She loved music, mécénait concerts the Queen’s Hall. He turned to the manufactures paternal viscose in a multinational. In London, during the first three decades of the Twentieth century, Elizabeth and Samuel Courtauld have formed such a couple copies of the high society, united by a mutual love, by art and by an ideal of social equity. Together, they have bought compulsively the impressionist and post-impressionist works in the best they have. First for them, and then quickly to the museums, which they considered too cold. They are also the foundation of the history of the art that bears their name, and still hosts today, within Somerset House, with approximately five hundred students per year.

” READ ALSO – Samuel Courtauld, a collection of exception

As had been the case in the winter of 2016-2017, when the tribute to the collector of the Russian avant-garde Sergei Shchukin, and taking advantage of the fact that the Courtauld Gallery is in the works, Suzanne Pagé aligns the walls clean of the Fondation Louis Vuitton, which she runs, a breathtaking suite of masterpieces.

Elizabeth and Samuel Courtauld have formed such a couple copies of the high society, united by a mutual love, by art and by an ideal of social equity

Here is A bar at the Folies-Bergère, work in the baroque and melancholy, the testament of a Manet, which rises to the height of a Velasquez while he knows it is undermined by syphilis. After sixty oils of this quality and still graphic works, a few sculptures, documents and a space for reconstructing the hanging initial, between the mouldings and neo-classical Home House, the home of the Courtauld.

Course anthology

Manet is also present with his large sketch preparatory to the Luncheon on the grass, his Corner of a café-concert and the banks of the Seine at Argenteuil, that is, perhaps, his painting more impressionistic. Before this sequence, in this first space, grey-blue, it’s impossible not to stop long in front of Don Quixote and Sancho Panza, one of 28 paintings of Daumier, and without doubt its most powerful.

Don Quixote and Sancho Panza, Honore Daumier, circa 1870, The Courtauld Gallery, London (Samuel Courtauld Trust)

In one section yellow, tender, Degas, Renoir and Monet ferraillent to brushes dotted. After the bath, woman drying of the first lady the pawn to Woman lacing her shoe of the second. But Renoir triumph with The Lodge as when this painting was unveiled at the first impressionist exhibition. Renoir again, The Gig and Spring at Chatou air in this sequence of portraits and genre scenes by their bias firmly pleinairiste. And more importantly, Antibes , one of the landscapes the most successful of the period southern and solar Monet.

Seurat the heart of the course, although its too fragile, A bathing at Asnières is missing. We comforted easily while delighting in his Bridge of Courbevoie , Channel of Gravelines , a rare series of small preparatory studies, and especially The Young Woman is poudrant , another summit of pointillism.

Toulouse-Lautrec and Cézanne – which we discovered, among other treasures, one of the five versions of Players card and Sainte-Victoire Mountain – would be to them only an end exceptional. But the world-famous self-Portrait with bandaged ear of Van Gogh, two of Gauguin’s polynesian and ten water-colours of Turner still illuminate this journey, truly epic.

Fondation Louis Vuitton. 8, ave du Mahatma Gandhi (the Sixteenth). Tel.: 01 40 69 96 00. Opening hours: everyday from 10 h to 20 h, fri until 21 h. Until 17 June. Cat.: Paul Holberton, 346 p., 45 €.

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