation to look at the painting of this period from a fresh perspective, focusing in particular on a specific subject and its sources. It will also provide an opportunity to discover a few artists who have never or only rarely featured in exhibitions at Giverny. And it will be followed by a further marvellous opportunity for discovery with the monographic exhibition devoted to Manguin, which will highlight the links between Post-Impressionism and Fauvism.

Frédéric Frank, Director Marina Ferretti, Director of Exhibitions and Research

A word from the directors

Maurice Denis (1870-1943) Frontispice pour Les Concerts du petit frère et de la petite sœur (détail), 1903 Lithographie, 42,5 x 30 cm Collection particulière © Tous droits réservés

presentation

of

the exhibition

Gustave Caillebotte (1848-1894) La Leçon de piano (détail), 1881 Huile sur toile, 81 x 65 cm Paris, musée Marmottan Monet, legs Michel Monet, 1966, 5028 © Paris, musée Marmottan Monet / Bridgeman Images


7



In Concert!

Musical Instruments in Art,

1860-1910 The musée des impressionismes Giverny is exploring the theme of the depiction of musical instruments in late 19th-century and early 20th-century art. The exhibition is curated by Frédéric Frank, the museum’s director, and Belinda Thomson, an independent art historian specialising in Post-Impressionism.

Since the time of Leonardo da Vinci, painting and music have been seen as ‘sister arts’. However, one is the art of space or surface, the other that of time. The emergence of music as an important subject in late 19th-century painting coincided with a renewed desire for a synthesis of the arts. This trend is illustrated here by around one hundred works – paintings, drawings, prints, illustrations, posters, scores and books. The artists most represented in the exhibition are Édouard Manet, Edgar Degas, Berthe Morisot, Auguste Renoir, Alfred Stevens, Théo van Rysselberghe and Pierre Bonnard. They all attended concerts, moved in musical circles and contributed to this vision of very diverse forms of musical expression.

The exhibition explores the subject through four thematic sections which themselves illustrate the unprecedented diversity of musical subjects explored by artists:

‘Music as Entertainment’shows the importance of music in the rise of leisure activities, which artists participated in and also captured.

‘Music at home’ reveals the growing presence of music in the domestic sphere through scenes showing music lessons and instruments in the home, as well as private concerts.

‘Musical escapism’ shows the interest in a more bucolic musical life, in communion with nature, or a more exotic one, centred in particular around the phenomenon of Hispanism.

‘Convergences’ shows the close links between artists and musicians, with portraits of musicians who played in exhibitions or painters’ salons and portraits of musician friends, wives and children, as well as portraits of artists themselves who were also musicians.

overview

of the

exhibition

Berthe Morisot (1841-1895) La Mandoline (détail), 1889 Huile sur toile, 55 x 57 cm Collection particulière © Tous droits réservés / Photo : André Morin


9



1. Music as Entertainment

The first section explores the huge expansion in different forms of musical entertainment at a time when the culture of leisure was beginning to emerge.

Music was omnipresent in the public sphere, notably in the parks and streets of the major European cities. Inspired by Édouard Manet’s Le Fifre (1866, Paris, Musée d’Orsay), Eva Gonzalès, with her Enfant de troupe (1870, Villeneuve-sur-Lot, collection of the Musée de Gajac), reveals how the youngsters discovered music through brass bands like the one depicted by Gabriel Boutet at the Jardin Luxembourg. Artists show us musicians playing in the courtyard of a building, like Albert Bartholomé with his Musiciens de Rue (1883, Paris, Petit Palais, Musée des Beaux-Arts de la Ville de Paris). Acrobats, whose shows could sometimes end in tragedy, as in the work of Gustave Doré, and traveling circuses, as captured by Lucien Simon for example, fascinated artists, who flocked to funfairs to see these shows.

The late 19th century also saw an explosion in the number of café-concerts and cabarets, particularly in Paris (Café des Ambassadeurs, Divan Japonais, Alcazar, Folies-Bergère, etc.), where people went to listen to popular tunes or opera arias, and watch sketches and dances as in Jean Béraud’s rousing Valmy et Léa (c. 1885–1895, Cleveland, The Cleveland Museum of Art).

Music was prominent in the new theatres of Haussmann’s Paris, for example at the Théâtre des Variétés, depicted by Béraud. The prestigious venues dedicated to great music that opened during this period (La Monnaie in Brussels, rebuilt in 1855, the Théâtre de la Ville and the Théâtre du Châtelet opened in Paris in 1862, the Royal Albert Hall opened in 1871 in London, the new Opéra de Paris opened in 1875) also hosted great ballets

(Edgar Degas) and operas (Georges Lemmen). Independent orchestras also grew at an unprecedented rate, like the Orchestre Lamoureux depicted by Pierre Bonnard. It was also the golden age of high society balls, as in Trop tôt by James Tissot (1873, City of London, Guildhall Art Gallery), just as much as of local public dances.

2. Music at home

The second section focuses on musical instruments in domestic contexts. The rising bourgeoisie was passionate about music, bringing musical instruments, and in particular the piano, into the home.

It all began with the music lesson, which involved a wide range of instruments, including the banjo (Mary Cassatt), violin (Berthe Morisot) and piano (Gustave Caillebotte).

In addition to children, many of whom had music lessons, women, usually portrayed seated at the piano or next to it, were at the forefront of musical life in the home. Playing music was integral to the image of a good mistress of the house who knew how to entertain her guests, like Madame Hartmann (Renoir), the wife of an important music publisher who moved in artistic circles. Women can also be found playing the violin, as with La Violiniste (n.d., Brussels, Musées Royaux des Beaux-Arts de Belgique) by Alfred Stevens, whereas the cello seems to have been the preserve of men (Louis Hayet) and was often portrayed in a more introspective way.

3. Musical escapism

This section presents subjects connected with musical life that conjure up a search for a pastoral, bucolic, and sometimes even primitive and exotic, ideal.

overview

of the

exhibition

Jean Béraud (1848-1935) Valmy et Léa (détail), vers 1885-1895 Lavis brun, rehaussé de gouache blanche sur mine de graphite, 36 x 51,7 cm Cleveland, The Cleveland Museum of Art, Bequest of Muriel Butkin, CMA 2008.407 © Cleveland, The Cleveland Museum of Art


11



Indeed, this was a period of Arcadian utopias in which music had an important place, as in the work of Berthe Morisot (Le Flageolet, 1890, Paris, Musée Marmottan Monet). Music, often embodied by the flute or other wind instruments, thus represented not only an aspect of traditional culture, exemplified by Paul Gauguin’s Breton bombarde, but also a kind of return to the roots of music and, through it, of painting.

By no means inconsistent with the spirit of modernity that permeates the previous sections, these works ultimately illustrate the sources and inspirations of the period’s art movements. Thus Hispanism had an impact both on music (Chabrier, Bizet, etc.) and on painting by Renoir, Théo van Rysselberghe and Émile Bernard, for example. The most popular cliché of this Hispanism was the motif of the Spanish guitarist.

4. Convergences

This last section explores the links between painting and music that are evoked by the instruments on the canvas.

The depiction of the piano in the artist’s studio was a recurring theme. Artists, poets, writers and musicians all came together around this instrument, as can be seen in Henri Fantin-Latour’s Autour du Piano (1885, Paris, Musée d’Orsay), the study for which is displayed in this section.

Artists’ circles and societies also regularly invited musicians, such as the Sèthe sisters, painted by Van Rysselberghe, who enlivened the salons of Les XX and then La Libre Esthétique in Brussels. There were numerous family links and friendships between painters and musicians. Suzanne Leenhoff, Manet’s wife, Andrée Bonnard, Pierre Bonnard’s sister, and her husband Claude Terrasse forged close bonds with those who

painted their portraits and who illustrated numerous scores and primers (Le Petit Solfège illustré, 1893, illustrated by Bonnard for his brother-in-law). Degas’s musician friends, like the bassoonist Désiré Dihau, who introduced him to the cellist Pilet, and his pianist sister, Marie, were also later portrayed by Henri de Toulouse-Lautrec, revealing the existence of a veritable circle of enduring affinities between painters and musicians.

Finally, painters themselves became musicians, like Eva Gonzalès au piano painted by Alfred Stevens (1879, Sarasota, The John and Mable Ringling Museum of Art).

Graphic arts

The exhibition includes a section showcasing a wide range of drawings, engravings, lithographs, press illustrations, posters and scores.

The posters of Toulouse-Lautrec and Louis Anquetin reflect a desire to promote the musical scene of their time. Maurice Denis and Pierre Bonnard, for their part, illustrated scores and primers for singing and musical theory aimed at children and adults. Press drawings, which could be caricatures or simple portraits, were also means for paying tribute to or poking fun at composers and musicians, as Georges Meunier did in Le Rire.

Finally, the intense interest in musical instruments is reflected in drawings, lithographs and engravings, exemplified by the series of woodcuts that Félix Vallotton devoted to them.

The exhibition will be accompanied by the exceptional loan of three musical instruments from the collection of the Musée des Instruments à vent at La Couture-Boussey. They illustrate the local expertise in instrument making and also provide actual examples of instruments depicted in three

chronology

Albert Bartholomé (1848-1928) Les Musiciens, dit aussi Musiciens dans une cour (détail), 1883 Huile sur toile, 78 x 64 cm Paris, Petit Palais, musée des Beaux-Arts de la Ville de Paris, PDUT1460 © Petit Palais / Roger-Viollet


13



Piano:

1849: the piano maker Steinweg arrives in the United States and becomes Steinway.

1857–87: the Steinway firm files 55 patents relating to the the piano.

Guitar:

1856–88: Spanish luthier Antonio de Torres Jurado synthesises and improves the various inventions relating to the guitar and creates the standard for the classical guitar, known as the modern guitar.

A few milestones in instrument

making in the 19th century

1900s: C. F. Martin, a guitar maker from Germany who moved to the United States, adopts metal strings for his guitars (in the place of cat gut) and creates the modern folk guitar.

Wind instruments:

Brass:

1838: French instrument maker François Périnet patents the piston valve that makes possible the development of the modern trumpet.

1839: German instrument maker Christian Friedrich Sattler patents the trombone valve and paves the way for the development of the modern trombone.

Woodwind:

1832–47: Bavarian musician Theobald Böhm patents a key mechanism for playing the modern flute that would also influence the manufacture and playing of the entire woodwind family.

1839–43: Frenchmen Hyacinthe Klosé and Louis-Auguste Buffet develop the Boehm system for the clarinet, which acquires its modern form.

1846: Adolphe Sax patents the modern saxophone.

1848: the Germans Heckel and Almenräder develop the modern bassoon.

1855: the Triébert family adapts the Boehm system to the oboe, paving the way for the modern oboe.

1881–1906: Frenchman François Lorée modifies the Triébert system leading to the ‘conservatoire’ oboe still used today.

Instrument making in the Giverny region

Giverny lies between two historic sites of instrument making, and in particular wind instruments: one in the Eure, near the village of La Couture-Boussey (Ezy-sur-Eure, Ivry-la-Bataille and Garennes-sur-Eure), where today the oboe makers Marigaux and Hérouard & Bénard (accessories for wind instruments) are still active; the other in the Yvelines, near Mantes-la-Ville (Buffet-Crampon, Henri Selmer Paris).

list

of

lenders

Auguste Renoir (1841-1919) Jeune femme espagnole à la guitare (détail), 1898 Huile sur toile, 55,6 x 65,2 cm Washington, National Gallery of Art, Ailsa Mellon Bruce Collection, 1970.17.76 © Washington, National Gallery of Art


15



Belgium Brussels, Belfius Art Collection Brussels, Bibliothèque Royale de Belgique Brussels, Musées Royaux des Beaux-Arts de Belgique Ostende, Mu.ZEE Ville de Liège, Musée des Beaux-Arts de La Boverie Denmark Odense, Brandts Museum of Art & Visual Culture France Albi, Musée Toulouse-Lautrec Blérancourt, Musée Franco-Américain du Château de Blérancourt Cergy-Pontoise, Collection Conseil Départemental du Val-d’Oise Giverny, Bibliothèque du musée des impressionnismes La Couture-Boussey, Musée des Instruments à Vent La Rochelle, Musées d’Art et d’Histoire Paris, Bibliothèque Nationale de France Paris, Institut National d’Histoire de l’Art, Bibliothèque, Collection Jacques Doucet Paris, Les Arts Décoratifs Paris, Musée de l’Orangerie Paris, Musée d’Orsay Paris, Musée d’Orsay, on long term loan at the Musée d’Art et d’Histoire de Saint-Denis Paris, Musée Marmottan Monet Paris, Petit Palais, Musée des Beaux-Arts de la Ville de Paris Toulouse, Fondation Bemberg Saint-Germain-en-Laye, Musée Départemental Maurice-Denis Ville d’Avignon, Fondation Calvet Ville de Clermont-Ferrand, Musée d’Art Roger-Quilliot Villeneuve-sur-Lot, Collection Musée de Gajac

Germany Hamburg, Hamburger Kunsthalle Netherlands Amsterdam, Van Gogh Museum (Vincent van Gogh Foundation) Switzerland Geneva, Association des Amis du Petit Palais United Kingdom City of London, Guildhall Art Gallery London, Tate United States Baltimore, The Baltimore Museum of Art Boston, Museum of Fine Arts Chicago, Terra Foundation for American Art Cincinnati, Taft Museum of Art Cleveland, The Cleveland Museum of Art Indianapolis, Indianapolis Museum of Art New York, The Metropolitan Museum of Art Sarasota, The John & Mable Ringling Museum of Art Washington, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Washington, National Gallery of Art Washington, Smithsonian American Art Museum As well as private collectors who preferred to remain anonymous

press

images

Pierre Bonnard (1867-1947) Jeune femme au piano (détail), 1891 Huile sur toile, 37,5 x 32 cm Collection particulière © Tous droits réservés © ADAGP, Paris, 2017


17



These images are

only available to illustrate

articles about the exhibition

and for its duration.

All other rights reserved.



Albert Bartholomé (1848-1928) Les Musiciens, dit aussi Musiciens dans une cour, 1883 Huile sur toile, 78 x 64 cm Paris, Petit Palais, musée des Beaux-Arts de la Ville de Paris, PDUT1460 © Petit Palais / Roger-Viollet

Jean Béraud (1848-1935) Valmy et Léa, vers 1885-1895 Lavis brun, rehaussé de gouache blanche sur mine de graphite, 36 x 51,7 cm Cleveland, The Cleveland Museum of Art, Bequest of Muriel Butkin, CMA 2008.407 © Cleveland, The Cleveland Museum of Art

Edgar Degas (1834-1917) Danseuse, 1891 Huile sur panneau, 22 x 15,8 cm Hambourg, Hamburger Kunsthalle, legs Erdwin et Antonie Amsinck, 1921, Nr. HK-2418 © BPK, Berlin, Dist. RMN-Grand Palais / Elke Walford

Édouard Manet (1832-1883) La Leçon de musique, 1870

Huile sur toile, 141 x 173,1 cm Boston, Museum of Fine Arts, Anonymous Centennial

gift in memory of Charles Deering, 69.1123 © Boston, Museum of Fine Arts

Gustave Caillebotte (1848-1894) La Leçon de piano, 1881 Huile sur toile, 81 x 65 cm Paris, musée Marmottan Monet, legs Michel Monet, 1966, 5028 © Paris, musée Marmottan Monet / Bridgeman Images

John Singer Sargent (1856-1925) Catherine Vlasto, 1897 Huile sur toile, 148,6 x 85,4 cm Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of Joseph H. Hirshhorn, 1972, 72.256 © Washington, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution / Photo : Cathy Carver

James McNeill Whistler (1834-1903) Au piano, 1858-1859 Huile sur toile, 67 × 91,6 cm Cincinnati, Taft Museum of Art, Bequest of Louise Taft Semple, 1962.7 © Cincinnati, Taft Museum of Art / Photo : Tony Walsh, Cincinnati, Ohio


19



Berthe Morisot (1841-1895) La Mandoline, 1889 Huile sur toile, 55 x 57 cm Collection particulière © Tous droits réservés / Photo : André Morin

Auguste Renoir (1841-1919) Jeune femme espagnole à la guitare, 1898 Huile sur toile, 55,6 x 65,2 cm Washington, National Gallery of Art, Ailsa Mellon Bruce Collection, 1970.17.76 © Washington, National Gallery of Art

Pierre Bonnard (1867-1947) Jeune femme au piano, 1891 Huile sur toile, 37,5 x 32 cm Collection particulière © Tous droits réservés © ADAGP, Paris, 2017

Louis Anquetin (1861-1932) Marguerite Dufay, 1894, publié dans l’album Les Maîtres de l’Affiche, tome IV, planche 150, 1899 Lithographie, 46,5 x 65,5 cm Collection particulière © Tous droits réservés / Photo : Michiel Elsevier Stokmans

Maurice Denis (1870-1943) Frontispice pour Les Concerts du petit frère et de la petite sœur, 1903 Lithographie, 42,5 x 30 cm Collection particulière © Tous droits réservés

Théo van Rysselberghe (1862-1926) Portrait de la violoniste Irma Sèthe, 1894 Huile sur toile, 197,5 x 114,5 cm Genève, Association des Amis du Petit Palais, 12277 © Genève, Association des Amis du Petit Palais / Photo : Studio Monique Bernaz, Genève

Paul Gauguin (1848-1903) Le Joueur de flageolet sur la falaise, 1889 Huile sur toile, 70,96 x 91,28 cm Indianapolis, Indianapolis Museum of Art, Samuel Josefowitz Collection of the School of Pont-Aven, through the generosity of Lilly Endowment Inc., the Josefowitz Family, Mr. and Mrs. James M. Cornelius, Mr. and Mrs. Leonard J. Betley, Lori and Dan Efroymson, and other Friends of the Museum, IMA 1998.168 © Bridgeman Images

catalogue

of the exhibition

John Singer Sargent (1856-1925) Catherine Vlasto (détail), 1897 Huile sur toile, 148,6 x 85,4 cm Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of Joseph H. Hirshhorn, 1972, 72.256 © Washington, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution / Photo : Cathy Carver


21



A large catalogue is being published on the occasion of this exhibition, with full-page reproductions of all the exhibited works. This book, co-published by Editions Hazan and distributed in French and English versions, will be distributed extensively in France and abroad. Contents: Musical instruments in the works of Gauguin and Manet : tradition reinvented by Frédéric Frank “Moments musicaux”: paintings of pianists, from the 1860s to the 1910s by Belinda Thomson Sounding bodies, listening subjects by Anne Leonard From Steinway to Steinlen: aspects of musical illustration by Belinda Thomson Catalogue of the works Milestones in the history of the guitar by Frédéric Frank

Some aspects of piano history, 1860–1910 by Belinda Thomson

Wind instruments in the nineteenth century by Lolita Delesque

Selected bibliography

Publication: March 2017 Format: 24 × 29 cm Number of pages: 180 pages Price: 29 euros

Catalogue authors: Frédéric Frank is director of the musée des impressionnismes Giverny. A graduate of Sciences Po Paris and the Université Paris 1 Panthéon-Sorbonne, he worked in particular for the concerts committee at the Auditorium du Louvre in 2003. He was subsequently director of the Citadelle de Belfort from 2007 to 2009 and the Mémorial de la Marseillaise in Marseille from 2010 to 2014. In March 2015, he gave a lecture on the origins and the history of the Marseillaise at the Festival Mars en Baroque. In 2017, he curated the exhibition In Concert! Musical Instruments in Art, 1860-1910. Lolita Delesque began her career as director of the Musée des Instruments à Vent in La Couture-Boussey. She studied the planning and management of the natural and cultural heritage at the Université de Rouen, where she specialised in the agricultural heritage of the Caux region in the 19th century. She then completed her university studies by studying museology at the Université de Laval in Québec. Throughout her studies, she held the post of heritage assistant for coordination and conservation at the Musée de l’Horlogerie in Saint-Nicolas d’Aliermont, which gave her an overview of the various tasks carried out in small French museums and enabled her to develop a certain versatility. Anne Leonard is a curator at the Smart Museum of Art and lecturer in the Department of Art History at the University of Chicago. She specializes in European nineteenth-century art, with particular interest in the relations between visual art and music. With musicologist Tim Shephard, she co-edited the first comprehensive reference work in this field, The Routledge Companion to Music and Visual Culture (2014). Her other publications include the Smart Museum exhibition catalogue Looking and Listening in Nineteenth-Century France (co-edited with Martha Ward, 2007) and chapters in several edited volumes. Belinda Thomson, co-curator of In Concert!, is an independent art historian specialising in French art of the late 19th century and an Honorary Professor at the University of Edinburgh. The author of books on Impressionism, Post-Impressionism, Gauguin, Van Gogh, and Vuillard, she has curated exhibitions on these artists as well as on Bonnard. She is currently working on the entries on Van Gogh and Gauguin for the systematic catalogue of the National Gallery of Art, Washington.



permanent

exhibition

Hiramatsu Reiji Cerisiers et nymphéas (détail), 2011 Nihonga, 72,7 x 90,9 cm Giverny, musée des impressionnismes, © Hiramatsu Reiji © Giverny, musée des impressionnismes

Monet in the Middle

23



When the musée des impressionnismes Giverny opened in 2009, the acquisition of a drawing by Pierre Bonnard of Marthe Bonnard and Claude Monet in the dining room at Le Pressoir in Giverny was an affirmation of our desire to create a collection. This has subsequently grown, as opportunities arose, donations were received and acquisitions made, in parallel with our programme.

Today our collection is being given fresh impetus by a group of works that reflect our desire to extend the scope of our Impressionist collection. Since late 2015, it has been enriched by a large decorative work painted by Gustave Caillebotte, two pictures by John Leslie Breck painted in Giverny, a rare wash drawing by Paul Signac, a photograph by Bernard Plossu and a group of three photograms by Henri Foucault.

The Movement of the Collections

Displayed until January on the walls of the Impressionist Gallery at the Musée d’Orsay as part of this institution’s 30th anniversary, Gustave Caillebotte’s Parterre de marguerites will also feature in the Jardins exhibition being held at the Grand Palais this spring.

Monet in the Middle

March 24 - November 5, 2017

Maurice Denis Reflet de soleil sur la rivière, vers 1932 Huile sur carton, 60 x 35cm Giverny, musée des impressionnismes, MDIG 2012.1 © Giverny, musée des impressionnismes / Photo : Thierry Leroy

Monet in the Middle

The semi-permanent hang showcases the museum’s collection, which is supplemented by generous short- and long-term loans from partner institutions (Musée d’Orsay, Terra Foundation). It enables visitors to discover works by Claude Monet, as well as by members of the American colony in Giverny and artists who had settled in the Seine Valley. The birth of a collection



next

exhibition

Henri Manguin L'Amandier en fleurs (détail), 1907 Huile sur toile, 65 x 81 cm Suisse, Collection particulière © Tous droits réservés / Photo : Jacques Bétant © ADAGP, Paris, 2017

Manguin, the Joy of Colour

25



In July 2017, the musée des impressionnismes Giverny is hosting a monographic exhibition devoted to the Fauvist painter Henri Manguin (1874–1949), described by Guillaume Apollinaire in 1910 as the ‘voluptuous painter’.

A selection of around eighty-four works – paintings, watercolours and drawings made between 1900 and 1914 – will trace the early years in the career of this friend of Henri Matisse who contributed to the beginnings of Fauvism. The emphasis in Giverny will be placed on the period when Manguin, whose colour harmonies reveal a rare talent and inventiveness, shared and sometimes even anticipated the bold experiments of his Fauvist friends.

Visitors will thus be able to see how his art evolved, from his years of training at the turn of the century up to the First World War. Following his early Impressionist experiments, his studies at the École des Beaux-Arts, where he attended the liberal studio of Gustave Moreau, enabled him to develop a joyful sensuality that would last throughout his career. In his work, the Arcadian themes, nudes, Mediterranean landscapes, scenes of family life and still lifes were all celebrations of the joy of life and drew directly on the artist’s day to day experience.

The exhibition will be rounded off by a large documentary section, with photographs and archive documents.

Manguin, the Joy of Colour

July 14 - November 5, 2017

Henri Manguin La Couseuse à la robe rouge, Jeanne, 1907 Huile sur toile, 81 x 100 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Henri Manguin Claude au flûtiau, 1908 Huile sur toile, 116 x 89 cm Collection particulière © Tous droits réservés / Photo : Fabrice Lepeltier © ADAGP, Paris, 2017

Practical Information

Musée des impressionnismes Giverny 99 rue Claude Monet | 27620 Giverny T 02 32 51 94 65 | [email protected] www.mdig.fr Open from March 24 to July 2, 2017 Open every day, from 10 am to 6 pm The Museum is accessible to people with reduced mobility. On the spot: restaurant-tearoom, giftshop-bookstore

Admission fees

Ticket for galleries only Adult: €7 Child 12 to 18 / Reduced fee / Student: €4,50 Child 7 to 11: €3 Visitor with disabilities: €3 Child under 7: free Free on 1st Sunday of the month

Family ticket: buy 3 tickets get one free child admission Solo Pass: €20 | Duo Pass: €35 Audioguide: €3,50 Combined Tickets Musée des impressionnismes + Maison et Jardins de Claude Monet Adult: €16,50 Child 12 to 18 / Student: €10 Child 7 to 11: €8,50 Visitor with disabilities: €7 Child under 7: free Musée des impressionnismes + Musée de Vernon Adult: €8,50 A combined ticket enables you to avoid queuing Online purchasing available*: www.mdig.fr www.fnac.com et www.ticketmaster.fr * additional charge for management costs

Paul Gauguin (1848-1903) Le Joueur de flageolet sur la falaise (détail), 1889 Huile sur toile, 70,96 x 91,28 cm Indianapolis, Indianapolis Museum of Art, Samuel Josefowitz Collection of the School of Pont-Aven, through the generosity of Lilly Endowment Inc., the Josefowitz Family, Mr. and Mrs. James M. Cornelius, Mr. and Mrs. Leonard J. Betley, Lori and Dan Efroymson, and other Friends of the Museum, IMA 1998.168 © Bridgeman Images

Musée des impressionnismes Giverny 99 rue Claude Monet BP 18 27620 Giverny France T : 33 (0) 232 51 94 65 F : 33 (0) 232 51 94 67 Open everyday [email protected] www.mdig.fr

From March 24 to November 5, 2017 Every day from 10 am to 6 pm (last admission 5.30 pm)

For further information: Anne Samson Communications Federica Forte / Andréa Longrais T : 33(0)1 40 36 84 40 / 33(0)1 40 36 84 32 [email protected] / [email protected] Musée des impressionnismes Giverny Head of Communication and Partnerships Géraldine Brilhault T : 33(0)2 32 51 92 48 [email protected]

En couverture James McNeill Whistler (1834-1903) Au piano (détail), 1858-1859 Huile sur toile, 67 × 91,6 cm Cincinnati, Taft Museum of Art, Bequest of Louise Taft Semple, 1962.7 © Cincinnati, Taft Museum of Art / Photo : Tony Walsh, Cincinnati, Ohio À l’intérieur : Photographies non contractuelles© cg27, J. Faujour, JC. Louiset, N.Mathéus, mdig

Documents

Press packet / February, 2017 In Concert! Musical ... · PDF filePress Packet / February 2017 In Concert! Musical Instruments in Art, ... André Morin In Concert! Musical Instruments