Il y a 150 ans, le 15 avril 1874, ouvre à Paris la première exposition impressionniste.
Pour célébrer cet anniversaire, le musée d'Orsay présente quelque 130 oeuvres, et porte
un regard neuf sur cette date-clé, considérée comme le coup d'envoi des avant-gardes.
« Affamés d'indépendance », Monet, Renoir, Degas, Morisot, Pissarro, Sisley ou encore
Cézanne ont décidé de s'affranchir des règles en organisant leur propre exposition,
en dehors des voies officielles : l'impressionnisme est né. Que s'est-il passé exactement
en ce printemps 1874 à Paris, et quel sens donner aujourd'hui à une exposition devenue
mythique ? « Paris 1874. L'instant impressionniste » propose de retracer l'avènement d'un
mouvement artistique surgi dans un monde en pleine mutation
« Paris 1874 » fait le point sur les circonstances ayant mené ces 31 artistes à se réunir pour
exposer ensemble leurs oeuvres. Le climat de la période est celui d'un après-guerre,
faisant suite à deux conflits : la Guerre franco-allemande de 1870, puis une violente guerre
civile. Dans ce contexte de crise les artistes repensent leur art et explorent de nouvelles
directions. Un petit « clan des révoltés » peint des scènes de la vie moderne, ou des
paysages aux tons clairs et à la touche enlevée, croqués en plein air. Comme le note
un observateur, « ce qu'ils semblent rechercher avant tout, c'est l'impression ».
Une sélection d'oeuvres ayant figuré à l'exposition impressionniste de 1874 est mise en
perspective avec des tableaux et sculptures montrés au même moment au Salon officiel.
Cette confrontation inédite permet de restituer le choc visuel des oeuvres alors exposées
par les impressionnistes, mais aussi de le nuancer, par des parallèles et recoupements
inattendus entre la première exposition impressionniste et le Salon. Elle montre ainsi les
contradictions et l'infinie richesse de la création contemporaine en ce printemps 1874,
tout en soulignant la modernité radicale de l'art de ces jeunes artistes.
A l'occasion de l'exposition « Paris 1874 », cet ouvrage fait le point sur les
circonstances ayant conduit à la naissance de l'impressionnisme et fait
le point, à travers des entrées thématiques, sur l'histoire de ce movement
fondateur de la modernité artistique.
Accrochage, Amitié, Argent, Éclectique, Fugitif, Japonais, Nature, Paris,
Plein air, Vie moderne... A travers des entrées thématiques écrites par des
spécialistes et des focus sur des oeuvres phares de Monet, Renoir, Degas,
Morisot, Pissarro, Sisley ou encore Cézanne, cet ouvrage propose un
panorama complet de l'impressionnisme.
Catalogue officiel de l'exposition Le Décor impressionniste. Aux sources des Nymphéas au musée de l'Orangerie du 02 mars au 11 juillet 2022. Installé à l'Orangerie, le cycle des Nymphéas de Monet fut célébré comme la chapelle «Sixtine de l'impressionnisme» ; Monet lui-même avait qualifié ces peintures de «Grandes Décorations ». Remontant aux sources de ce chef-d'oeuvre, ce catalogue explore pour la première fois une dimension essentielle de l'impressionnisme. Dès la fin des années 1860, les liens entre les peintres impressionnistes et la décoration sont variés, féconds et centraux. Monet, mais aussi Caillebotte, Cassatt, Cézanne, Degas, Manet, Morisot, Pissarro, Renoir ou encore Félix et Marie Bracquemond créent des oeuvres décoratives - du décor mural à l'éventail ou à l'assiette. Cet ouvrage invite à découvrir ce pan inédit de l'impressionnisme, riche et fascinant.
A l'occasion de l'exposition « Paris 1874 », cet ouvrage fait le point sur les
circonstances ayant conduit à la naissance de l'impressionnisme et fait
le point, à travers des entrées thématiques, sur l'histoire de ce movement
fondateur de la modernité artistique.
Accrochage, Amitié, Argent, Éclectique, Fugitif, Japonais, Nature, Paris,
Plein air, Vie moderne... A travers des entrées thématiques écrites par des
spécialistes et des focus sur des oeuvres phares de Monet, Renoir, Degas,
Morisot, Pissarro, Sisley ou encore Cézanne, cet ouvrage propose un
panorama complet de l'impressionnisme.
An inspiring collection of contemporary homes by architect Celeste Robbins, principal of Robbins Architecture, whose modern designs are imbued with warmth, comfort, and a deep sense of place.
In her first monograph, Chicago-based architect Celeste Robbins of Robbins Architecture proves that contemporary design can be inviting, comfortable, and graciously responsive to how we and our families live. Illustrating Robbins's holistic vision, which integrates architecture, interior design, and landscape, The Meaningful Modern Home features nine significant projects realized in different styles and natural materials. Set amid spectacular landscapes across the United States-in Michigan, Colorado, Wyoming, Illinois, Idaho, and New York-the residences all offer living proof of how modernism can be warm and rooted in a vivid sense of place.
The cowboy, one of America's most enduring cultural icons, has become identified with the white gunslinger in the popular imagination. However, in the 19th century over one-third of these cowboys were actually Black cowboys. With this photo series included in the exhibition Andrea Robbins & Max Becher.
Displacements, the photographic duo shines a spotlight on Black cowboy culture, a phenomenon practically unheard-of outside the United States due to segregation in competitive rodeos and the exclusion of Black cowboys from the iconography of the Western genre. Robbins and Becher travelled across the country, conducting interviews and research and using their camera to merge the artistic tradition of documentary photography with a conceptual approach that critiques society.
Celebrating 100 years since Arshile Gorky's arrival in New York, this illustrated reader unpacks the mutually influential relationship of the young artist and the city
Born in Armenia, the artist Arshile Gorky (1904-48) immigrated to the United States in 1920 as a teenage refugee. When he finally settled in New York in 1924, he became a central figure of the city's cultural milieu as an artist whose oeuvre straddled the cultural spheres of Europe and North America, Surrealism and Abstract Expressionism. This illustrated biography examines Gorky's life and work in New York in both art historical and sociopolitical contexts, including Tamar Kharatishvili's exploration of forced displacement and self-fashioning and Allison Katz's recollections of her personal encounter with his work when she was an emerging painter. It introduces readers to a lesser-known side of Gorky as a young, self-mythologizing artist on the verge of changing culture forever. With a clean, accessible design, this volume mixes scholarly research with more literary reflections on New York and the immigrants who built it, both culturally and materially.
Now a well-known authority on music in Europe in the 18th and early 19th centuries, H.C. Robbins Landon decided on his choice on career as a schoolboy in the 1940s. His goal of rediscovering the music of Joseph Haydn and bringing it to a broad cross-section of music-lovers and scholars has been achieved through his numerous editions of scores, recordings and broadcasts, as well as his writing. In these recollections of his upbringing and student years in the United States, followed by military service in the US Army and an adventurous career based largely in Europe, the author offers an account of his single-minded quest. The background to discoveries made in obscure archives in Austria and Eastern Europe, often accompanied by accounts of hair-raising experiences in dealing with the authorities in communist countries in the 1950s and 1960s, are interspersed with many revealing anecdotes concerning the leading figures in music in over 50 years, including Herbert von Karajan, Walter Legge, George Szell, Hans Keller, Leonard Bernstein and Sir Georg Solti.
A refernce book containing information about aspects of Mozart's life and times. Features include a chronology of life and works, a list of works with commentaries, a who's who of contemporaries, details of historical and musical background and accounts of daily life from diairies and documents.
Andrea Robbins and Max Becher draw on a rich visual vocabulary gleaned as much from travel brochures, postcards, and National Geographic as from the photography of Walker Evans, Edward Curtis, and Stephen Shore. In doing so, Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, "The primary focus of our work is what we call the transportation of place - situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism, and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba, or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences." The work posits vital questions for a globalized world: What are the larger implications of "ideological passing," when one culture assumes the skin of another? And what role can photography play as a document in context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher against the background of race and identity, but also of Surrealism. Lucy Lippard discusses the development of the husband-and-wife team's work together, as well as looking specifically at the ideas of location, landscape, and manufactured place.
Rassemblant une sélection d'essais de l'artiste et écrivain américain, un entretien et une oeuvre, ce livre parcourt quatre décennies de la pratique et de la pensée de Robbins, des années 1980 à aujourd'hui.
High Entertainment by David Robbins argues for a category of cultural production that combines the experimental ethos of art with the accessibility of entertainment.
High Entertainment eschews the specialised, exclusionary language on which art has increasingly come to depend, in favour of a communication model that extends and elevates the pop grammars to which we are exposed from our earliest years.
Bringing together a selection of essays, an interview, and an artwork which explore the development of this framework, this book touches upon four decades of Robbins' engagement with the idea of High Entertainment-starting from the 1980s, through its moment of clearest resolution with the advent of digital technology, all the way to the present.
