Centre Pompidou, Paris

Galery 1 – Level 6



Pierre Soulages
14 October 2009 > 8 March 2010,

With this major retrospective, the Centre Pompidou celebrates the work of Pierre Soulages, indisputably the greatest living French painter.

Pierre Soulages

Pierre Soulages
Peinture 260 x 202 cm, 19 juin 1963
Huile sur toile
Collection Centre Pompidou, Musée national d’art moderne,
Diffusion RMN
© Adagp, Paris 2009

The Centre Pompidou staged its first major exhibition of Soulages’s work in 1979, which followed another held at the Musée National d’Art Moderne in 1967, before the Centre opened. Looking back over more than 60 years of activity, this autumn’s exhibition will offer a new reading of the artist’s work, with an emphasis on recent developments in his painting.

The exhibition will bring together more than a hundred major pieces produced between 1946 and the present, from the tremendous walnut-stain works of 1947-1949 to the paintings of the recent years – many of the latter here exhibited for the first time – testimony to the dynamism and diversity of a body of work characterised by ceaseless development.

The opening section of the exhibition will focus on the first, foundational period of Soulages’s work, with a substantial group of works on paper and tar on glass works, followed by a representative selection of paintings from 1950 to 1970, the best-known period of the artist’s career.

In 1979, Pierre Soulages, who had already been painting for three decades, embarked on a new phase with works he called Outrenoir [Ultra-Black], based on the light reflected from a surface entirely covered in black. Using only the latter and working on the relation between black and light, Soulages constructed a pictorial space that – despite his reliance on one single colour – stands opposed to the monochrome in the development of modern art. The exhibition will thoroughly explore this “other painting” in all its diversity.

Pierre Soulages

Pierre Soulages
Peinture 222 x 314 cm, 24 février 2008
Diptyque (2 éléments de 222 x 157 cm, superposés)
Acrylique/toile
Collection particulière
Archives Pierre Soulages, Paris
(photo Georges Poncet)
© Adagp, Paris 2009

In the concluding section, the recent large multi-panelled paintings will be displayed hanging freely within the exhibition space.

To accompany this major retrospective a substantial catalogue is to be published by Éditions du Centre Pompidou, who in January 2010 will also organise (in collaboration with the Université François-Rabelais, Tours, and the INHA) a colloquium under the direction of Éric de Chassey.

Centre Pompidou
Images © ADAGP, Paris 2009. All rights reserved.

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Centre Pompidou, Paris

Galerie 1 – Niveau 6



Pierre Soulages
14 octobre 2009 > 8 mars 2010,

Le Centre Pompidou célèbre, par une grande rétrospective présentée du 14 octobre 2009 au 8 mars 2010, l’œuvre du plus grand peintre de la scène française actuelle, Pierre Soulages.

Pierre Soulages

Pierre Soulages
Peinture 260 x 202 cm, 19 juin 1963
Huile sur toile
Collection Centre Pompidou, Musée national d’art moderne,
Diffusion RMN
© Adagp, Paris 2009

À la veille de son quatre-vingt dixième anniversaire, Pierre Soulages, «peintre du noir et de la lumière», est reconnu comme l’une des figures majeures de l’abstraction depuis la Seconde Guerre mondiale.

Le Centre Pompidou a consacré une première grande exposition à Pierre Soulages en 1979 faisant suite à celle présentée au Musée national d’art moderne en 1967, avant l’ouverture du Centre. Retraçant plus de 60 ans de peinture, l’exposition de cet automne permettra une lecture nouvelle du travail de l’artiste en insistant sur les développements récents de son œuvre.

L’exposition rassemblera plus d’une centaine d’œuvres majeures créées de 1946 à aujourd’hui, des étonnants brous de noix des années 1947 – 1949 aux peintures des dernières années – la plupart inédites – qui manifestent le dynamisme et la diversité d’une œuvre toujours en devenir.

La première partie de l’exposition mettra l’accent sur la période fondatrice de l’œuvre de Pierre Soulages avec un ensemble important des premières peintures sur papier et des fameux goudrons sur verre, ainsi qu’un choix de peintures parmi les plus représentatives des années 1950 à 1970, période la plus connue de l’œuvre de l’artiste.

En 1979, Pierre Soulages, qui peint déjà depuis plus de trente ans, aborde une nouvelle phase de son oeuvre qu’il qualifiera d’Outrenoir où s’affirme la lumière diffusée par reflets sur une surface entièrement recouverte de noir. En se concentrant sur ce pigment unique et sur la relation du noir à la lumière, Pierre Soulages conçoit un espace pictural qui, en dépit de l’emploi d’une seule couleur, se situe à l’opposé du monochrome dans la trajectoire de l’art moderne. L’exposition mettra clairement en évidence cette «peinture autre» dans toute sa diversité.

Pierre Soulages

Pierre Soulages
Peinture 222 x 314 cm, 24 février 2008
Diptyque (2 éléments de 222 x 157 cm, superposés)
Acrylique/toile
Collection particulière
Archives Pierre Soulages, Paris
(photo Georges Poncet)
© Adagp, Paris 2009

Dans la dernière partie du parcours, de grands polyptyques récents seront installés en suspension dans l’espace.

Pour accompagner cette grande rétrospective, un important ouvrage paraîtra aux Éditions du Centre Pompidou qui organise en janvier 2010, en collaboration avec l’université François-Rabelais de Tours et l’INHA, un colloque international, placé sous la responsabilité scientifique d’Éric de Chassey.

Centre Pompidou
Images © ADAGP, Paris 2009. Tous droits réservés.

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Musée d’Orsay, Paris

Niveau 0, Grand espace d’exposition



James Ensor
20 octobre 2009 > 4 février 2010

This exhibition, the first retrospective to be presented in Paris since 1990, aims to show the interplay of fracture and continuity to be found throughout Ensor’s work.

James Ensor

James Ensor
L’Intrigue, 1890
Huile sur toile, 90 x 150 cm
Musée Royal des Beaux Arts, Anvers, Belgique
© ADAGP, Paris 2009

Continuity comes from the Naturalism and Symbolism that influenced his early work, as well as the tradition of masks, disguise, grotesque and satire, and carnival, a legacy from his childhood in Ostend, a city to which he was deeply attached. Fracture is the dramatisation of the use of colour and light.

It is also the invention of a new language where the words intrude unsubtly alongside images, in order to give meaning to ideas, and the invention of a new narrative system teeming with characters and actions.

Through his scathing irony, his sense of derision and self-derision, his intense colours and his expressiveness, Ensor, a strange and unclassifiable painter, finds his place amongst the precursors of Expressionism.

James Ensor

James Ensor
La mort et les masques, 1897
Huile sur toile, 78,5 x 100 cm
Liège, musée d’Art moderne et contemporain
© ADAGP, Paris 2009

This exhibition has been organised by the Museum of Modern Art, New York, the Musée d’Orsay and the Réunion des Musées Nationaux, Paris.

Courtesy Musée d’Orsay
Images © ADAGP, Paris 2009. Tous droits réservés.

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Published on City Stroller November 6, 2009

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Coney Island

Photography © Danielle Kelly
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Musée d’Orsay, Paris

Niveau 0, Grand espace d’exposition



James Ensor
20 octobre 2009 > 4 février 2010

Première rétrospective présentée à Paris depuis 1990, cette exposition entend montrer le jeu de rupture et de continuité perpétuellement pratiqué par Ensor.

James Ensor

James Ensor
L’Intrigue, 1890
Huile sur toile, 90 x 150 cm
Musée Royal des Beaux Arts, Anvers, Belgique
© ADAGP, Paris 2009

Soixante ans après sa mort, l’héritage d’Ensor est ainsi toujours tiraillé entre son ancrage belge, voire ostendais, et une reconnaissance internationale. Écartelé aussi entre le solide naturalisme de ses débuts et les fantaisies masquées, « squelettisées », acides et virulentes qui traversent, à grands pas colorés et grimaçantes, la plus grande partie de sa carrière.

Cent cinquante ans, ou presque, après sa naissance, Ensor demeure un peintre inclassable et le titre de « peintre des masques » que lui attribue son compatriote Émile Verhaeren ne suffit pas à cerner son œuvre inclassable, prolifique et polymorphe.

Le MoMA et le musée d’Orsay ont donc décidé de re-visiter Ensor, et cent dix ans après l’échec de sa première exposition à Paris, de questionner de nouveau ses impénétrables masques et ses menaçants squelettes. De le placer face au XX° siècle dont il dépend très largement, ayant assisté à l’éclosion de l’expressionnisme, du cubisme, du futurisme, de Dada, du surréalisme… Ayant même, selon son propre discours, « anticipé tous les mouvements modernes ».

De placer Ensor, au cœur de ce XIX° siècle dont il est bien un des turbulents enfants, revendiquant une place définitive, « entre Manet et Van Gogh… ».

James Ensor

James Ensor
La mort et les masques, 1897
Huile sur toile, 78,5 x 100 cm
Liège, musée d’Art moderne et contemporain
© ADAGP, Paris 2009

En 90 œuvres tableaux, dessins, gravures…, et en quatre parties, l’exposition James Ensor, permet de reconsidérer ce peintre toujours étrange. Entre Manet, Van Gogh et tous les modernismes.

Cette exposition est organisée par le Museum of modern Art, New York, le musée d’Orsay et la Réunion des musées nationaux, Paris, avec le soutien du Gouvernement Flamand.

Courtesy Musée d’Orsay
Images © ADAGP, Paris 2009. Tous droits réservés.

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The Museum of Modern Art MoMA, New York

Tim Burton
November 22, 2009 > April 26, 2010

The Museum of Modern Art will present a major exhibition exploring the full scale of renowned filmmaker Tim Burton’s career, both as a director and concept artist for live-action and animated films, and as an artist, illustrator, photographer, and writer.

Hundreds of Artworks Never Before Exhibited Illuminate the Creative Vision Behind
Beetlejuice, Batman, Edward Scissorhands, Charlie and the Chocolate Factory, and Sweeney Todd, Among Numerous Other Artistic Projects

Tim Burton

Tim Burton. (American, b. 1958)
Untitled (Creature Series). 1992.
Acrylic on canvas
7 x 5″ (17.8 x 12.7 cm).
Private collection.
© 2009 Tim Burton

The exhibition will be on view from November 22, 2009, through April 26, 2010. Tracing the current of Burton’s visual imagination—from his earliest childhood drawings through his mature work in film—the exhibition Tim Burton will bring together over 700 examples of rarely or never-before-seen drawings, paintings, photographs, storyboards, moving-image works, puppets, maquettes, costumes, and cinematic ephemera, and includes an extensive film series spanning Burton’s 27-year career. The exhibition explores how Burton has taken inspiration from sources in pop culture and reinvented Hollywood genre filmmaking as an expression of personal vision, garnering him an international audience of fans and influencing a generation of young artists working in film, video, and graphics.

Organized in collaboration with Burton, the exhibition presents artworks and objects drawn primarily from the artist’s personal archive, as well as studio archives and the private collections of Burton’s collaborators. Included are little-known drawings, paintings, and sculptures created in the spirit of contemporary Pop Surrealism, as well as work generated during the conception and production of his films, such as original The Nightmare Before Christmas and Corpse Bride puppets; Edward Scissorhands, Batman Returns, and Sleepy Hollow costumes; and even severed-head props from Mars Attacks!

Tim Burton

Tim Burton. (American, b. 1958)
Untitled (Mars Attacks!). 1995
Watercolor and pastel on paper, 17 x 14″ (43.2 x 35.6 cm).
Private Collection.
Mars Attacks © Warner Bros.
© 2009 Tim Burton

Tim Burton

Tim Burton. (American, b. 1958)
Untitled (The Melancholy Death of Oyster Boy and Other Stories). 1982–1984.
Pen and ink, marker, and colored pencil on paper, 10 x 9″ (25.4 x 22.9 cm).
Private Collection.
© 2009 Tim Burton

Also featured are the first public display of his student and earliest nonprofessional films; his long-unseen television adaptation Hansel and Gretel (1983); examples of his work for the flash animation internet series The World of Stainboy (2000); a selection of the artist’s oversized Polaroid prints; graphic art and texts for non-film projects, like The Melancholy Death of Oyster Boy and Other Stories (1997) and Tim Burton’s Tragic Toys for Girls and Boys (2003) collectible figure series; and art from a number of early unrealized projects. Additionally, a selection of international and domestic posters from Burton’s films will be on display in the theater lobby galleries.

The exhibition follows the entire course of Burton’s career, with childhood ephemera, juvenilia, and amateur short films from his youth in Burbank, CA; cartoons and drawings from his time at California Institute of the Arts; and examples of his first professional work at The Walt Disney Studios. Moving on to his mature work, the exhibition touches on the creature-based notions of character, motifs of masking and body modification, ongoing themes of adolescent and adult interaction, and elements of sentiment, cynicism, and humor that inform Burton’s work in a variety of mediums.

Burton’s entire cinematic oeuvre of 14 feature films—Pee-Wee’s Big Adventure (1985), Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Mars Attacks! (1996), Sleepy Hollow (1999), Planet of the Apes (2001), Big Fish (2003), Tim Burton’s Corpse Bride (2005), Charlie and the Chocolate Factory (2005), and Sweeney Todd (2007)—will be screened over the course of the five-month exhibition from November 18, 2009 to April 26, 2010 in the Museum’s Roy and Niuta Titus Theaters. His early short films Vincent (1982) and Frankenweenie (1984) will also be featured.

Tim Burton

Tim Burton. (American, b. 1958)
Untitled (Tim Burton’s The Nightmare Before Christmas Sally). 1993
Polaroid
33 x 22″ (83.8 x 55.9 cm)
Private Collection.
© 2009 Tim Burton

In conjunction with Tim Burton, MoMA presents The Lurid Beauty of Monsters, a series of films that influenced, inspired, and intrigued Burton. Taking as its starting point a screening of horror movies that Burton organized in Burbank in 1977, the series includes such films as Jason and the Argonauts (Don Chaffey, 1963), Frankenstein (James Whale, 1931), The Cabinet of Dr. Caligari (Robert Wiene, 1920), The Pit and the Pendulum (Roger Corman, 1961), Nosferatu (F. W. Murnau, 1922), and Earthquake (Mark Robson, 1974), and will be screened from December 2, 2009 to April 26, 2010.

An accompanying publication will be released in conjunction with MoMA’s exhibition, to be published in November 2009 by The Museum of Modern Art.

Courtesy The Museum of Modern Art
Images © Tim Burton. All rights reserved

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Morris Museum of Art, Augusta Georgia

Response and Memory: The Art of Beverly Buchanan
November 21, 2009 – January 31, 2010

Response and Memory: The Art of Beverly Buchanan, a selection of bold, colorful, and expressive drawings and sculptures by this leading contemporary artist, opens to the public November 21, 2009, at the Morris Museum of Art.

Beverly Buchanan

Beverly Buchanan,
Hillside Shack, 1987.
Collection of the Asheville Art Museum. Gift of Drs. Robert and Priscilla Bleke
© All rights reserved

Organized by the Asheville Art Museum from the collections of Ann and Ted Oliver (with the assistance of the Morris Museum of Art), the exhibition remains on view at the Morris Museum through January 31, 2010.

“Through her continued exploration of the vernacular architecture of the South, Beverly Buchanan has created richly expressive works of art that symbolize community and the energy and imagination that are required to sustain it. She is a great story teller, and, implicit in her work, lie the stories behind the rural sharecropper shacks she depicts . . .,” said Kevin Grogan, director of the Morris Museum of Art.

Artist Biography

Beverly Buchanan, born in 1940 in Fuquay, North Carolina, was raised in Orangeburg, South Carolina, on the campus of South Carolina State College, where her father was dean of the School of Agriculture. Armed with degrees in medical technology, parasitology, and public health from Bennett College and Columbia University, she was a medical technologist for the Veterans Administration in the Bronx and then a health educator for the East Orange New York Health Department. (Although she was accepted to medical school, Buchanan decided not to go, choosing instead to dedicate more time to her art.) In 1971 she attended art classes at the Art Students League, where she studied with Norman Lewis, and, during the 1970s, Romare Bearden became a particularly important friend and mentor.

Beverly Buchanan

Beverly Buchanan,
Red Shacks, 1988.
Collection of the South Carolina Arts Commission.
© All rights reserved

In 1977 Buchanan moved to Macon, Georgia, to devote her full time and attention to art. Buchanan’s early sculptures demonstrated an innate interest in the architecture of poverty. Made of cast concrete, clay, pigment, and other materials, these primeval, blocklike forms conveyed a sense of archaeological ruin and mystery.

Buchanan’s art gradually evolved from abstract, organic forms into the expressionistic, representational works she executes today. Her sculptures are based, in part, on the sharecropper shacks that can be found along the back roads of the rural South while traveling with her father. Buchanan’s sculpture and drawings challenge the icons of hopelessness; they are elegies that salute the integrity, resilience, and resolution of humankind.

“My work is about, I think, responses. My response to what I’m calling ‘groundings,’” states Buchanan. “A process of creating objects that relate to but are not reproductions of structures, houses mainly lived in now or abandoned that served as home or an emotional grounding. What’s important for me is the total look of the piece. Each section must relate to the whole structure. There are new groundings, but old ones help me ask questions and see possible stories as answers. Groundings are everywhere. I’m trying to make houses and other objects that show what some of them might look like now and in the past.”

Beverly Buchanan

Beverly Buchanan,
Hurricane House, 2008.
Collection of Jane Bridges
© All rights reserved

In 1980, Buchanan was awarded fellowships from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts. Her work is in the collections of the Metropolitan Museum of Art, NY; the Carnegie Museum of Art, PA; the Columbia Museum of Art, Columbia, SC; the High Museum of Art, Atlanta, GA; the Asheville Art Museum, NC; the Tubman African American Museum, Macon, GA; and the Morris Museum of Art, Augusta, GA.

Courtesy The Morris Museum of Art
Images © All rights reserved

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Centre for Fine Arts, Brussels

Son of Heaven
10.10.2009 > 24.01.2010

According to Chinese mythology, Pangu, the master of the universe, separated the sky and the earth. Between the two came the Son of Heaven, a sovereign whose task it was to maintain the harmony of the universe.

Exhibition Son of Heaven

Kanxi Emperor
©Palace Museum

The exhibition retraces the history of the ritual dialogue with heaven, from the Neolithic (around 3,500 BC) to the last dynasty, the Qing (1644-1912).

The magic rites of the early days became increasingly complex and eventually drew on astronomy, which could provide precise predictions of the signs in the heavens. Bronze sacrificial vessels, a jade shroud, gold and silver work, imperial robes, porcelain, astronomical instruments, and painted scrolls offer us insights into the lives of the emperors. These fascinating works reconnect the dialogue with heaven with life.

This unique exhibition presents 250 works from six Chinese provinces and from the Museum of the Forbidden City in Beijing.

Exhibition Son of Heaven

Official in koutou posture, Terracotta,
Tang Mausoleum of Li Xian Shaanxi Archaeological Institute
© Li Xian Shaanxi Archaeological Institute

Exhibition Son of Heaven

Red Sacrificial Robe Emperor Jiaqing 1796-1820 Jiaqing
© Palace-Museum

Courtesy BOZART
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Published on City Stroller October 9, 2009

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Cairo – souk

Photography © Owen Watkins
All rights reserved

The Khan El Khalili souk in old Cairo has a lot of tourist tat, but also plenty of genuine good quality souvenirs for the discerning visitor.

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Palais des Beaux-Arts, Bruxelles

Fils du ciel
10.10.2009 > 24.01.2010

Selon la mythologie chinoise, Pangu, le maître de l’univers, a séparé le ciel et la terre. Entre les deux est apparu le fils du ciel, souverain devant maintenir l’harmonie au sein de l’univers.

Exposition Fils du Ciel

Kanxi Emperor
©Palace Museum

L’exposition retrace l’histoire du dialogue rituel avec le ciel, du néolithique (ca. 3500 av. J.-C) à la dernière dynastie, les Qing (1644-1912).

Les rites magiques des premiers temps se complexifient pour finalement faire appel à l’astronomie. Vaisselle sacrificielle de bronze, linceul de jade, orfèvreries, robes impériales et porcelaine pour le culte au ciel, à la terre, au soleil, et à la lune, instruments d’astronomie et rouleaux peints donnant un aperçu de la vie des empereurs, sont autant d’oeuvres fascinantes qui ramènent ce dialogue avec le ciel à la vie.

250 oeuvres provenant de 6 provinces de Chine ainsi que du Musée de la Cité Interdite à Beijing créent un spectacle unique.

Exhibition Son of Heaven

Official in koutou posture, Terracotta,
Tang Mausoleum of Li Xian Shaanxi Archaeological Institute
© Li Xian Shaanxi Archaeological Institute

Exhibition Son of Heaven

Robe officielle de l’empereur Jiaqing 1796-1820 Jiaqing
© Palace-Museum

Courtesy BOZART
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