Paris — New York
Ursula von Rydingsvard
GDY ONA - WHEN SHE - 21 November 2019 - 11 January 2020
For more than 40 years, Ursula von Rydingsvard has developed surprising biomorphic constructions, often on a monumental scale. Placed in nature, these works appear like natural concretions formed by erosion or sedimentation, sentient and rivalling with the surrounding trees and foliage, as we have seen in Chaumont-sur-Loire.
Fabienne Verdier
Autour d'un timbre - 21 November 2019 - 18 January 2020
Galerie Lelong & Co., Matignon - Most of Fabienne Verdier’s paintings are large format. Life size, they are reflecting her body in movement. Typically, a painter sits at her easel on her stool, painting signs that are the abstract image of things seen from afar. Fabienne Verdier has shattered this approach. Her paintings are the real and immediate trace left on the canvas, itself placed on the floor, of the dance of her body which guides the giant, hanging paintbrush, laden with its weight of pigment.
Juan Uslé
Lines & horizons - 21 November 2019 - 18 January 2020
Juan Uslé is a discreet artist who produces a silent, poetic and musical body of work. Away from the hustle and bustle of life, he often paints by night in his house in Saro, Spain, or in his studio in New York, two havens of meditation. His pulsatile and regular movements align with each other, the colours appearing to the rhythm of his heartbeat.
Picasso, Giacometti, Bacon
21 November 2019 - 18 January 2020
In the 20th Century art world, three artists stand out for taking their investigation of the human figure to extremes: Picasso, Giacometti and Bacon. They could only challenge the human form by deforming it to varying degrees of intensity, sometimes going as far as to vandalize and render unbearable the attractive features of the face that centuries of classical art had succeeded in enhancing and imposing. Picasso was obsessed by fragmentation, Giacometti haunted by the flow of lines, Bacon consumed by the dizzying impact of presence, but they all aspired to the same thing: celebrating the elusive and addictive human figure.


They are also remarkably at home in an urban setting, as seen with the presentation of her sculptures in 2015 at the Giardino della Marinessa in Venice.
The artist mostly works with cedar wood, with its unique fragrance and strong weather-resistance; she carves into it in a compulsive manner and covers it with graphite. The exhibition will also present two bronzes cast from wooden moulds. In addition, some works on paper will be shown.

oeuvres Malutka II Ursula von Rydingsvard
Malutka II
Ursula von Rydingsvard
Malutka II, 2018. Bronze. Edition of 5 + 1 AP. 179 x 135,5 x 94 cm (70.5 x 53 x 37 in).
oeuvres MAŁA Ursula von Rydingsvard
Ursula von Rydingsvard
MAŁA, 2019. Cedar, graphite. 181,5 x 106,5 x 73,5 cm (71.5 x 42 x 29 in).
oeuvres Untitled Ursula von Rydingsvard
Ursula von Rydingsvard
Untitled, 2019. Handmade linen paper, fabric, lace, thread and pigment. 78,5 x 78,5 cm (31 x 31 in).

Ursula von Rydingsvard was born in 1942 in Deensen, in Nazi Germany, to a Polish mother and a Ukrainian father, both of whom were farmers. They lived through the occupation of Poland and the traumas of the Second World War. Her family then emigrated to the United States and settled in Plainville, Connecticut. Ursula von Rydingsvard holds degrees from the University of Miami, 1965 and the University of Columbia in 1975.

Her work can be seen in the Domain of Chaumont-sur-Loire, at the Storm King Art Center and the Bloomberg Building in New York, at the Nelson-Atkins, Kansas City, the Barclays Center in Brooklyn and in the gardens of the Museum of Philadelphia. The Yorkshire Sculpture Park, in Great Britain, presented a retrospective of the artist in 2014. Her work can be found in around 30 museums worldwide.

The method is similar to that of Jackson Pollock, but on another scale. Far from the spidery dripping of the American, this is a telluric force at work. Of course, this gesture does not come out of nowhere, but neither does it mimic any pre-existing form. It is inspired by the natural forces that surround us, lightning in the sky, currents in a river, the vein of a rock, the twist of a branch, the burst of a bud, an entire living or static world. These charge the spirit and the body of the painter, move her and course through her until she expels, like a volcano with its lava, the energies bubbling inside her.

oeuvres Littoral Fabienne Verdier
Fabienne Verdier
Littoral, 2019. Acrylic and mixed media on canvas. 137 x 178 cm (54 x 70 in)
oeuvres Lignée Fabienne Verdier
Fabienne Verdier
Lignée, 2019. Acrylic and mixed media on canvas. 137 x 178 cm (54 x 70 in)
oeuvres Fréquence Fabienne Verdier
Fabienne Verdier
Fréquence, 2019. Acrylic and mixed media on canvas. 83 x 120 cm (33 x 47 in)

It would have been paradoxical and misleading to try and translate in postage-stamp size such a physical and mental experience. That is why rather than making an integral but miniaturised version of her painting, the artist preferred to magnify a detail which preserves the energy and the vital flows that gave rise to the original work. To decide on the final painting chosen for the postage stamp, Fabienne Verdier produced 12 pieces of work. This research is presented here in its entirety.

Fabienne Verdier was born in Paris in 1962. Her work is regularly exhibited in Europe and Asia and features in a number of collections, including the MNAM Centre Pompidou (Paris), the Bayerische Staatsgemäldesammlungen (Munich) and the Hubert Looser Foundation and the Kunsthaus in Zurich. The Musée Granet in Aix-en-Provence has extended its retrospective of her work. Fabienne Verdier, Sur les terres de Cézanne has proven such a success it now runs until 5 January 2020.

In his paintings and drawings, he alternates with deliberate slowness between ample gestures and more reduced movements, distributing over the canvas or paper a gentle and captivating energy, a voluptuous ponderation. The artist allows his brushstrokes to overlap and creates more or less extensive sequences that produce variations in lighting. In his work, wide dark bands of colour, often grey and black, echo the lines of bright colours that capture the very essence of the stroke. Between the shadow of ash and the light of renewal, in moments of concentration, Juan Uslé reaches vibration and creative energy.

oeuvres La noche se agita Juan Uslé
La noche se agita
Juan Uslé
La noche se agita, 2017. Vinyl, dispersion, acrylic and dry pigment on canvas. 198 x 122 cm (78 x 48 in)
oeuvres Morro y trasvase Juan Uslé
Morro y trasvase
Juan Uslé
Morro y trasvase, 2019. Vinyl, dispersion, acrylic and dry pigment on canvas. 198 x 122 cm (24 x 18 in)
oeuvres En Benissa (4) Juan Uslé
En Benissa (4)
Juan Uslé
En Benissa (4), 2018. Watercolor. 30,5 x 23 cm (12 x 9 in)

Born in 1954 in Santander, the artist splits his time between Saro, in the lush green hills of Cantabria (Spain) and New York where he has lived for more than 30 years. His works hang in a number of museums in Europe (Musée national d’art moderne, Paris; Tate Modern, London; Irish Museum, Dublin; Moderna Museet, Stockholm; Reina Sofia, Madrid; Staatsgalerie, Stuttgart and Munich) and in America. In 2014, an important exhibition of the Soñe que revelabas series was organised by the Kunstmuseum in Bonn; this year, a series of paper works will be shown at the MACE Arsenal in Ibiza.

Francis Bacon Alberto Giacometti Pablo Picasso

Picasso played an essential role in Bacon deciding to become a painter. Giacometti and Picasso knew each other well, although their relationship could be rather tempestuous. Bacon and Giacometti moved in the same circles in London in 1965 and held each other in high esteem. This reunion of prints from the three artists seeks to evoke the links between these key figures of the 20th Century.

estampes Buste II Alberto Giacometti
Buste II
Alberto Giacometti
Buste II, 1960. Lithograph. Edition of 150. 65,5 x 50 cm
estampes Three Studies of the Male Back (triptych) Francis Bacon
Three Studies of the Male Back (triptych)
Francis Bacon
Three Studies of the Male Back (tryptich), 1987. Edition of 99. 3 x 81 x 59,5 cm
estampes Tête d'homme barbu Pablo Picasso
Tête d'homme barbu
Pablo Picasso
Tête d'homme barbu, 1966. Etching. Edition of 100. 57,5 x 45 cm