Lot n° 160
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Quelques sculpteurs parisiens, Follement drôle, Rien à voir - Lot 160
Quelques sculpteurs parisiens, Follement drôle, Rien à voir & Le Paris de Dufy Quelques sculpteurs parisiens de la première moitié du XVIIe siècle (2021)
The sculptors of the first half of the 17th century, before the blossoming of Versailles court art, are still too often overlooked. However, the prestigious creations and monuments of the king's sculptors in Paris during this period, who often had close family ties, bear witness to the vitality of French sculpture after the second Fontainebleau School. Geneviève Bresc-Bautier, Honorary Director of the Sculpture Department at the Musée du Louvre, is a leading specialist in this period, and has devoted part of her career to this theme. To coincide with the tribute paid to her at Fine Art Paris 2021, this book presents a selection of her best articles on the subject.
Wildly funny: Wahnsinnig komisch (2020)
For the first time in their history, the Musée d'Art et d'Histoire de l'Hôpital Sainte- Anne (MAHHSA) in Paris and the Prinzhorn Collection at Heidelberg University Hospital are joining forces. A unique theme has been devised to bring together works from both collections: humor. In fact, wit, jokes and caricature are common to both collections. The aim is to show that "madness" does not necessarily go hand in hand with "drama", and that some artists who have been ill can handle nonsense and derision with talent, distancing and wit.
Nothing to see here: When creation escapes the symptom - La collection Sainte-Anne (2019)
As soon as a genuine interest arises in works created by people who, at some point in their lives, have encountered psychic or psychiatric problems, questions emerge, conceptual confusions multiply and beliefs assert themselves. In the 1950s and especially the 1960s, psychiatrists believed that the works created by their patients could only reflect their pathology. Through the work of thirteen artists from the Sainte-Anne Collection, this book questions the processes involved in reading these works, which, beyond the symptom, are representative of the artistic currents of their time.
Dufy's Paris: Duy's Paris (2021)
Like most modern artists who settled in Paris in the first half of the 20th century, Raoul Dufy was not a "Parisian by birth". Originally from Le Havre, he left his Normandy home at the age of twenty-three. His explorations soon led him to Montmartre, where he set up his studio. From the summit of the Butte, he discovered the Parisian panorama, transcribing in his first painting of 1902 the swirling lines of roofs and chimneys, bristling with the silhouettes of tall buildings and famous monuments that mark and signal the uniqueness of this urban landscape. From elevated vantage points, both real and imaginary, and right up to the end of his life, he would use all kinds of media, for all kinds of uses and purposes, and in all kinds of formats, to present the infinite variations of Paris in the 1930s, seen from above. in fine 2019-2021
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