BOOK REVIEW: From Chanel to Reves

From Chanel to Reves

La Pausa and Its Collections at the Dallas Museum of Art

Olivier Meslay and Martha MacLeod

Published by GILES in association with the Dallas Museum of Art

PRICE — UK£9.95 / US$15.00

ISBN — 978-1-90780-72-4

I always find books that tell the story of a house fascinating and such is certainly the case with this appealing book which relates the story of the house that Chanel had built for herself and which she furnished with some help from Bendor Grosvenor, the Duke of Westminster. It provides a real glimpse into Chanel’s taste and way of life.

In 1953 she sold the Villa La Pausa to Wendy and Emery Reves and included many of the Villa’s furnishings and books and so these were combined with the wide-ranging art collection of the Reves which has an emphasis on Impressionist and Post-Impressionist works. One figure which crosses into both halves of the story is Sir Winston Churchill who knew the Duke and had met Coco Chanel but was also a regular guest of the Reves at La Pausa and indeed there are four works by him as well as other souvenirs.

Even if you cannot get to Dallas to see this collection I heartily recommend this elegant tome that tells the story so well and so enticingly.

http://www.gilesltd.com

http://www.dma.org

Delacroix inspires!

Apr20

Delacroix and the Rise of Modern Art, Sainsbury Wing, National Gallery, London, until 22^nd May 2016

Eugène Delacroix
The Death of Sardanapalus (reduced replica), 1846
Oil on canvas
73.7 x 82.4 cm
© Philadelphia Museum of Art, Pennsylvania
The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986 (1986-26-17)

This is a very interesting exhibition because while sadly it may not be so much of a crowd drawer as other exhibitions, it tells about an important chapter in 19^th century French painting – the story of Eugène Delacroix (1798-1863) who despite being trained in the Neo-Classical school broke away from that tradition and became as Baudelaire put it ‘a poet in painting’.

Eugène Delacroix
Self Portrait, about 1837
Oil on canvas
65 x 54.5 cm
Musée du Louvre, Paris (RF 25)
© RMN-Grand Palais (musée du Louvre) / Jean-Gilles Berizzi

Delacroix was an admirer of Rubens and of English painting. His works with their bold brushstrokes and use of colour were criticised by the establishment as were his choice of subjects but he was supported by his fellow artists such as Courbet. Delacroix wrote in his diary “I dislike reasonable painting.”

Paul Signac (1863-1935)
Snow: Boulevard de Clichy, Paris, 1886
Oil on canvas
66 x 43.2 cm
© The Minneapolis Institute of Art
Bequest of Putnam Dana McMillan 61.36.16

While a third of the paintings on show are by Delacroix, the majority are by other artists –Impressionists, Post Impressionists, Symbolists, and Fauves – who were influenced by the genius of his work and also, like him, dared to break the rules and be innovative. As Cézanne aptly summed it up – “We all paint in Delacroix’s language”.

Paul Gauguin
Still Life with a Sketch after Delacroix, 1887
Oil on canvas
40 x 30 cm
Musée d’Art moderne et contemporain de Strasbourg
© Photo Musées de Strasbourg, M. Bertola

Certainly, to my mind, Delacroix rules over this well worth visiting show.

http://www.nationalgallery.org.uk

Capturing Life

Mar15

Impressionism: Capturing Life, The Holburne Museum, Great Pulteney Street, Bath BA2, until 5^th June 2016

Young Woman Seated, 1876 Pierre-Auguste Renoir (1841-1919) Oil on canvas 66 x 51 cm
© The Barber Institute of Fine Arts, University of Birmingham

The emphasis of this delightful exhibition is on the figure in Impressionist paintings and the twenty-eight works on show come from UK collections. The colours in the 1876 painting Young Woman Seated by Renoir provided the inspiration for the four themed areas of the show – ‘Painting of the Future’, ‘Private Worlds, Public Gaze’, ‘Modern Life’ and ‘Impressionism in Britain’ – but the lay-out is cleverly designed so that the visitor can see glimpses of each area wherever they are in the exhibition space and thus looking forward or glancing back they may experience the full impact of this very special show.

Study of a Harvester, about 1900 Sir George Clausen (1852-1944) Black chalk and pastel on brown paper, 38.8 27.5 cm
© The Holburne Museum. Photo © Dan Brown

Many of the artists included were part of the first Impressionist exhibition in Paris in 1874 but exponents of Impressionism in the United Kingdom are also recognised with the inclusion of artists such as Sisley, Steer and especially Sir George Clausen through a group of eight of his works on paper, including pastels, from the Holburne’s own collection.

The Fisherman, 1884 Jean-Louis Forain (1852-1931) Oil on canvas 94.7 x117 cm
© Southampton City Art Gallery / Bridgeman

Seriously, don’t miss this exhibition!

Hélène Rouart in her Father’s Study, about 1886 Edgar Degas (1834-1917) Oil on canvas 162.5 x 121 cm
© National Gallery, London

http://www.holburne.org

Sublime Gardens

Feb17

Painting the Modern Garden: Monet to Matisse, Main Galleries, Royal Academy of Art, Burlington House, Piccadilly, London W1, until 20th April 2016

Auguste Renoir, Monet Painting in His Garden at Argenteuil, 1873
Oil on canvas, 46.7 x 59.7 cm
Wadsworth Atheneum Museum of Art, Hartford, CT. Bequest of Anne Parrish Titzell, 1957.614
Photo (c) Wadsworth Atheneum Museum of Art, Hartford, CT

The star of this show which celebrates artists and gardens is, of course, Claude Monet. Rightly so because he was a serious horticulturalist and one would certainly not disagree with him when he wrote ‘I perhaps owe it to flowers that I became a painter’.

It is a large show that welcomes more than one visit and the fact that like some gardens the paintings are arranged in themed rooms such as Impressionist Gardens or Gardens of Reverie gives the visitor ample scope to re-visit as one would a favourite part of a garden.

Joaquin Sorolla, Louis Comfort Tiffany, 1911
Oil on canvas, 150 x 225.5 cm
On loan from the Hispanic Society of America, New York, NY
Photo (c) Courtesy of The Hispanic Society of America, New York

The paintings whether Impressionist, Postimpressionist or Avant Garde tell a story too of the growing interest in gardens by the middle classes through a variety of materials such as journals, receipts and letters.

Although not a gardener myself I enjoyed this show and found myself deeply moved in the last room where the three great Monet water lily paintings – the Agapanthus Triptych of 1916 – 1919, normally in the The Nelson-Atkins Museum of Art, The Cleveland Museum of Art and Saint Louis Art Museum, hang reunited once more.

Claude Monet, Nympheas (Waterlilies), 1914-15
Oil on canvas, 160.7 x 180.3 cm
Portland Art Museum, Oregon. Museum Purchase: Helen Thurston Ayer Fund, 59.16
Photo (c) Portland Art Museum, Portland, Oregon

www.royalacademy.org.uk

Messum’s

Jun25

British Impressions: Important British Paintings, Messum’s, 28 Cork Street, London W1, until 31st July 2015

Henry Herbert La Thangue 1859-1929 RA NEAC
Tucking the Rick
oil on canvas
H 112 x W 91 cm (H 43 7⁄8 x W 35 7⁄8 in)

Henry Herbert La Thangue 1859-1929 RA NEAC
In a Cottage Garden (The Sawing Horse), 1896
oil on canvas
H 114 x W 88 cm (H 45 x W 34 5⁄8 in)

This inviting exhibition will quicken the heartbeat of some collectors as it features works that are returning to the market for the first time in many years. The two paintings by Herbert La Thangue are now reunited for the first time since they were exhibited at the 1904 St Louis International Exhibition as part of the British display.

www.messums.com

Sir Alfred Munnings 1878-1959 PRA
Portrait of Florence Munnings at Sunset
oil on canvas
H 53 x W 61 cm (H 20 7⁄8 x W 24 in)

Paul Durand-Ruel

May1

Inventing Impressionism, Sainsbury Wing, National Gallery, London, until 31st May 2015
“Without him”, said Monet, “We wouldn’t have survived.” In a way that is all that needs to be written about this wonderful exhibition.

Photograph of Paul Durand-Ruel in his gallery, taken by Dornac, about 1910
Archives Durand-Ruel © Durand-Ruel & Cie

The “him” is the art dealer Paul Durand-Ruel (1831-1922) who through his unflinching support of the Impressionist artists he discovered in the early 1870s – Monet, Pissarro, Degas and Renoir, can be seen as a founder of the international art market we know nowadays.

Hilaire-Germain-Edgar Degas
Horses before the Stands, 1866-8
Oil on paper, glued onto canvas
46 x 61 cm
Paris, Musée d’Orsay, bequeathed by Count Isaac de Camondo, 1911
RF 1981
© RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski

What makes this show is that a great many of the eighty-five works on view passed through Durand-Ruel’s hands as a dealer. He was certainly supportive of these artists in the early decades despite the opposition of the established art market.

Berthe Morisot
Woman at Her Toilette, 1875-80
Oil on canvas
60.3 x 80.4 cm
© The Art Institute of Chicago, Illinois, Stickney Fund, 1924.127

His backing of them was not only as a dealer as he also collected and displayed the works in his home. This show takes us along the path he followed as a dealer and culminates in the 1905 exhibition in London’s Grafton Galleries which had a mind-blowing three hundred and fifteen paintings and remains the largest-ever Impressionist show. It bears witness to Durand-Ruel’s status in the art world and celebrates the hard work and energy he put into supporting the Impressionists.
I shall use the words of an 89 year old Durand-Ruel to finish: “At last the Impressionist masters triumphed … My madness had been wisdom. To think that, had I passed away at sixty, I would have died debt-ridden and bankrupt, surrounded by a wealth of underrated treasures…”

Thank goodness for his faith and vision!

Claude Monet
Poplars in the Sun, 1891
Oil on canvas
93 × 73.5 cm
The National Museum of Western Art, Matsukata Collection, Tokyo
P.1959-0152
© National Museum of Western Art, Tokyo

http://www.nationalgallery.org.uk

Trinity House: ICONS & IMPRESSIONISM

Nov22

Russian Icons: Spirit and Beauty, Jan Morsink Ikonen at Trinity House, 50 Maddox Street, London W1, Saturday 22 November to Thursday 27 November 2014.

Annunciation, Russia, Stroganov, circa 1600, 31 x 26.5 cm ©

This is the second time that the Amsterdam-based icon experts Jan Morsink Ikonen will exhibit in London – regular readers may recall that I wrote about them last year.

Simon Morsink explains that for this year’s show, which is part of Russian Art Week, they “are showing excellent examples of the various schools’ high quality painting reflecting the deep spirituality and beauty of Russian and Greek orthodox art.”

Madre della Consolazione Veneto-Cretan, early 16th century, 26 x 20.5 cm ©

Among the highlights is a rare pair of Russian Royal Doors, dating from the first half of the 17th century and from the Volga Region. These doors are the central two panels of an iconostasis, the screen between the nave and sanctuary. They are called ‘Royal’ because during the celebration of the liturgy it is believed that Jesus Christ, the King of Glory is carried through them in the form of the chalice with the body and blood of Christ. The Gospel is also proclaimed from them.

Opening hours: Saturday and Sunday: 2 pm – 6 pm, Monday to Thursday: 11 am – 6 pm

Royal Doors Russia, Volga Region, first half 17th century, 154.5 x 70 cm ©

http://www.russianartweek.co.uk

http://www.morsink.com

_________________________

Impressionism: Spirit and Beauty, Trinity House, 50 Maddox Street, London W1, 22nd November to 6^th December 2014.

Well-known as specialists in Impressionist, Post-Impressionist and 19th century works of art Trinity House is exhibiting these paintings alongside the Russian and Greek Icons mentioned above.

PIERRE AUGUSTE RENOIR (1841-1919)
Portrait de Femme (Gabrielle Renard, 1912
Signed centre right
Size: 51.4 x 41.3 cm (20¼” x 16 ¼”), 1912
©

The gallery’s Simon Mills says “The aim of this show is to juxtapose these two very diverse painterly styles to highlight how they can, in fact, work alongside one another in harmony. By displaying the two approaches to painting together, the viewer is better able to understand the qualities and active decision-making behind each style through observing the differences and merits found in each.”

GUSTAVE LOISEAU (1865-1935)
Le Quatorze Julliet à Paris, 1925
Oil on canvas
Size: 59.7 x 48.9 cm (23½” x 19¼”)
Signed and dated lower right
©

Among the pictures on view is a powerful charcoal drawing by Edgar Degas – Dancer (Préparation en dedans). Dating from around 1885, it was included in the 2011 Degas Exhibition at London’s Royal Academy.

HILAIRE-GERMAIN- EDGAR-DEGAS (1834 – 1917)
Dancer (Préparation en dedans), c.1885
Charcoal on paper
Size: 33.50 x 22.75 cm (13¼” x 9”)
Inscribed by the artist and stamped
©

http://www.trinityhousepaintings.com

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