MONET chagall Voyages en Méditerranée - RENOIR - Culturespaces
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
PRESS KIT
DOSSIER DE PRESSE
MONET RENOIR
chagall Voyages en Méditerranée
Réalisation Gianfranco iannUZZi - renato Gatto - MassiMiliano siccarDi
adaptation cUtback
5 févR.
5 FEB.2021
2021 -- 22 janv. 2022
JAN. 2022
YVES KLEIN L’infini bleu (programmE court)
Pierre-Auguste Renoir : Bal du moulin de la Galette, 1876, huile sur toile, 131 x 175 cm, Musée d’Orsay, Paris © Bridgeman Images ; Claude Monet : Camille Monet et un enfant au jardin (détail), 1875, Museum of Fine Arts, Boston : © akg- images ; Pierre-Auguste Renoir : Le Lavandou (détail), 1894, huile sur toile, collection privée ; Claude Monet : Femme à l’ombrelle tournée vers la droite (détail), 1886, huile sur toile, 131 x 88 cm, Musée d’Orsay, Paris ; Antibes (détail), 1888, huile sur toile, 65,5 x 92,4 cm, Samuel Courtauld Trust, The Courtauld Gallery, London ; Palmier à Bordighera (détail), vers 1884, huile sur toile, 61,3 x 74 cm, collection privée, Photo © Lefevre Fine Art Ltd., London - pour tous les visuels précédents : © Bridgeman Images.© Culturespaces / Nuit de Chine © Culturespaces / Nuit de Chine 2 –Press kit – Bassins de Lumières
CONTENTS
The Bassins de Lumières.................................................................................................................... 4
2021 programmation................................................................................................................................. 5
‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’.................. 6
THE ITINERARY OF THE IMMERSIVE EXHIBITION............................................... 7
Key dates........................................................................................................................................................... 21
Yves Klein, Infinite blue.......................................................................................................................... 23
The Cube : contemporary creations............................................................................................ 27
Sponsors .......................................................................................................................................................... 30
The Culturespaces Foundation....................................................................................................... 32
Press images.................................................................................................................................................. 33
Plan........................................................................................................................................................................ 41
Practical information................................................................................................................................ 42
Press kit – 3
The Bassins de Lumières Created by Culturespaces and located in Bordeaux’s former submarine base, the Bassins de Lumières present monumental immersive digital exhibitions devoted to the major artists in the history of art and contemporary art. Since 2020, June 10, it is the largest digital art centre in the world: the submarine base’s surface area is three times the size of that of the Carrières de Lumières in Les Baux-de-Provence and five times that of the Bassins de Lumières in Paris. SEVERAL IMMERSIVE DIGITAL EXHIBITIONS PRESENTED SIMULTANEOUSLY - around the four enormous basins is presented a continuous cycle of immersive digital exhibitions alternating between a long exhibition, devoted to the major artists in the history of art, and a shorter exhibition devoted to more contemporary works. The Citerne immersive, a new 7-metre-high area with a surface area of 155 m2, is a place where you can sit and lie down to discover the digital exhibitions differently. -in Le Cube, a 8-metre-high area with a surface area of 220 m2, devoted to contemporary artists specialising in immersive art, are also be presented works by established and up and coming digital artists. An area devoted to the history of the submarine base: In the centre of the Bassins de Lumières, an area with free admission, created with the help of the Bordeaux art historian Mathieu Marsan, retraces the rich history of the site via 8 panels. Thanks to archive images, extracts from contemporary films, and an amazing projection of a German submarine, visitors are shown the entire history of the base, from its construction during the Second World War until its transformation into a digital art centre. THE BASSINS DE LUMIÈRES: KEY FIGURES - Four 110-metre-long, 22-metre-wide, and 12-metre-deep basins - a total surface area of 13,000 m² -12,000 m² of projection surface - 3,000 m² of itinerary floor space - 90 video projectors and 80 speakers - 100 km of optical fiber 4 –Press kit – Bassins de Lumières
2021 programmation
AROUND THE BASSINS :
- Long programme: ‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’
The new immersive exhibition in the Bassins de Lumières presents visitors with an itinerary that spans the
period between Impressionism and modernism, and which highlights the link between artistic creativity
and the Mediterranean shores, as the principal centres of the modernist movement. The exhibition will
immerse visitors in the masterpieces of twenty artists, including Renoir, Monet, Pissarro, Matisse, Signac,
Derain, Vlaminck, Dufy, and Chagall, amongst others.
By Gianfranco Iannuzzi, Renato Gatto, Massimiliano Siccardi.
CULTURESPACES DIGITAL® Production.
- Short programme: ‘Yves Klein: Infinite Blue’
A native of Nice, Yves Klein loved the Mediterranean sky and was inspired by it to create his first work.
In Yves Klein’s work, colour took on a spiritual and metaphysical dimension. This ten-minute-long
work immerses visitors in the artist’s works, going beyond the famous International Klein Blue (IKB), a
combination of ultramarine pigment and special binder. Amongst other works, visitors will discover the
body prints with his Anthropometries, and nature with his Cosmogonies and his Planetary Reliefs.
A Cutback realisation.
CULTURESPACES DIGITAL® Production.
IN THE CUBE, AN AREA DEDICATED TO CONTEMPORARY WORKS
- « EVERYTHING »
EVERYTHING is an immersive audiovisual experience designed exclusively for Culturespaces. Cut into
three parts, it invites the visitor to observe the elements that surround it as they are, to question their
existence and to consider new possibilities.
10 min
By Nohlab Studio.
- « MEMORIES »
This new creation questions the functioning of the human brain and more particularly its capacity to
record various information and memories. Memory is selective; it sorts, selects and will define what we
are. Memories places the visitor at the heart of this reflection: making the immensity of the world around
us coexist with the place we occupy.
4 min
By Spectre Lab Studio.
CULTURESPACES DIGITAL® Productions;
Digital exhibitions produced under the direction of Bruno Monnier.
Press kit – 5
‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’ 5 FEBRUARY 2021 - 2 JANUARY 2022 A GIANFRANCO IANNUZZI, RENATO GATTO AND MASSIMILIANO SICCARDI CREATION ‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’ presents visitors with an itinerary that spans the period between Impressionism and modernism. After the exhibition devoted to Gustav Klimt, the new digital exhibition highlights the link between artistic creativity and the Mediterranean shores, as the principal centres of the modernist movement. The exhibition immerses visitors in the masterpieces of twenty artists, including Renoir, Monet, Pissarro, Signac, Derain, Vlaminck, Dufy, and Chagall, amongst others. These artists, after departing from Paris, used pure colour as his principal means of expression. In the 1880s, the Mediterranean attracted many artists: abandoning Paris and the northern regions, they flocked to the southern shores, between Collioure and Saint-Tropez. It was at this point that they developed a new approach to the representation of light and colour. All these artists had links with the Mediterranean, either through their origins, or via their stays in the Midi. The digital exhibition shows how their artistic personalities were brought to the fore by these seascapes and how pictorial modernism was invented. In seven sequences lasting forty minutes, visitors are taken from one artistic movement to another: from Impressionism, with Monet and Renoir, to Pointillism with Signac and Cross, and Fauvism with Camoin, Derain, Vlaminck, and Marquet … The immersive exhibition also retraces the fascination of Bonnard and Dufy for the Mediterranean, and eventually focuses on one of the greatest colourists of modern art-Chagall. The unique style of each painter is illustrated: Bonnard’s depth, Dufy’s insouciance, and Chagall’s audaciousness. More than 500 works, which are now held in collections around the world, will fill the Bassins de Lumières with their bright colours and highlight the variations in the works of these great artists on the Mediterranean shores, which inspired them to take their work to its fines expression. This visual and musical creation directed by Gianfranco Iannuzzi, produced by Culturespaces, will cover the floors and walls to a height of twelve metres: bright and powerful colours will fill the entire space, the works will come to life, and emerge line by line, creating the illusion of a mirror of the sea and the dazzling sun. In La Citerne, in the centre of the Bassins de Lumières, the paintings used as a basis for the work of the video makers are presented in their entirety, with their name and the museum in which they are exhibited. A mobile application, available free of charge, enables visitors to discover these works. THE ARTISTIC TEAM CULTURESPACES DIGITAL® production A Gianfranco Iannuzzi, Renato Gatto, Massimiliano Siccardi creation with the musical collaboration of Luca Longobardi Duration: 45 min Gianfranco Iannuzzi: digital artist and director of immersive exhibitions, a pioneer in the creation of immersive artistic installations for 30 years. 6 –Press kit – Bassins de Lumières
THE ITINERARY OF THE IMMERSIVE EXHIBITION
1. IMPRESSIONNISM
The immersive exhibition continues with
wonderful masterpieces by Claude Monet
(1840-1926) and Auguste Renoir (1841-1919),
such as Water Lilies (1914-1926) and Woman
With Umbrella Turned Towards the Right
(1886) by Monet, and the Bal du Moulin de
la Galette (1876) by Renoir. The two artists
initially developed their new approach to
painting on the banks of the Seine.
Renoir moved away from Paris for some
time, accompanied by his friend Monet,
who abandoned his garden in Giverny. They
were captivated by the landscapes and
gardens of the French Riviera.
Between 1883 and 1888, their various
sojourns on the Côte d’Azur provided a
new source of inspiration for their work and,
subsequently, for many other artists. Under
the southern sun, their works became more
colourful and contained a range of luminous
effects.
‘It’s beautiful here, so bright and light!
One swims in blue air, it’s terrifying’
‘I am struggling away at my work and
wrestling with the sun-and what sun.
In order to paint here one would need gold
and precious stones. It’s wonderful.’
Monet – Letter sent to Rodin from Antibes in
January 1888
Claude Monet
Woman With Umbrella Turned Towards the Right, 1886, oil on canvas, 131 x 88 cm
Musée d’Orsay, Paris © Bridgeman Images
Music:
- Introduction et allegro pour harpe, avec accompagnement de quatuor à cordes, flûte et clarinette
Maurice Ravel
- Coppélia - Valse lente, Léo Delibes
Press kit – 7
Hugo d’Alési, Affiche pour le Paris-Lyon-Méditerranée : vacances à Cannes, 1904, lithographie en couleurs, Bibliothèque-Musée Forney, Paris, Photo © Archives Charmet / Bridgeman Images 8 –Press kit – Bassins de Lumières
2. THE MEDITERRANEAN LIGHT
Considered the elder statesman of the Impressionists,
Camille Pissarro (1830-1903) was a key figure in the
movement. He settled in Paris in 1855, where he painted
and frequented Claude Monet and Paul Cezanne.
As of 1857, the PLM train ran from Paris to Marseille via Lyon.
The colourful villages on the Mediterranean coast became
readily accessible and captivated ‘le Tout-Paris’.
Attracted by the light on the southern shores, the painters
painted a whole range of different scenes. From the
Spanish border to the Italian Riviera, each painter found a
place of inspiration for his work: Collioure, L’Estaque, Saint-
Tropez, Antibes, Cagnes, Bordighera, and so on. In these
places, the artists developed an extremely rich chromatic
palette and participated in the development of pictorial
modernism.
During their various sojourns, Monet mainly focused on
Bordighera, on the Italian coast. Renoir preferred the
colours of Cagnes, Grasse, and Cannet. Contributing to
the development of modernism with their Pointillist or ‘neo-
Impressionist’ works, Henri-Edmond Cross (1856-1910) and
Paul Signac (1863-1935) brought about a veritable pictorial
change by creating vivid optical combinations of colours.
Represented via ever more colourful dots, the sea in
Signac’s works is often indistinguishable from the boats,
while in Cross’s works the sea is an integral part of the
David Dellepiane, Poster Advertising Travel to Antibes, Côte d’Azur, With the bucolic landscapes.
French Railway Company P.L.M., 1910, colour lithograph, private collection,
Photo © Christie’s Images/Bridgeman Images
Claude Monet, Garden in Bordighera, Impression of Morning, 1884
oil on canvas, 65.5 x 81.5 cm,
Hermitage Museum, Saint Petersburg, © Bridgeman Images
Press kit – 9
The discovery of the landscapes and light
on the shores of the Mediterranean was
a revelation for the young Henri-Edmond
Cross. At the end of 1883, Cross visited his
parents who were sojourning in Monaco.
He changed his palette of colours and
abandoned portraiture and still lifes. A
precursor of Fauvism, he experimented
with a liberated use of colour in his
landscapes, which influenced artists such
as Henri Matisse (1869-1954).
Signac, who had been living in the South
of France since 1892 and had a passion
for sailing, painted Pointillist landscapes
and entertained many artists at Saint-
Tropez. Increasingly frequented by artists
such as Derain and Matisse, Saint-Tropez
Henri-Edmond Cross, Coastal Landscape, oil on canvas, 54 x 73 cm, private collection, gradually became a fashionable place
© Bridgeman Images and a major tourist destination.
Signac juxtaposed complementary colours and depicted in his works ‘the warm and enveloping
atmosphere of the South of France, where the light penetrates the shade and almost dissolves it’. His
neo-Impressionist canvases, with their luminous colours, influenced the Fauves and the Expressionists.
The Impressionist, Pointillist, and
cubist paintings attest to the artistic
wealth of this period of
French painting.
Music
- Rag Cinema Time, Luca
Longobardi
- Suite Bergamasque , L.75 - 3. Clair
de lune, Claude Debussy
Paul Signac, The Port of Saint-Tropez, 1899, oil on canvas, 65 x 81 cm,
Musée de l’Annonciade, Saint-Tropez, © akg-images
10 –Press kit – Bassins de LumièresPaul Signac, In the Time of Harmony. The Golden Age is not in the Past, it is in the Future
oil on canvas, 312 x 410 cm, Mairie of Montreuil, © akg-images/Erich Lessing
Henri-Edmond Cross, Le Bois ou Nu sous bois (‘The Woods’ or ‘Nude in the woods’), 1906-1907 oil on canvas, 46 x 55 cm
Musée de l’Annonciade, Saint-Tropez, © akg-images
Press kit – 113. THE FAUVES
The veritable revolution in the use of colour reached its height with Fauvism. The painters Charles
Camoin (1879-1965), André Derain (1880-1954), Maurice de Vlaminck (1876-1958), Othon Friesz (1879-
1949), Henri Manguin (1874-1949), Albert Marquet (1875-1947), and Louis Valtat (1869-1952), most
of whom originated from northern France and Europe, were in turn drawn by the climate and the
contrasts between the bright and soft colours of the Mediterranean.
André Derain (1880-1954) joined
Matisse in Collioure in July 1905.
Exposed to the Mediterranean light,
they radically altered the pictorial
codes. They used pure and arbitrary
colours in a series of founding
maritime scenes with red sand
and orange and blue trees. The
landscapes of L’Estaque, Collioure,
and Saint-Tropez were their favourite
subjects.
In the same year, they exhibited
their work at the Salon d’Automne in
Paris: their works caused a scandal
and were called ‘Fauves’ due to the
primitive savagery of their style.
Henri Manguin, The Pine Forest at Cavalière, 1906, oil on canvas, 65 x 81 cm, private collection, ©
Music: Concerto en sol majeur pour akg-images
piano et orchestre, Maurice Ravel
André Derain, The Turning Road, L’Estaque, 1906 oil on canvas, 129.5 x 194.9 cm
Museum of Fine Arts, Houston; museum purchase funded by Audrey Jones Beck, Photo: © Bridgeman Images © Adagp, Paris, 2021
12 –Press kit – Bassins de LumièresPierre Bonnard, Women in the Garden, 1891, oil on paper glued on canvas, 160.5 x 48 cm Musée d’Orsay, Paris,
© Bridgeman Images
Press kit – 13Pierre Bonnard, The Conversation at Arcachon, 1926-1930,
oil on canvas, 56 x 48 cm, Petit Palais, Paris, Girardin bequest, 1953
4. BONNARD
Part of the immersive exhibition is devoted to Pierre Bonnard (1867-1947), who drew inspiration for
his work in his holiday homes and the South of France. Famous for his depictions of intimate interior
scenes, Bonnard was also a landscape painter.
In 1891, he exhibited Women in the Garden at the Salon des Indépendants. The work’s format
and technique are quite unusual: the ensemble, a screen, is composed of four panels. Inspired by
Japanese art and ukiyo-e prints, he used this format with a new support and developed a taste for
arabesques, decorative motifs, and printed fabric. He became known as the ‘Japanese Nabi’ and
enchanted artists such as Henri de Toulouse-Lautrec (1864-1901).
Bonnard also discovered Saint-Tropez and Nice circa 1904. He travelled, often in the company of
Édouard Vuillard (1868-1940), stayed with Henri Manguin in 1909, and became friends with Signac
and Matisse. In a letter to his mother he wrote that what he experienced ‘struck (him) like a Thousand
and One Nights … the sea, yellow walls, reflections as bright as light’ . His canvases were permeated
with a diffuse light, the Canal de la Siagne became his favourite place for walks, and in the 1920s he
moved to Le Cannet.
Music:
Billie Holiday
- Good Morning Heartache, Irene Higginbotham, Ervin Drake, Dan Fisher
- All of Me, Gerald Marks and Seymour Simons
- I Loves you Porgy, George Gershwin and Ira Gershwin
14 –Press kit – Bassins de LumièresRaoul Dufy, Little Bather at Sainte-Adresse, 1932-1933, oil on canvas, 46 x 38 cm
Private collection
© Bridgeman Images © Adagp, Paris, 2021
5. DUFY
Raoul Dufy (1877-1953), called ‘l’enchanteur’ (‘the magician’), was known as a painter of happiness
and joy. He defined himself as a painter of ‘light and colour’. Although Dufy initially found the quality
of light in the marine landscapes of his native Normandy, he also discovered it early on in his career
in the South of France, where he sojourned for the first time at the age of twenty-six. He henceforth
developed an enduring and passionate interest in the Mediterranean landscapes.
Initially influenced by Impressionism, Dufy subsequently became interested in Fauvism: he was
fascinated with the work Luxe, calme et volupté (‘Luxury, calm, and voluptuousness’, 1905) by Matisse
and his works were characterised by bright, intense colours and very bold contours. Dufy was also
tempted by cubism: he sojourned in Marseille and L’Estaque, and, as in Braque’s and Cézanne’s work,
his painting evolved, the forms became more geometric, and the space structured. These phases
marked a period in which the artist flourished; he subsequently developed his own very personal artistic
style, by choosing his own path.
Exposed to the Mediterranean light, a constant source of inspiration, he developed a palette of
endless bright blues. For him, ‘Blue is the only colour that maintains its own character in all of its tones’.
Considered as one of the greatest colourists of his time, Dufy saturated his canvases with explosions
of colour through the intensity of his incredible blues. Concerts, horse races, regattas … everyday life
evaporated in his strokes of colour, which he boldly dissociated from drawing.
Music: Concerto en Fa pour piano et orchestre, George Gershwin
Press kit – 15Raoul Dufy, Baie des Anges, Nice (‘The Bay of Angels, Nice’), circa 1926, oil on canvas, 61.5 x 74 cm, private collection, © Bridgeman Images © Adagp, Paris, 2021
Raoul Dufy, Coucher de soleil (‘Sunset’), Watercolour on paper, 50.2 x 65.6 cm, Leeds Museums and Galleries (Leeds Art Fund), © Bridgeman Images © Adagp, Paris, 2021
16 –Press kit – Bassins de LumièresMarc Chagall, Couple dans le paysage bleu (‘Couple in a blue landscape’), 1969-1971
oil on canvas, 112 x 108 cm, private collection, © Adagp, Paris, 2021 – photo: Marc and Ida Chagall Archives, Paris
6 - CHAGALL
Intense colours can be seen in the paintings by Marc Chagall (1887-1985). The work Couple dans un
paysage bleu (‘Couple in a blue landscape’, 1969-1971) depicts two lovers with Saint-Paul de Vence
in the background, and a powerful, thick blue Mediterranean sky that merges into the blue sea.
This infinite landscape fills the walls and floor of the Bassins de Lumières to the sound of modern and
contemporary music.
The White Russian painter’s highly unique pictorial language found new expression under the hot
Mediterranean sun of the Côte d’Azur and the hinterland of Nice. He discovered the region in the 1920s
and in 1950 he decided to settle and work there, initially in Vence, and subsequently, from 1966 to the
end of his life, at Saint-Paul de Vence.
‘I thank destiny for leading me to the shores of the Mediterranean. If there was a hiding place in my
pictures I would slip into it.’
(Chagall Mediterranean, 1984)
Press kit – 17Chagall was keen to experiment with various techniques and materials in his work and even combined
them in his compositions. Amongst his many experiments, collages that had been used in set models
in Russia at the end of the 1910s enabled him-at the end of the 1950s-to assess the characteristics
of the materials and textures to be transposed, in terms of the tones of the colours and materials, in
preparatory models for monumental works. Visitors will be able to see the whole creative process-from
the preparatory work to the finished work. Pieces of fabric, lace, paper, and plants come to life in the
exhibition space; they are stuck and removed, illustrating the freedom and complexity of the creative
process.
Chagall subsequently received several public commissions for stained-glass windows and monumental
mosaics. The exhibition focuses in particular on the stained-glass windows in the synagogue in the
Hadassah-Hebrew Medical Centre in Jerusalem, with its plant and animal iconography. The preparatory
drawings gradually cover the walls and the structures of the stained-glass windows gradually take
shape, filling the entire exhibition space.
The mosaic in the University of Nice, The Message of Ulysses, an eleven-metre-long work in which Chagall
represented all the episodes from the story of Ulysses-the Mediterranean hero and protégé of Athena-
appears. The tesserae dance on the walls of the Bassins de Lumières and then return to their places in
the artist’s composition. The extremely dynamic effect immerses visitors in a whirlwind of colour.
Marc Chagall, The Message d’Ulysse, 1967-1968, mosaic of 200,000 tesserae composed of marble and stone, including onyx, enamels, glass, and
Murano golds, green minerals, and ores extracted from King Solomon’s copper mines, 3 x 11 m
Faculty of Law and Political Science, University of Nice, photo: François Fernandez
© ADAGP, Paris, 2021
In 1966, Marc and Valentina Chagall donated seventeen monumental canvases from the ‘Biblical
Message’ series to the French State; they were intended to be housed in the first national museum
built for a living artist, inaugurated by André Malraux in Nice in 1973. The film-makers who created the
immersive exhibition went to the Musée Marc Chagall in Nice to take very high-resolution photos of
the ‘Song of Songs’ and ‘Biblical Message’ series. Hence, they have produced close-up images of
the canvases, inviting visitors to discover the complexity of Chagall’s technical process through an
immersion in a highly modernist abstract vocabulary.
18 –Press kit – Bassins de LumièresMarc Chagall, Adam and Eve Being Chased from Paradise, 1961, 190.5 x 283.5 cm,
Musée National Marc Chagall, Nice,
© Adagp, Paris, 2021 – Photo © RMN-Grand Palais (Musée Marc Chagall)/Adrien Didierjean
By dint of a close observation of his work, the visitor is immersed in a bright abstraction of materials
and colours. Chagall’s painting technique, which has been enlarged, appears on the walls of the
Bassins de Lumières in an amazing finale, which invites us to view the essence of his works through a
celebration of materials.
‘Ever since early childhood, I have been captivated by the Bible (…) the greatest source of poetry of
all time. I have continued to seek out its reflection in life and art. The Bible is like a musical vibration of
nature and I have tried to convey that secret’.
(Extract from Marc Chagall’s speech
at the inauguration of the Musée National Message Biblique,
on 7 July 1973)
Music:
- Louis Armstrong , Ella Fitzgerald : Summertime, George Gershwin,
- Janis Joplin : Piece of my heartn, J. Ragavoy & B. Berns / Big Brother & The Holding Company
- John Surman - Not Love Perhaps avec motet à trois voix, Luca Longobardi
- Sergeï Prokofiev – Cinderella - Ballet in Three Acts Op. 87,
Act II: Waltz-Coda (Allegro Espressivo)
Act II: Midnight (Allegro Moderato)
Press kit – 19Marc Chagall, en collaboration avec Charles Marq, Marc Chagall, The Tribe of Zebulun, 1962 Synagogue in the Hadassah-Hebrew Medical Centre in Jerusalem, © ADAGP, Paris, 2021, photo: Yuval Yairi 20 –Press kit – Bassins de Lumières
Key dates
1857: Creation of the P.L.M. railway line (863 KM), linking Paris to Lyon and Marseille. The Côte d’Azur
becomes a tourist destination in the middle of the nineteenth century. Still reserved for the more affluent
classes, it does however attract an increasing number of people to its hotels, casinos, and villas.
1874: First Impressionist exhibition, organised by the Société Anonyme des Artistes Peintres, Sculpteurs et
Graveurs. Works by Pissarro, Renoir, Monet, and Cézanne are presented. Impressionist works feature in
eight public exhibitions in Paris between 1874 and 1886.
1883: Monet and Renoir stay on the Mediterranean coast. Monet subsequently sojourns in Italy.
1886: Seurat exhibits the work Sunday Afternoon on the Island of La Grande Jatte (1884-1886) in
the eighth and last Impressionist exhibition, at the Salon des Indépendants. With this huge painting,
composed of thousands of equal-sized dot-like brushstrokes of pure colour, which contrast with one
another, Seurat founds ‘divisionism’. The art critic Félix Fénéon, an ardent supporter of the movement,
uses the term ‘neo-Impressionism’ for the first time in an article for the Brussels journal L’Art moderne.
As of 1892: Signac sojourns regularly in Saint-Tropez, where he produces paintings such as La bouée
rouge (‘The red buoy’, 1895) and Storm in Saint-Tropez (1895), with bright and luminous colours. Working
with him, and gradually abandoning his geometric approach, Cross also focuses on painting brighter
and more luminous colours. This explosion of colour will later influence the Fauves and Expressionists.
Works by Seurat, one of the most rational of artists, draw the attention of the cubists.
1905: Matisse, influenced by Signac and Cross, paints Luxe, calme et volupté (‘Luxury, calm, and
voluptuousness’). At the Salon d’Automne, he exhibits his work with Marquet, Manguin, Derain, and
Vlaminck. The explosion of pure and violent colours in their works causes a scandal. It is the beginning
of Fauvism: ‘With pure colours we obtained stronger reactions.’ (Matisse)
1909: After exhibiting Women in the Garden at the Salon des Indépendants in 1891, Bonnard spends a
long time with Manguin in Saint-Tropez. He becomes friends with Signac, Maillol, and Matisse.
1925: Dufy sojourns in Nice with his wife. He designs theatre sets and costumes and illustrates books with
lithographs.
1936-1937: Dufy produces La Fée Électricité (‘The good fairy electricity’), the largest painting in the
world, for the Electricity Pavilion at the Exp osition Internationale.
1956: Chagall produces the sets and costumes for the ballet Daphnis and Chloe.
1973: Chagall produces the ‘Biblical Message’ series in Nice.
Press kit – 21DATES OF THE MAJOR ARTISTS: AUGUSTE RENOIR (1841-1919) CLAUDE MONET (1840-1926 CAMILLE PISSARRO (1830-1903) HENRI-EDMOND CROSS (1856-1910) PAUL SIGNAC (1863-1935) PIERRE BONNARD (1867-1947) HENRI MANGUIN (1874-1949) RAOUL DUFY (1877-1953) OTHON FRIESZ (1879-1949) ANDRÉ DERAIN (1880-1954) MARC CHAGALL (1887-1985) Claude Monet, Antibes, 1888 oil on canvas, 65.5 x 92.4 cm, Samuel Courtauld Trust, The Courtauld Gallery, London, © Bridgeman Images 22 –Press kit – Bassins de Lumières
Yves Klein, Infinite blue
SHORT PROGRAM
As a complement to ‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’, an immersive
exhibition produced by CULTURESPACES DIGITAL® echoes this tribute to the Mediterranean. ‘Yves Klein:
Infinite Blue’ focuses on this major twentieth-century artist, who set out to turn his life into a work of art.
This ten-minute-long work immerses visitors in the plurality of the artist’s works, going beyond the famous
International Klein Blue (IKB), a combination of ultramarine pigment and special binder. Amongst other
works, visitors will discover the body prints with his Anthropometries, and nature with his Cosmogonies
and his Planetary Reliefs.
A native of Nice, Yves Klein loved the Mediterranean sky and was inspired by it to create his first work. He
believed that ‘painting is COLOUR’ and he sought to individualise, free, and magnify colour in its purest
form. With Yves Klein, colour took on a spiritual and metaphysical dimension.
In a 1950s Parisian setting visitors are invited into a contemporary art salon in order to view an immersive
exhibition of Yves Klein’s works, which begins with a D Major chord from the ‘Monotone-Silence’
Symphony. Retracing the artist’s career and his immaterial quest, the immersive exhibition presents the
artist’s first works, the Monochromes, which were created in order to express the living world of each
colour, but which were perceived by the general public as a polychromatic ensemble.
Replacing the diversity of colours, a storm of ultramarine pigment fills the exhibition space and takes the
viewers into another world, radiating with colour. It is a vibrant blue called IKB (International Klein Blue),
which became the artist’s signature colour.
Visitors are then immersed in dreamlike landscapes, where gold leaves dance and shimmer, revealing
the spectacular reflections of the Monogolds and Monopinks.
They are then taken into the artist’s studio, where his assistants, whom he called his ‘living brushes’,
move around on the canvas, leaving imprints on it with their bodies. When the studio finally begins to
burn, unique forms literally spring forth on the walls.
With Yves Klein, the destructive power of fire is transformed into a veritable creative power. Shortly
before dying, Yves Klein said to a friend: ‘I’m going to the biggest studio in the world and I’m only going
to produce immaterial works there.’ As a tribute to his fina confession, the immersive exhibition’s finale
takes visitors into an almost immaterial and infinite atmosphere.
Thanks to a selection of 90 works and 60 archive images, ‘Yves Klein: Infinite Blue’ completely immerses
visitors in the subject matter and his artistic sensibility, accompanied by Vivaldi’s stirring and vibrant
music and Thylacine’s electronic rhythms.
THE ARTISTIC TEAM
The immersive exhibition devoted to Yves Klein was made possible courtesy of the Yves Klein Archives
and their invaluable assistance.
CULTURESPACES DIGITAL® production
Cutback realisation
Press kit – 23‘For me, the colours are living beings (…). Colours are the true inhabitants of space.
(...) The monochrome space, the world of pure colour, a free and living world.’
Yves Klein
THE SOUNDTRACK OF ‘YVES KLEIN, INFINITE BLUE’ :
A WORLD OF PURE COLOUR: BODY PRINTS:
- Track: Monochromie (since 2000) Artist: A Silver Mount Zion
Composer: Pierre Henry Track: 13 Angels Standing Guard ‘Round the
- Track: Act1-Typing Music Repeat Side of Your bed’
-Composer: Steve Reich
THE CREATIVE FIRE:
INFINITE BLUE: Track: Le Sacre du Printemps - Le jeu du Rapt
Track: Dad Album: Blend EP Composer: Igor Stravinsky
Composed by: Thylacine
THE IMMATERIAL:
THE ILLUMINATION OF MATTER: Track: An Ending (Ascent)
Track: Cum Dederit (Nisi Dominus) Artiste: Brian ENO
Album: Vivaldi: Nisi Dominius Album: Apollo: Atmospheres and Soundtracks
Composer: Antonio Vivaldi
Performed by: Andreas Scholl
Yves Klein, Untitled Fire-Colour Painting Yves Klein, Do-Do-Do (RE 16), 1960
(FC 17), 1962, pure pigment and synthetic resin on scorched cardboard, 106 x 94 cm, Pure pigment and synthetic resin, natural sponges and pebbles on
Louisiana Museum of Modern Art, Humlebæk, Denmark. Long-term loan: panel, 199 x 165 x 18 cm
Museumsfonden af 7 December 1966 © Succession Yves Klein c/o ADAGP, Paris, 2021 © Succession Yves Klein c/o ADAGP, Paris, 2021
24 –Press kit – Bassins de LumièresYVES KLEIN (1928-1962)
Born in 1928 in Nice, Yves Klein’s initial vocation was judo. In 1954, he decided to practice art and
began his ‘monochrome adventure’.
Driven by the idea of ‘liberating colour from the prison of lines’, Yves Klein focused on painting
monochrome works, because for him it was the only way of painting that made it possible ‘to see what
was visible in the absolute’.
Focusing on the expression of sensibility rather than on figurative forms, Yves Klein went beyond artistic
representations and produced works of art that were ‘traces’ of the artist’s communication with the
world. The idea was to make invisible reality became visible. He defined his work as ‘the ashes of his art’.
In his oeuvre Yves Klein put forward a new conception of the artist’s role. He believed that beauty
existed before the work of art was created, but in an invisible state. His task was to capture beauty
wherever it might be found, in matter as in air. Yves Klein turned his entire life into a work of art: ‘Art is
everywhere that the artist goes’.
Yves Klein used ultramarine as a vehicle in his quest to capture immateriality and the infinite. Waves of
colour radiate from this bluer-than-blue hue-which he called ‘IKB’ (International Klein Blue)-, which not
only engage the eyes of the viewer but also enable us to see with our souls.
From his monochromes to the void, his ‘living brushes technique’ and Anthropometries, his use of natural
elements in order to reveal their creative life force, and his use of gold as a portal to the absolute,
he produced an oeuvre that transcended the boundaries between conceptual art, body art, and
performance art.
Shortly before he died, Yves Klein said to a friend: ‘I’m going to the biggest studio in the world and I’m
only going to produce immaterial works there’.
Between May 1954 and 6 June 1962, the date of his death, Yves Klein burned his life to make a
flamboyant work that marked his era and that still resonates.
© Succession Yves Klein c/o ADAGP, Paris
Simulation : © Culturespaces/Cutback
Press kit – 25Yves Klein, Untitled Colored Fire Painting (FC 21), ca. 1961 Dry pigment and synthetic resin burnt on cardboard, 32 x 85 cm © The Estate of Yves Klein c/o ADAGP, Paris Simulation : © Culturespaces/Cutback illumination de la matière © Succession Yves Klein c/o ADAGP, Paris Simulation : © Culturespaces/Cutback 26 –Press kit – Bassins de Lumières
The Cube : contemporary creations
« EVERYTHING » by NOHLAB
EVERYTHING is a 10 min. immersive audiovisual
experience designed specifically for
Culturespaces, which in three parts observes
everything as it is, questions all this existence
and suggests new possibilities.
We move from elements which construct what
we call our daily lives and ways of ascribing
meanings to things. This leads us to grasp how
the vast system of existence enveloping us
© Culturespaces / Nohlab
is prone to many questions where science,
philosophy and metaphysics converge.
Nohlab is a studio specializing in the production
of interdisciplinary experiences around art,
design and technology.
Duration: 10 min
« MEMORIES » by SPECTRE LAB
The human brain has infinitely more powerful recording capacity than any computer, however, memory
is selective; it sorts, selects and keeps only what it considers potentially useful.
Recognized as one of the main faculties of the human mind, memory will define what we are: it shapes
the contours of our identity. Wanting to keep everything is futile: like sand flowing through your fingers,
there will ultimately only be a residue of our
past experiences. It is this tiny amount of things
that defines who we are.
Memories makes the visitor think about the
immensity of the world and the place we
occupy in it. In total immersion in a flow of
images and information, everyone is free to
© Culturespaces / Spectre Lab
retain in memory a little of what constitutes the
essence of this enchanted interlude.
Spectre Lab, multidisciplinary creative studio,
was created in 2014 by Marc Vidal, Jérôme
Sérane and Philippe Granier.
Duration: 4 min
Press kit – 27CULTURESPACES DIGITAL® For several years, Culturespaces has chosen to create and develop digital arts centres, in France and beyond, alongside our traditional activity of managing monuments, museums, arts centres and traditional temporary exhibitions. For these digital arts centres and their next generation exhibitions, we have created CULTURESPACES DIGITAL®, covering three areas of activity: CULTURESPACES DIGITAL Design: Drawing on the experience we have gained in creating or showcasing a wide range of cultural sites, CULTURESPACES DIGITAL Design is responsible for devising and setting up digital arts centres. Each space, chosen for its history and vast size, is optimally designed to welcome between 500,000 and 1 million visitors. This involves the organisation of the spaces, renovation works, decoration, sound-proofing, ventilation, audio and video equipment, lighting, safety equipment, welcome team, gift shop, etc. CULTURESPACES DIGITAL Tech: Developed for the Atelier des Lumières in Paris, CULTURESPACES DIGITAL Tech coordinates and implements cutting-edge technologies to put on digital exhibitions with the best possible sound and image quality. In 2012, Culturespaces presented immersive exhibitions at Carrières de Lumières using AMIEX® technology. The original technology proved to be limited in terms of meeting the needs of holding ever more creative exhibitions using over 100 video projectors. In collaboration with French companies, Culturespaces developed more high-performance and innovative technologies to create and put on increasingly complex immersive digital projects, on a huge scale. They were installed at the Atelier des Lumières in Paris in 2018, then used at the Bunker de Lumières in South Korea, the Carrières de Lumières in Baux-de-Provence, the Bassins des Lumières in Bordeaux, and will soon be in use at the Infinity des Lumières in Dubai as well as the Hall des Lumières in New York. To make use of this technology, CULTURESPACES DIGITAL Tech relies on a new generation of streaming servers that are able to simultaneously store and play dozens of terabytes. This infrastructure is driven by a dedicated show control software programme designed and developed to meet the specific needs of CULTURESPACES DIGITAL®. That’s more than 150 video projectors, around 100 spatialised speakers and subwoofers, and an LED mapping installation enabling a wide variety of light displays that this technology makes work in collaboration at each of our sites. Thanks to our render farm, constantly updated by a specialist team, CULTURESPACES DIGITAL Tech possesses enormous processing power to be able to modify and adapt immersive exhibitions in our different digital arts centres in record time. CULTURESPACES DIGITAL Studio: With the experience we have acquired in traditional temporary exhibitions and in acquiring pieces of art, CULTURESPACES DIGITAL Studio is responsible for producing a variety of digital exhibitions: classic, modern and contemporary in long, short or special formats. Its visual service guarantees access to an extremely high-quality digital image library. It also takes care of the complex issue of rights of different works (music, paintings, photography, film, etc.) that are required to hold a digital exhibition, in France and around the world. Today, CULTURESPACES DIGITAL Studio has a catalogue of digital exhibitions covering over five centuries of art history, presenting artists from different cultures and movements. 28 –Press kit – Bassins de Lumières
With CULTURESPACES DIGITAL®, Culturespaces is the leading cultural operator to have teams and
comprehensive expertise combining the design and creation of digital arts centres, the technological
mastery to put on exhibitions, the production and cataloguing of immersive digital exhibitions displaying
classic, modern and contemporary artists.
CULTURESPACES DIGITAL’s® digital arts centres:
- The Carrières de Lumières, Baux-de-Provence (opened in 2012)
- The Atelier des Lumières, Paris (opened in 2018)
- The Bunker de Lumières, Jeju (opened in 2018)
- The Bassins de Lumières, Bordeaux (opened in 2020)
- The Infinity des Lumières, Dubai (opening early 2021)
- The Hall des Lumières, New York (opening in 2022)
“The original works of art of great artists are eternal, but they’re always scattered around museums
and in collectors’ homes across the world. Today’s technology gives us new ways of bringing
together these artworks, helping a greater number of people discover or rediscover them across the
generations. This is the new direction that we have decided to pursue at Culturespaces, in France
and around the world.”
Bruno Monnier, President of Culturespaces
Press kit – 29Sponsors Cultura, founding patron of the Bassins de Lumières Since 1998, Cultura has been an independent brand that introduces and encourages the people to practice cultural and artistic activities. It cultivates its dual identity as a bookseller and a cultural and artistic organizer. Cultura offers its customers to become actors by participating in more than 8,000 annual events (dedications, showcases ...) and 40,000 creative workshops that bring together nearly 250,000 participants. Cultura currently employs more than 4,200 people and has 92 stores as well as an online sales site and 2 community sites that bring together nearly 35,000 members: CulturaCréas and CulturaBooks. The Cultura Foundation, a corporate foundation created in 2012, embodies the values and extends the mission of the brand, to bring culture to life and love. It supports educational and social projects, with major national partners and near Cultura stores. www.cultura.com Facebook : Culturafr / Twitter : @Cultura / Instagram : Culturafr LISEA is the concessionaire for the South Europe Atlantic (SEA) high-speed line between Tours and Bordeaux. Partner of the territories, LISEA facilitates the access of all to a quality cultural offer. By offering digital exhibitions with classic or contemporary inspirations, in an atypical location, the Bassins de Lumières help popularize art and culture in all their aesthetic diversity. Being one of the founding patrons of this immersive and innovative project is thus in line with the societal and cultural approach in which the company is committed. About LISEA LISEA, concessionaire of the LGV Sud Europe Atlantique. Its mission is to manage public rail infrastructure in a safe and efficient manner, for the benefit of travelers, customers and regions. The LGV SEA links Paris to Bordeaux in 2h04 and supports the development of the 6 departments crossed. LISEA supported the cultural seasons of Bordeaux (« Paysages », in 2017, « Liberté ! Bordeaux 2019 »), Poitiers (« Traversées Kimsooja»), Tours and Angoulême for the « Archéologie et grande vitesse » exhibitions. Via its LISEA Biodiversity, LISEA Carbone Foundations and the Sillon Solidaire Solidarity Fund, the company supports projects in favor of the preservation of natural heritage, the reduction of greenhouse gas emissions and the fight against social exclusion (380 projects supported to date, all foundations combined). LISEA is owned by VINCI Concessions (33.4%), Caisse des Dépôts (25.4%), MERIDIAM (24.4%) and Ardian (16.8%). www.lisea.fr 30 –Press kit – Bassins de Lumières
ANS
Using technology to generate artistic emotions
Banque Courtois is embarking in 2020, the year of its 260th anniversary, on a true sensory adventure as
a founding patron of the Bassins de Lumières, the largest digital art center in the world, at the Bordeaux
submarine base.
It is around the development of digital exhibitions dedicated to major artists in the history of art and
contemporary creation that Banque Courtois is committed with Culturespaces, the leader private
operator in the management and enhancement of monuments, museums and art centers. The Bassins
de Lumières will offer monumental immersive exhibitions, in the Bordeaux submarine base, built by the
Germans during the Second World War in the port district of Bacalan.
Banque Courtois has been involved in cultural life for many years. Founded in 1760 in Toulouse by Isaac
Courtois, it established relationships with the merchant bankers of Bordeaux in the 19th century and
financed Bordeaux imports of exotic goods.
In 1992, Banque Courtois joined the Crédit du Nord Group, sharing its values. Crédit du Nord brought
it its establishments in Bordeaux and Gironde in 1999. Banque Courtois thus strengthened its regional
roots in the South West. It cultivates the same strategy, centered on proximity, expertise and the quality
of the relationship with its customers.
About Banque Courtois :
La Banque Courtois, doyenne of French banks, was created in 1760 by Isaac Courtois. Since 1992, it
has been part of the Crédit Nord Group, along with 7 other regional banks *.
With 626 employees and a network of 74 branches, Banque Courtois serves nearly 155,000 individual
customers, 15,000 professionals and associations and 3,300 companies and institutions.
Banque Courtois’ strategy revolves around three key elements:
• Be the bank for those who undertake in the great South West and assume its share in the economic
development of its territories;
• Develop a high level of individual and collective professionalism;
• Provide customers with the most advanced services and technologies.
* Banque Kolb, Banque Nuger, Banque Rhône-Alpes, Société Marseillaise de Crédit, Banque Tarneaud
and Crédit du Nord.
www.banque-courtois.fr
#BanqueCourtois
Press kit – 31The Culturespaces Foundation
ART IN IMMERSION
The educational and cultural programme Art en Immersion (‘lmmersion in Art’) is an innovative way of
teaching children about art, in which digital technology is the vector for the transmission of knowledge.
Composed of four parts, the programme develops children’s general cultural awareness and creativity
through educational activities before and after the visit to the Bassins de Lumières.
The Culturespaces Foundation enables children who are made vulnerable by illness, or suffer from a
handicap or social exclusion to enjoy unique artistic and cultural experiences.
In 2021, the program will be offered free of charge to 6000 children. More of 300 creative workshops
and 400 educational kits will be offered.
© delaMotte Rouge
In partnership with
www.fondation-culturespaces.com
32 –Press kit – Bassins de LumièresPress images
All or part of the works appearing in this press kit are protected by copyright. The works of ADAGP (www.
adagp.fr) may be published under the following conditions:
- For press publications that have entered into an agreement with ADAGP: refer to the provisions
thereof.
- For other press publications:
• Exemption of the first two works illustrating an article devoted to a current event directly related to
them and a maximum format of 1/4 page;
• Beyond this number or this format, reproductions give rise to the payment of reproduction or
representation rights;
• Any reproduction on the cover or on the front page must be subject to an authorization request from
the ADAGP Service in charge of Press Rights;
• Any reproduction must be accompanied, in a clear and legible manner, by the title of the work, the
name of the author and the reservation notice «© ADAGP, Paris» followed by the year of publication,
and whatever either the origin of the image or the place of conservation of the work.
These conditions are valid for websites with an online press status, it being understood that for online
press publications, the definition of the files is limited to 1600 pixels (cumulative length and width).
MAGAZINES AND NEWSPAPERS LOCATED OUTSIDE FRANCE: All the works contained in this file are
protected by copyright.
If you are a magazine or a newspaper located outside France, please email presse@adagp.fr.
We will forward your request for permission to ADAGP’s sister societies.
Press kit – 33M O N E T, R E N O I R... C H A G A L L
1
2
4
3 5
1 |Pierre-Auguste Renoir, Bal du moulin de la Galette, 1876, huile sur toile, 131,5 x 176,5 cm,
Musée d’Orsay, Paris © Bridgeman Images
2 | Pierre Auguste Renoir, L’Estaque, 1882, huile sur toile, 65,8 x 81 cm, Collection privée © Bridgeman Images
3 | Claude Monet, Femme à l’ombrelle tournée vers la droite, 1886, huile sur toile, 131 x 88 cm, Musée d’Orsay, Paris © Bridgeman Images
4 | Claude Monet, Jardin à Bordighera, Impression de matin, 1884, huile sur toile, 65,5 x 81,5 cm,
Musée de l’Ermitage, Saint-Pétersbourg © Bridgeman Images
5 | Claude Monet, Antibes, 1888, huile sur toile, 65,5 x 92,4 cm,
Samuel Courtauld Trust, The Courtauld Gallery, London © Bridgeman Images
34 –Press kit – Bassins de Lumières6 7
8 9
10
11
6 | Paul Signac, Saint-Tropez, le quai, 1899, huile sur toile, 65 x 81 cm, Musée de l’Annonciade, Saint-Tropez © akg-images
7 | Paul Signac, Au temps d’harmonie, l’âge d’or n’est pas dans le passé, il est dans l’avenir, huile sur toile, 312 x 410 cm,
Mairie de Montreuil © akg-images/Erich Lessing
8 | Henri Manguin, La Pinède à Cavalière, 1906, huile sur toile, 65 x 81 cm, Collection privée © akg-images
9 |Henri Manguin, Jeanne allongée sur un canapé ou La petite odalisque, 1912, huile sur toile, 88 x 116 cm, Collection privée © akg-
images
10 | André Derain, L’Estaque, route tournante, 1906, huile sur toile, 129,5 x 194,9 cm,
Museum of Fine Arts, Houston, Museum purchase funded by Audrey Jones Beck, Photo: © Bridgeman Images © Adagp, Paris, 2021
11 | Pierre Bonnard, Femmes au jardin, 1891, détrempe à la colle sur toile, 160,5 x 48 cm, Musée d’Orsay, Paris © Bridgeman Images
Press kit – 3512 13
14 15
16 17 18
12 | Henri-Edmond Cross, Paysage côtier, huile sur toile, 54 x 73 cm, Collection privée © Bridgeman Images
13 | Henri-Edmond Cross, Le Bois ou Nu sous bois, 1906-1907, huile sur toile, 46 x 55 cm
Saint-Tropez, Musée de l’Annonciade © akg-images
14 | Émile-Othon Friesz, Port de La Ciotat, 1908, huile sur toile, Collection privée © Bridgeman Images
15 | Émile-Othon Friesz, Cassis ou Paysage idéal, 1910, huile sur toile, 113 x 146,5 cm,
Dresden, Staatliche Kunstsammlungen Dresden, Galerie Neue Meister © akg-images
16 | David Dellepiane, Affiche pour le Paris-Lyon-Méditerranée : Antibes, Côte d’Azur, 1910,
lithographie en couleurs, Collection privée, Photo © Archives Charmet / Bridgeman Images
17 | Hugo d’Alési, Affiche pour le Paris-Lyon-Méditerranée : vacances à Cannes, 1904, lithographie en couleurs,
Bibliothèque-Musée Forney, Paris, Photo © Archives Charmet / Bridgeman Images
18 | Pierre Bonnard, Conversation à Arcachon, 1926-1930, huile sur toile, 56 x 48 cm, Musée des Beaux-Arts de la Ville de Paris
36 –Press kit – Bassins de Lumières19 20
21 22
19 | Raoul Dufy, Baie des Anges, Nice, vers 1926, huile sur toile, 61,5 x 74 cm,
Collection privée Photo © Bridgeman Images © Adagp, Paris, 2021
20 | Raoul Dufy, Coucher de soleil, aquarelle sur papier, 50,2 x 65,6 cm,
Leeds Museums and Galleries (Leeds Art Fund), Photo © Bridgeman Images © Adagp, Paris, 2021
21 | Raoul Dufy, Petite baigneuse à Sainte-Adresse, 1932-1933, huile sur toile, 46 x 38 cm,
Collection privée Photo © Bridgeman Images © Adagp, Paris, 2021
22| Marc Chagall, Couple dans le paysage bleu, 1969-1971, huile sur toile, 112 x 108 cm,
Collection particulière, Photo Archives Marc et Ida Chagall, Paris © Adagp, Paris, 2021
Press kit – 3723 24
25
23 | Marc Chagall, en collaboration avec Charles Marq, La Tribu de Zabulon, 1962,
Vitrail de la Synagogue de l’hôpital Hadassah de Jérusalem
Cliché : Yuval Yairi © ADAGP, Paris, 2021
24 | Marc Chagall, Adam et Ève chassés du Paradis, 1961, huile sur toile, 190,5 x 283,5 cm,
Musée national Marc Chagall, Nice – Photo © RMN-Grand Palais (musée Marc Chagall) / Adrien Didierjean © Adagp, Paris,
2021
25 | Marc Chagall, Le Message d’Ulysse, 1967-1968,
mosaïque de 200 000 tesselles composées de marbres, pierres dont onyx, émaux, verre et ors de Murano, minerais aux
reflets verts et extraits des mines de cuivre de Salomon, 3 x 11 m,
Faculté de Droit et Science Politique de Nice,
Cliché : François Fernandez © ADAGP, Paris, 2021
38 –Press kit – Bassins de LumièresYou can also read
