During many years, I went to the front of you on the occasion of many Art events. To day, we did not envisage to take part in forthcoming Salon. We will make use of this short heading to give you the dates of the next event to which we will take part. I shall see you soon!
* We integrated an only new artist into our main list during this second update 2013: Pierre-Yves Le Duc. We also introduced the works for eigh artists for which we will not give the usual information (biography, books, catalogues raisonnes, etc.): ro Boetti, Carlos Cruz-Diez, Francesco Franco, Gualtiero Nativi, Giacomino Rosso, Sergio Sarri, Takeshi Takahara and Kim Tschang Yeul. While waiting for new discoveries. . . - in two and a half months (in June 17th, 2013) - to propose to you, in general between 200 and 300 new works with each update !
* Since every page of « Notes of biography » of artist (309), don't forget that you can go to all the 309 posters or the 309 stamps shown on our site. It is about our way of honouring galleries of yesterday and today, and the artists !
* You will currently find 142 pages "Homage to. . ." (“+” in English and French language for the moment !) and a heading (in french), “A tomb for the artists of the XX° century”, was created, gathering the whole of our homages pages.
* All our pages of detail of works, in the long term, will be supplemented by a small text of introduction, "Context of the work" (under development on the French website), which will enable you to locate this one in the globality of the artist work. Our goal is to give you information as much as possible.
* The translations of the 309 French “Notes of biography” and of the 340 texts of introduction are finished in the four other languages of our site (English language, Italian, Spanish and German). Thank you to Marie (who works on English), Sara, Françoise and Gilbert, our nice translators!
* Every day, we currently work on the realization of new improvements which will come to fit very soon in our website or in the creation of new services. New one icon appeared in the menu of our site a few months ago: it was a question of teaching to you the creation of our service " Art Prints ", application of mchampetier.com for all the smartphones; our web site was specially studied for a practical consultation from your mobile phones. Since two months, the application " Art prints " - in a slightly different version - is also present in Apple Store. We are persuaded that you will appreciate this new service. We are particularly proud to offer since our update of February 2011, the "The Ladies of my street” (accessible by clicking on the image at the bottom of the general menu) which proposes a support to some older people.
In this new update, you will find a new section (in this page) : « Small tale(s) of secret madness » ; We wanted to give to François Chevalier, journalist and art critic (old founder and editor of « Chroniques de l'art vivant »), a little space of writing and thinking as we thought, with a mixture of malice and strength, to be a storyteller exciting-passionate about art.
* One year ago, we created the new heading “How to ship prints” (accessible since the heading “Contact”), where you will discover two small films which will help you to know the best way of packing a print.
* The number of our “Complete works” (see this heading) was not increased since our previous update (in February, 2013). All the books presented are in gallery for our personal documentation. Do not hesitate to request information to us! Since a few months, we have started the translation of our texts of the "Complete works”. Thank you to Ferdinando (183/453 for Italian) and Françoise (347/453 Spanish).
* Pages of presentation of our site in Russian, Swedish, Portuguese, Norwegian and Dutch languages are accessible since the general gate from mchampetier.com. Other languages will come soon to supplement the presentation of our site.
* The Champetier Gallery is happy to announce the production and the online publishing of the « Pierre Cayol Graphic's Work Catalogue Raisonné - 1950-2012 », available for consultation since six months on our site. It represents one of the very first of its kind and we hope you will enjoy its visit. By clicking on the following link you will be immediately directed to : CR Pierre Cayol.
* We are realizing the Roger Platiel's graphic work catalogue raisonné (doubtless about 200 prints), engraver died in 1978 and which worked in Paris in the Atelier 17 of Stanley William Hayter. We receive a lot of friendly help of his close relations. All the persons susceptibles to make us their contribution are of course welcome, in particular those of you who possess one or several Roger Platiel's prints in their collection.
* We are happy to indicate you the birth of a new gallery: the Gallery Artemper of Pierre-François Albert. The Gallery is situated in Paris in the fourteenth district (11, Rue Boulard / Métro Denfert-Rochereau). We wish a long life and success to Artemper. The Gallery opens on April 5th with an exhibition which united Stanley William Hayter and Hector Saunier.
* The success of our website is always growing; we are happy to note that our efforts are crowned by so many visitors, so much of contacts and so much of messages of friendship.
* All our team is happy to present to you this second update of year 2013, by hoping that you will take as much pleasure to discover it than we had to build it.
We wanted to give it a little space of writing and thinking as we thought, with a mixture of malice and strength, to be a storyteller exciting-passionate about art.
Journalist and art critic, then producer at France Culture and collaborator at Aimé Maeght Gallery and Foundation, François Chevalier was the founder and editor of "Chronicles of the living art", before dedicating himself logically to the visual art of the twentieth century by excellence: the cinema. He is the author, in 2010, of "The society of self-contempt - From the urinal Duchamp to the suicides of France Telecom", published by Gallimard.
Finally, each work of Giacometti is a miracle. Less by his exceptional quality that by the risk that the character of his author takes. To see his work, let it be it drawing or sculpture, one might wonder if he really wanted to complete the outline of the face emerging from a raging crayonning which could equally well be interpreted as a refusal to reveal this picture, an attempt to remove it from the creation, push into the nothingness from where his hand was out against his will. For each work seemed to lead a fight against himself, against an untold "forbidden to create" that was the transgression of the one true goal of his art. That would explain the strange indifference he might have in the outcome of this struggle when, after hours of mixed block of clay into a head, he gave up for lunch. There stood the greatest danger. If Diego, his brother, was not in the studio on his return to convince him the head left on the kitchen table was worth (if he had not hidden it to forget about it) Alberto, never happy with what he did, triturated again without mercy the already carved clay, destroying, to make another one, which would have been for us a masterpiece. This suggests that in the absence of Diego, would have remained, with luck, only one work of Giacometti, as the act of sketching and endless grind seemed more important to him than its final purpose.
Click on the dates to see previous "Small tale(s) of secret madness".
In this tiny section which will be growing after each new update, a short commentary or witty opinion, written or told by an artist will be suggested. To think about it for pleasure and fun!
"I will never be a serious rival for anyone. I have other fish to fry."
Click on the dates to see previous Personal views.
The short movies presented here for each of our gallery updates have been conceived and realized by Eric Andréatta. Self-taught artist, Eric paints, sculpts and imagines systems. With his mischievous look, the man is warm, brimming with offbeat humor, always ready for punchy words when regarding our daily life. Here, we are talking about aerodynamics and rocket propulsion.
Click on the dates to see previous Firecrackers time.
Our friend Kees passed away a few months ago... In memory of his kindness and humorous look on things of life, we keep here his past columns.
Cultivating a garden since always, with the pleasure of sharing, Kees travels (in our vast Europe) from museums to exhibitions, discovering here or deepening there, from galleries to foundations, going from one to the other with the eye and heart wide open, ready to be surprised or confused. We deliver here every two months, an impression, a feeling, pleasure or anger (why not?), a memory or thought, a few words written on a postcard for you.
Picasso! His name alone causes me to have countless memories of paintings, drawings, prints, sculptures, ceramics, etc. "My"thousand or maybe two thousand works represent only a fraction of more than ten thousand works he left us, I am aware of this. I still have so much to discover, and each year brings its share of surprises. Right now the Van Gogh Museum in Amsterdam, then this summer the Picasso Museum in Barcelona organizes an exhibition on the years 1900-1907; from his first steps in Paris, his blue and rose periods to his Cubist experiments which leads to "Demoiselles d'Avignon" when he is only 26 years. The vitality of the young man, always renewing himself through his work, never leaves him, and for me, these successive renewals characterize his work even more intensely than the emotions themselves they evoke and provoke: emotions of surprise , admiration, joy and sadness. . . Even trying to put my emotions into the background, the real encounter with the Master has not been easy; however I felt a moment of near fascination. Several times each year I go through Arles, where I find the portrait of his mother in 1923 at the Reattu Museum, when she is 63, and he 42. This painting, I like it immediately, she is sitting more or less in profile, looking left, a simple portrait, direct, calm, but also with an extraordinary vivacity which is expressed mainly in her eyes. So I was wondering how the painter had achieved that look so alive, I was suddenly thrown into the creative process: suddenly present. . . in Picasso's studio as he paints the portrait of his mother. I see him standing at his easel, brush in hand, watching his mother, who sat a few feet away on a chair facing a large mirror. This mirror, silent partner of the triangle, stands left of Picasso. And I, standing on the side of this triangle, I still wonder why she looked so alert. I think I can finally reveal this enigma: she sees her beloved son in this great mirror, painting with all his love. It is this love that can be felt even today.
My first steps into the Rietveld house, where my friend lives at the time, date from the time of. . . high school. I remember very clearly. How different from my birthplace house in Art Nouveau style, with rooms of five meters high, suffocated with curtains and heavy furniture. At his home, I went into a house with white walls, in a world of light surrounded by large windows as glass walls, with furniture made of lightweight metal tubing, leather and wood in natural colors. And red, yellow, blue, you ask? Maybe so, but I do not remember. The famous chairs and other furniture belonging to Rietveld that I re-discover years later in museums were probably not practical enough for this large family of eight children. We can again see them, now at the Centre Pompidou in Paris in the major retrospective « Mondrian and De Stijl».
Personally, I feel even more attracted by the work of Mondrian and with whom I would have a real encounter, after that, over time I become increasingly familiar with him. When the opportunity allows, I sit in front of one of his paintings, a few minutes, a quarter of an hour? Other visitors come and go, and I wander around the center of his painting walking back and forth and trying scrutinizing the distance. I love the rhythms of his lines and colors, as he loves music - especially jazz - and dancing with his friends. This vitality is felt in the exuberance of his master pieces, especially those in his later years.
“Victory Boogie Woogie”, painting kept at the Gemeentemuseum in The Hague, is probably the most adventurous; left unfinished in 1944 with his pieces of colored tape, it represents for me a real virtual challenge of trying to bring the work to its term with one own eyes! For my part, I need a good coffee after spending time with it. The “New York City I” of 1942 presented at the Centre Pompidou in Paris is in a different register, a kind of master plan for downtown Manhattan in vertical and horizontal lines, yellow, red and bright blue on white. There is so much light! I feel invited to walk there at my ease, taking the time to enjoy all these roads and colorful woven into the tranquil ambience of this sweet white.
So, I enter the painted world by Mondrian, and I have no difficulty seeing the world through the eyes of the artist: it is in fact the real world in which he lived, as in his studio with its white walls and interchangeable colored panels.
His metamorphosis from apple trees and buildings, moving towards abstraction of reality, removing the details, are they not an intensification rather than a rejection of reality?
It is in 1988 during the great retrospective of his works at the Gemeentemuseum in The Hague, that Mondrian becomes closer. While I admired his fine touches of red in the left corner of the upper part of his “Composition” of 1933, I felt him just behind me; he was looking at this detail of his painting over my shoulder and he whispered in my ear “Yes, fine touches. . . since it is a rose. . . “.
What a beautiful memory. It's getting late now. Where is my bed to dream?
"It was in Arles in 2004, at the Reattu Museum, when for the first time I met a very large spider who lived at that time in the great hall of the first floor with a superb view overlooking the Rhone: my first encounter with Louise Bourgeois and with the mystery of her art. Made of Bronze, and so fragile; its enormous dimensions encompassing almost the entire space, with an incredible lucidity and. . . not at all scary. I stood there and yes, I admit, for a few minutes I dreamed that the animal had enveloped me in its arms and rocked me.
I saw it again some years later in Paris, majestic in the outdoor park of the Tuileries. Yesterday I had the new appearance of a Spider; it was reflected in one of the largest water bodies of the « Gemeentemuseum» in The Hague. This museum has acquired, just a year before the death of Louise Bourgeois, one of her « Cells »: a large cylinder in metal, a sort of cage without birds but with a mirror, a few apron-strings and a body made of twisted fabrics that hang in its middle. I saw, a few months before, in Metz, at the Centre Pompidou, a work of this series; that one also carried the same emotional charge. Frame memories and emotions of the artist's childhood, the subject of the work of art becomes the emotion itself, making visible what is usually not! Places of traces, but also places of the absence.
Yes, for many the art of Louise Bourgeois seems at first alarming, but after becoming impregnated with her work, I allow myself to lead me into her world; and by a form of alchemy, fear becomes compassion and admiration.
Many human forms of Louise Bourgeois have a double sex and this is probably a bridge that leads to the work of Hans Bellmer.
From my first meeting with Hans Bellmer, I remember particularly well my ears red and hot, because even teenager, I lived in a world far less fleshed out with images of naked bodies, which it is commonly the case today.
His erotic drawings with elegant curves, which give a direct view to the scenes of desire, makes us, a priori simple visitors of an exhibition of art, voyeurs despite ourselves. Photographs as well. A doll, made up of elements of a mannequin display: a woman's head with black hair, a female body, two arms and four legs, on the ground in a sort of splits.
I will not deny that at this precise moment when I am writing this postcard, I, Kess, have this doll on my knee, let's say it is rather. . . her picture in the exhibition catalog.
Enough dreaming, time for a last drink before going to sleep.
My first encounter with Chagall in his presentation of the reverse environment painted was held at Chagall Museum in Nice in a special exhibition; how many years ago, I cannot remember! I never forget how he looked at me, calm and free, friendly, but also with a bit of irony, this oval head reversed over his body, paint brushes and palette in hand. On the far right of this painting, Chagall asked me: "What do you find, my dear visitor? "There are moments where you can get lost in the eyes of the other and voila, it happened in those moments of friendly confrontation. Today, I do remember that this gaze came from the face in the corner of a painting by Marc Chagall, which the rest is out of my memory. Obviously, since already for years, I had seen and discovered many of his works, whether painted or drawn, his ceramics and mosaics, his ceiling of the Opera. What a joy! But through that look-there, he had himself personally approached me. His warm soul, what a joy! When I visited the exhibition "Upside down, the inverted world of Chagall" at the Chagall Museum in Nice last week, it was again a happy experience to see these beautiful works, but that paint with the look that disrupted me. . . was not there. This meeting is likely to remain unique. And now it's time for dinner! Sincerely yours. Kees"
Click on the dates to see previous Kiss from Kees.