Pierre Bonnard na Fondation Beyeler

Pierre Bonnard Le Cabinet de toilette, 1932 The Bathroom Oil on canvas, 121 × 118.2 cm The Museum of Modern Art, New York, Florene May Schoenborn Bequest 1996 photo: © 2012, The Museum of Modern Art, New York / Scala Florence © 2012, ProLitteris, Zurich



Pierre Bonnard 29,01. - 2012/05/13

Com a exposição "Pierre Bonnard", a Fondation Beyeler comemora o grande colorista francês e um dos mais fascinantes artistas modernos.



With the exhibition “Pierre Bonnard”, the Fondation Beyeler celebrates the great French colorist and one of the most fascinating of modern artists.






Bonnard in the garden George Besson, 1942 Photo: © Archives Besson, Besançon



Mais de 60 pinturas de renomados museus e coleções particulares fornecem informações sobre todas as fases de sua carreira.

More than 60 paintings from renowned museums and private collections provide insight into all phases of his career.





Pierre Bonnard La Partie de croquet, 1892 The Croquet Game Oil on canvas, 130 × 162.5 cm  Musée d‘Orsay, Paris Photo: © RMN, Musée d‘Orsay / Hervé Lewandowski © 2012, ProLitteris, Zurich



Pierre Bonnard (1867 - 1947) foi um co-fundador do grupo de artistas conhecidos como os Nabis, que admiravam o estilo de Paul Gauguin e as estampas japonesas.

Pierre Bonnard (1867 – 1947) was a co-founder of an artist‘s group known as the Nabis, who admired the style of Paul Gauguin and Japanese woodblock prints.





Pierre Bonnard Place Clichy, 1906–07 Oil on canvas, 102.1 × 116.6 cm private collection © 2012, ProLitteris, Zurich

Em Paris, Bonnard mostrava a agitada vida nas ruas e nos cafés, antes de se retirar para a Normandia, muito perto do jardim de Monet, e posteriormente para a ensolarada Côte d'Azur, onde ele foi inspirado pela luz e pelas cores do ambiente mediterrânico.

In Paris, Bonnard depicted the bustling life on the streets and in the cafés, before retiring first to Normandy, very close to Monet‘s water-lily garden, then to the sunny Côte d‘Azur, where he was inspired by the light and colors of the Mediterranean environment.






Pierre Bonnard Le Cabinet de toilette au canapé rose (Nu à contre-jour), 1908 The Dressing Room with Pink Sofa (Nude in Contre-Jour) Oil on canvas, 124.5 × 108 cm Musées royaux des Beaux-Arts de Belgique, Brussels Photo: © Musées royaux des Beaux-Arts de Belgique, Brussels / J. Geleyns / http://www.roscan.be/ © 2012, ProLitteris, Zurich

Experimentando continuamente, ele produziu variantes em combinações de cores sempre novas e surpreendente pontos de vista sobre temas da vida quotidiana, onde o tempo só parece ter parado na aparência.

Continually experimenting, he produced variants in ever-new color combinations and from surprising points of view on subjects from everyday life, in which time only apparently seems to stand still.




Pierre Bonnard Fenêtre ouverte sur la Seine (Vernon), 1911–12 Open Window towards the Seine (Vernon) Oil on canvas, 78 × 105.5 cm Musée des Beaux-Arts de Nice Photo: Muriel Anssens © Ville de Nice © 2012, ProLitteris, Zurich


A modelo preferida do artista era a misteriosa Marthe, sua musa e mulher.
The artist‘s favorite model was the mysterious Marthe, his muse and wife.






Pierre Bonnard Place Clichy, 1912 Oil on canvas, 138 × 203 cm Musée national d‘Art moderne, Centre Georges Pompidou, Paris, Deposit at the Musée des Beaux-Arts et d‘Archéologie, Besançon, Donation Adèle and George Besson 1963 Photo: © Centre Pompidou / Musée National d’art moderne / Charles Choffet / Musée des Beaux-Arts et d’Archéologie, Besançon © 2012, ProLitteris, Zurich



Bonnard criou harmoniosas naturezas-mortas, interiores enigmáticos, nus femininos intimistas, auto-retratos emocionantes, paisagens e decorativas, e sua magnífica paleta é única na arte moderna.

Bonnard created harmonious still lifes, enigmatic interiors, intimate female nudes, moving self-portraits, and decorative landscapes whose magnificent palette is unique in modern art.




Pierre Bonnard La Symphonie pastorale (Campagne), 1916–1920 Pastoral Symphony (Landscape) Oil on canvas, 130 × 160 cm Musée d‘Orsay, Paris, Donation Fondation Meyer 2009 Photo: © Musée d’Orsay, Dist. RMN / Patrice Schmidt © 2012, ProLitteris, Zurich 

 




Pierre Bonnard Décor à Vernon (La Terrasse à Vernon), ca. 1920/1939 The Terrace at Vernon Oil on canvas, 148 × 194.9 cm The Metropolitan Museum of Art, New York Gift of Florence J. Gould 1968 Photo: bpk / The Metropolitan Museum of Art, New York © 2012, ProLitteris, Zurich




Pierre Bonnard La Nappe blanche, 1925 The White Tablecloth Oil on canvas, 100 × 109 cm Von der Heydt-Museum Wuppertal Photo: Von der Heydt-Museum Wuppertal © 2012, ProLitteris, Zurich




Pierre Bonnard Baignoire (Le Bain), 1925 The Bath Oil on canvas, 86 × 120.6 cm Tate, presented by Lord Ivor-Spencer-Churchill through the Contemporary Art Society 1930 Photo: © 2012, Tate, London © 2012, ProLitteris, Zurich




Pierre Bonnard La Table de travail, 1926/1937 Work Table Oil on canvas, 121.9 × 91.4 cm National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon 2006 Photo: Courtesy National Gallery of Art, Washington © 2012, ProLitteris, Zurich




Pierre Bonnard Autoportrait (Le Boxeur), 1931 Self-Portrait (The Boxer) Oil on canvas, 54 × 74.3 cm Musee d‘Orsay, Paris, Donation Philippe Meyer 2000 Photo: © RMN, Musée d‘Orsay / Michèle Bellot © 2012, ProLitteris, Zurich




Pierre Bonnard Grande Salle à manger sur le jardin, 1934–35 Dining Room on the Garden Oil on canvas, 126.8 × 135.3 cm Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection, by gift Photo: Solomon R. Guggenheim Museum, New York © 2012, ProLitteris, Zurich





Pierre Bonnard La Grande Baignoire (Nu), 1937–1939 The Large Bathtub (Nude) Oil on canvas, 94 × 144 cm Private collection Photo: © Volker Naumann © 2012, ProLitteris, Zurich

http://www.fondationbeyeler.ch/

Foi este Testamento: Amor, Arte e Política na década de 1980

Lari Pittman, The Veneer of Order, 1985. The Broad Art Foundation, Santa Monica. Photo: Douglas M. Parker Studio, Los Angeles.


Vida, Morte, Amor, Arte, Política, Antropologia Cultural na década de 1980
Museu de Arte Contemporânea de Chicago
11 fevereiro - 3 junho, 2012






Jimmy De Sana, Marker Cones, 1982. Jimmy De Sana Trust.



 A década de 1980 - desde a eleição de Ronald Reagan até a queda do Muro de Berlim - foi uma década de transformação na arte, na música e na política.

The 1980s — from the election of Ronald Reagan to the fall of the Berlin Wall — were a transformative decade for art, music, and politics.





Allan McCollum, Collection of Ten Plaster Surrogates, 1982-1991. Harvard Art Museums/Fogg Art Museum, Richard Norton Memorial Fund. Photo: Imaging Department © President and Fellows of Harvard College.




Foi este Testamento: Amor, Arte e Política na década de 1980: Amor, Arte e Política na década de 1980, inclui mais de 150 obras que representam a diversidade e a complexidade da arte produzida durante esta década tumultuada em que o mundo da arte mudou entre radicais e conservadores, despreocupados e polítizados, sinceros e irreverentes.

This Will Have Been: Art, Love, & Politics in the 1980s, includes over 150 works that represent the diversity and complexity of art produced during this tumultuous decade when the art world shifted between radical and conservative, lighthearted and political, sincere and irreverent.






Isaac Julian, Looking for Langston, 1989. By arrangement with British Film Institute, London.


Foi este Testamento: Amor, Arte e Política na década de 1980 oferece uma visão geral da produção artística na década de 1980, dividido em seções temáticas, situando o momento atual na história da arte do passado recente.


This Will Have Been offers an overview of the artistic production in the 1980s, divided into thematic sections, while situating the contemporary moment within the history of art of the recent past.




Tony Tasset, Button Progression, 1986. Collection Museum of Contemporary Art Chicago, gift of Thea Westreich. © 1986 Tony Tasset. Photo: Nathan Keay. © MCA Chicago.










Mike + Doug Starn, Christ (Stretched), 1985-86. Collection of Stephen Mindich and Maria Lopez.




No nível mais profundo, Foi este Testamento: Amor, Arte e Política na década de 1980 moldado por dois fenômenos que emolduraram a década de 1980: o feminismo e a crise da AIDS.

At the deepest level, This Will Have Been is shaped by two phenomena that frame the 1980s: feminism and the AIDS crisis.





Richard Prince, Untitled (man's hand with cigarette), 1980. Rubell Family Collection.



Dentro desta visão maior, a exposição encontra desejo - ao invés de cinismo ou ironia -como sendo o tom real da década.

Within these larger outlines, the exhibition finds desire – rather than cynicism or irony — to be the real tenor of the decade.

Donald Moffett, Call the White House, 1990. Courtesy Marianne Boesky Gallery and the artist.

 

Mary Heilmann, Tehachapi #2, 1979. Collection of David Doubilet, Toronto. © Mary Heilmann. Image courtesy of the artist; 303 Gallery, New York; and Hauser & Wirth.

 


Por tudo isso, a exposição mostra artistas que se esforçam para articular suas vontades, necessidades e desejos, num mundo cada vez mais materialista.

Through it all, the exhibition shows artists striving to articulate their wants, needs, and desires, in an increasingly material world.

Richard Prince, Untitled (cowboy), 1987. Rubell Family Collection.

Isaac Julian, Looking for Langston, 1989. By arrangement with British Film Institute, London



Reaganomics levou a uma expansão dramática da arte como mercadoria de luxo, enquanto por outro lado, o surgimento do pós-modernismo mudou o sentido do papel dos artistas na sociedade e questionou ainda o verdadeiro status da representação.

For example, Reaganomics led to a dramatic expansion of art as a luxury commodity; while conversely, the rise of postmodernism shifted artists’ sense of their role in society and further questioned the very status of representation.


 

Candy Jernigan, Ten Kinds of Beans, Oct 26, 1986. Courtesy of the Candy Jernigan Foundation for the Arts, Inc. Photo: Meghan McInnis.


Pessoas de cor, as mulheres, os artistas gays buscaram ativamente um fim da hegemonia cultural; a fotografia desafiou a primazia da pintura e escultura, e a crise da AIDS / HIV politizou uma amplo ruptura transversal da comunidade de arte, e a ascensão da globalização dobrou os sinos de finados no estado de Nova York como o "centro" único do mundo da arte.

People of color, women, and gay artists actively sought an end to cultural hegemony; photography challenged the primacy of painting and sculpture; the toll of the AIDS/HIV crisis politicized a broad cross-section of the art community; and the rise of globalism sounded the death knell of New York’s status as the sole “center” of the art world.






Jimmy De Sana, Seashells & Eggshells, 1982. Jimmy De Sana Trust.



A exposição está dividida em quatro seções temáticas: O fim está próximo, a democracia, o problema do gênero, e os desejos e anseios.

The exhibition is further divided into four thematic sections:The End Is Near, Democracy, Gender Trouble and Desire and Longing.



 
Eric Fischl, Portrait of the Artist as an Old Man, 1984. San Francisco Museum of Modern Art, Gift of Collectors Forum in honor of the 50th Anniversary. © Eric Fischl.

James Welling, Island, 1981. Courtesy of the artist and Regen Projects. Photo: courtesy Regen Projects, Los Angeles, © James Welling





Deborah Bright, Dream Girls, 1989-90. Courtesy of the artist, Rhode Island © Deborah Bright.





General Idea, AIDS Wallpaper, 1989. Image courtesy of AA Bronson.





Robert Mapplethorpe, Man in Suit, 1980. © Robert Mapplethorpe Foundation.





Deborah Bright, Dream Girls, 1989-90. Courtesy of the artist, Rhode Island © Deborah Bright.





Robert Mapplethorpe, Ajitto, 1981. © Robert Mapplethorpe Foundation.





Felix Gonzalez-Torres, "Untitled" (Perfect Lovers), 1987-1990. © The Felix Gonzalez-Torres Foundation. Wadsworth Atheneum Museum of Art, Hartford, Connecticut, U.S.A. Gift of the Norton Family Foundation. Photo: Wadsworth Atheneum Museum of Art / Art Resource, NY.





Tony Cragg, St. George and the Dragon, 1985. Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection. Photo © MCA Chicago.





Deborah Bright, Dream Girls, 1989-90. Courtesy of the artist, Rhode Island © Deborah Bright.

Gerhard Richter, Said, 1983. Harvard Art Museums/Busch-Reisinger Museum, Gift of Lufthansa German Airlines. Photo: Imaging Department, © President and Fellows of Harvard College.

Laurie Simmons, Blue Living Room, 1983. Courtesy of the artist.





Cildo Meireles, Desaparecimentos (Disappearances), 1982. Collection of Catherine de Zegher, Belgium. © Cildo Meireles, courtesy Galerie Lelong, New York. Photo: João Bosco.





Jeff Koons, Rabbit, 1986. Collection Museum of Contemporary Art Chicago. © 1986 Jeff Koons. Photo: Nathan Keay, © MCA Chicago.





Albert Oehlen, Selbstportrait mit verschissener Unterhose und blauer Mauritius (Self-Portrait with Shitty Underpants and Blue Mauritius), 1984. Private Collection, courtesy of Galerie Max Hetzler, Berlin.





Dotty Attie, An Eminent Painter, 1989. Collection of Jennifer McSweeney. Courtesy of the artist and P.P.O.W Gallery.





Dotty Attie, An Eminent Painter, 1989. Collection of Jennifer McSweeney. Courtesy of the artist and P.P.O.W Gallery.





Adrian Piper, My Calling (Cards) #1 & #2, 1986-90. Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, Museum purchase, The Dorothy Johnston Towne (Class of 1923) Fund. © Adrian Piper Research Archive Foundation, Berlin.




Robert Mapplethorpe, Derrick Cross, 1983. © Robert Mapplethorpe Foundation.



Group Material, Untitled, 1991. Collection Museum of Contemporary Art Chicago, gift of Mr. and Mrs. Thomas H. Dittmer. © 1991 Group Material. Photo: Nathan Keay, © MCA Chicago.





Steven Prina, Exquisite Corpse: The Complete Paintings of Manet 161 of 556, Nature Morte, Brioche, Fleurs et Fruits (La Brioche Fleurie) (Still-life, Brioche, Flowers and Fruit) 1870 Private Collection, New York, August 16, 1993. Andrew Witkin, Jamaica Plain, Massachusetts, courtesy of Barbara Krakow Gallery, Boston.





Isaac Julian, Looking for Langston, 1989. By arrangement with British Film Institute, London.



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