Displaying items by tag: France

Towns and cities across France will soon be able to boost their culture offerings by hosting pop-up branches of the Centre Pompidou. The Paris museum is expanding its empire, and aims to establish domestic temporary outposts. “We will soon launch an open call for candidates [to select a French city],” says a spokesman for the Centre Pompidou. These pop-ups will remain open for four years.

The city authorities in Libourne, a town in southwestern France, have already expressed an interest in opening a temporary Centre Pompidou venue.

The former contemporary art dealer Yvon Lambert, who closed his gallery in Paris in December after trading for 48 years, is in talks to show part of his Modern art collection in the southern French town of Vence. Lambert is in discussions with the town’s mayor, Loïc Dombreval, about housing some of his holdings at the Château de Villeneuve, a 17th-century building which hosts Modern and contemporary art exhibitions. But the move may surprise city authorities in Avignon; since 2000, works from the Lambert collection have been shown in the city as part of a joint project.

Dombreval tells The Art Newspaper: “I can confirm that Lambert and Eric Mezil, the director of the Lambert collection, have proposed a program [of exhibitions] for the Château de Villeneuve which would begin in March. But this does not in any way mean that the Lambert collection will relocate from Avignon.

Beyond the fields of lavender and honey-colored farmhouses, the land that launched a thousand fantasies is also home to another kind of delight: dazzling works of art and architecture by some of the great masters of modernism, from Picasso to Le Corbusier. Gully Wells goes on a treasure hunt.

One summer when I was a young and indolent teenager, I was packed off by my mother to stay for a week or so with some old family friends who lived in a farmhouse in the hills above Antibes on the French Riviera. Monsieur, tall with a wild bush of white hair, was a painter, and Madame, petite with olive-black eyes, was a sculptor.

French president Francois Hollande has given special allowance to Édouard Manet’s (1832-1883) Olympia (1863), permitting the masterpiece to travel from Paris to Venice for an exhibition. It will be the first time the influential painting has left the French city since it was given to the nation in 1890. Olympia, which features a nude woman and her fully clothed maid, shocked audiences with its subject’s provocative gaze and the suggestion that she was a prostitute.  

Olympia, which is part of the Musée d’Orsay’s collection, will travel to Italy to anchor an exhibition at the Doge’s Palace in Venice. The painting will appear alongside Titian’s (1485-1576) The Venus of Urbino (1538), which is on loan from Florence’s Uffizi Gallery, as part of the exhibition Manet: Return to Venice. The exhibition features 70 works including 42 paintings by Manet on loan from the Musée d’Orsay, which will received a considerable amount in fees for the unprecedented loan. A number of paintings will also be on loan from the Metropolitan Museum of Art in New York.

Manet: Return to Venice will explore how Italian artists such as Vittore Carpaccio (1460-1520), Antonello da Messina (1430-1479), and Lorenzo Lotto (1480-1556) influenced the French painter. The exhibition will be on view from April 25 to August 4, 2013.

France will return seven paintings stolen from their Jewish owners by Nazis during World War II, part of an ongoing effort to give back hundreds of plundered works that still hang in French institutions including the Louvre. The seven paintings were all stolen or sold under duress as their owners fled Europe during the Nazi occupation. The works were to be displayed in Adolf Hitler’s art gallery, which he planned to build in his birthplace in Austria but never came to fruition.

At the end of World War II, with most of Europe in shambles, many artworks were left unclaimed and thousands of French-owned works found homes in the France’s various museums. Government efforts to return these works gained steam last year at the urging of the owners’ families.   The French government believes that there are approximately 2,000 Nazi looted artworks in state institutions; inaccurate archiving and the challenge of properly identifying paintings has made the restitution process a long one.

Six of the seven works to be returned were owned by Richard Neumann, an Austrian Jew who sold his remarkable art collection for a fraction of its value in order to flee Europe. His collection included works by Alessandro Longhi (1733-1831), Sebastiano Ricci (1659-1734), and Gaspare Diziani (1689-1767). The paintings were ultimately placed in the Louvre, the Museum of Modern Art of Saint-Etienne, the Agen Fine Arts Museum, and the Tours Fine Art Museum after the war.

The other painting to be returned is Pieter Jansz Van Asch’s (1603-1678) The Halt, which was stolen by the Gestapo in Prague in 1939 from Josef Wiener, a Jewish banker who was deported and later died in a concentration camp. The Dutch masterpiece hung in the Louvre for years until Van Asch’s family tracked it down online in the mid-2000s. The French Prime Minister, Francois Fillon, approved the return of the painting to the family last year.

French senator Corinne Bouchoux is urging French museum officials to take closer looks at their prized holdings as many public art collections contain works looted by Nazis during World War II. Bouchoux has led an investigative committee devoted to uncovering Nazi-looted artwork in France, which prompted her to ask museums to be more thorough in their provenance research.

Bouchoux revealed that out of the 100,000 artworks stolen from Jewish families in France and Belgium, approximately 2,000 of those works were still present in French museums. Many of these museums were designated “national museums of recovery,” which allowed the institutions to keep the works as long as they did not become property of the state and if identified, the rightful owners could reclaim them.

Bouchoux wrote her doctoral thesis, which has just been published as a book, on Nazi-looted art in France and has suggested nine proposals to direct the stolen works back to their rightful owners or offer restitution for them.

In line with Bouchoux’s efforts, the Shoal Memorial in Paris presents the exhibition Looting of the Jews: A State Policy (1940-44), which grants visitors a glimpse of the goods, including artworks, that originally belonged to Jews in France. The show is on view through September 29, 2013.

State Farm Insurance is suing French art dealer Alfred DeSimone for either discarding or losing an original lithograph by the colorful French artist Henri de Toulouse-Lautrec (1864-1901). The lost work, Artistide Bruant Dans Son Cabaret, 1893, was part of a series of three posters used to promote French cabaret singer and comedian Artistide Bruant (1851-1925) around Paris in the late 1800s. The lithograph remains one of Toulouse-Lautrec’s most recognizable images.

State Farm is seeking $103,000 in damages from DeSimone for the centuries-old lithograph, which was bought by the insurance company’s client, Thomas Rosensteel, in 2006. Rosensteel purchased the work as an investment, but never ended up hanging it. While looking for a buyer, Rosensteel gave the lithograph to DeSimone for safekeeping, agreeing to pay him a fee once the work was sold. Rosentsteel found a buyer in 2010 and when he went to pick up the work from DeSimone, it was missing. DeSimone claims that the lithograph may have been put in a mailing tube and either sent to someone else or discarded. Rosensteel filed an insurance claim with State Farm who paid $103,109 to him; the company is now seeking compensation for the claim.

DeSimone, who has been experiencing financial troubles, has not been charged with any criminal wrongdoing in the Toulouse-Lautrec case. A judge will review the lawsuit on April 25, 2013.

A major exhibition titled Ice Age Art: Arrival of the Modern Mind is now on view at the British Museum in London. With works dating as far back as 40,000 years, the show presents ice age objects from across Europe alongside works by modern masters including Henry Moore (1898-1986), Piet Mondrian (1872-1944), and Henri Matisse (1869-1954). The juxtaposition is meant to illustrate the fundamental human desire to explore life and oneself through art.

Many of the ice age-era works on view are made of mammoth ivory and reindeer antler and tend to be diminutive in stature. Highlights include a 40,000-year-old flute made from a vulture’s wing bone, a mammoth tusk carved to resemble a pair of reindeer, and a 23,000-year-old abstract ivory sculpture found in Lespugue, France that had a profound influence on Pablo Picasso’s (1881-1973) sculptural work of the 1930s.

The works, which range from 10,000 to 40,000 years old, will be on view through May 26, 2013.

Eugène Delacroix’s (1798-1863) celebrated painting Liberty Leading the People was defaced while on view at the Louvre’s satellite location in Lens, which opened in the former mining town in northern France in December 2012. French police have a detained the woman accused of scrawling a graffiti tag along the bottom of the work.

Delacroix, a leader of the Romantic school in French painting, painted Liberty Leading the People to celebrate the July revolution of 1830, which brought down France’s Charles X. The work was featured on the country’s 100-franc banknote before the Euro was adopted and is rumored to have inspired New York’s Statue of Liberty.

Just before the museum closed for the day on Thursday, February 7, 2013, a 28-year-old woman scribbled in 12 inch writing what officials believe to be a reference to a 9/11 conspiracy theory. Officials believe that the work can be easily cleaned, but a restoration expert from the Louvre was being sent to Lens to perform a thorough examination. Museum officials have not yet decided if the painting will need to be removed.    

An Edward Hopper (1882-1967) retrospective, which was on view from October 10, 2012 to February 3, 2013 at the Grand Palais in Paris, welcomed a surprising number of visitors during its run. A total of 784,269 patrons visited the exhibition in less than four months, surpassing a blockbuster exhibition featuring the work of long-time Paris resident Pablo Picasso (1881-1973), which ran from 2008-2009 at the same French institution.  

To accommodate the high number of visitors, the museum stayed opened around the clock during the show’s final weekend. 48,000 people visited the Grand Palais to catch a final glimpse of the Hopper show, including Jill Biden, the wife of US Vice President, Joe Biden.

The exhibition’s popularity came as somewhat of a surprise to museum officials as the American realist painter and printmaker has never drawn such a crowd in the United States. While he came close, Hopper was unable to surpass the popularity of the 2010-2011 Claude Monet (1840-1926) retrospective, which saw 913,064 visitors.

Hopper, who didn’t sell his first painting until he was 40, has grown considerably in popularity since his death at 85. Wildly successful exhibitions in Madrid, London, Milan, and Rome, which took place before Hopper’s show at the Grand Palais are a testament to the artist’s continued relevance.