This articulation will be respected in the exhibitions which will be presented at the Gallery: the first one as of June 18th, date of the travel book’s publishing, the second one as of September 9th.
See the catalog
This articulation will be respected in the exhibitions which will be presented at the Gallery: the first one as of June 18th, date of the travel book’s publishing, the second one as of September 9th.
Marc Desgrandchamps, born in 1960, studied at the Fine Arts Academy of Paris. In the 90s he breaks free from the opposition between figurative and abstract art characteristic of the great majority of XXth century pictorial narratives.
For although his work is figurative, the artist refuses to name it as such. His works are not nudes, not landscapes, nor still-life studies: they transcend categories. They play with the interpenetration of forms and subject, solely underscoring the ambiguity of time and space. Scenes play out against the depth of the painting, time is suspended and references to painting, photography and films run through his work.
Marc Desgrandchamps’s work has been the subject of major exhibitions notably at the Contemporary Art Museum of Strasbourg (2004), at the Contemporary Art Museum of Lyon (2004), at the KunstMuseum of Bonn (2005), as well as at the National Modern Art Museum (2006), at the G.Pompidou Center & Modern Art Museum of the City of Paris (2011), at the Fine Arts Museum of Caen (2017).
From the 1961 engraving Où en étais-je ? (which appears in the collection of the MoMA) to Waterloo in 1969, and Revalorisation in 1980, giving life to expired stock warrants, to the lithographic eruptions of Vulcanalogies (in the collections of the BNF and La Louvière), these are museum-quality items that can be discovered and acquired in this exhibition.
See the press release
From the 1961 engraving Où en étais-je ? (which appears in the collection of the MoMA) to Waterloo in 1969, and Revalorisation in 1980, giving life to expired stock warrants, to the lithographic eruptions of Vulcanalogies (in the collections of the BNF and La Louvière), these are museum-quality items that can be discovered and acquired in this exhibition.
The black and white images he produced there earned him his first successes - including participation in the exhibition "The Family of Man" at the Museum of Modern Art in New York. In the 1960s, he gained international recognition for his innovative fashion photography. His eclectic work combines photojournalism, fashion, landscape and portraiture, as well as street photography and essays on nature and sculpture. Since the 1980s, he has devoted himself almost exclusively to personal projects. The most famous are: Portraits d’arbres, Vraies Semblances, New York up and down, Les sculptures de Degas, Figures romanes…
His photographs are now part of the collections of prestigious museums: Musée d’art moderne de la Ville de Paris, Centre Pompidou, Paris, MoMA, New York, Victoria & Albert Museum, London, Musée Galliera, Paris, Maison Européenne de la Photographie, Paris.
The black and white images he produced there earned him his first successes - including participation in the exhibition "The Family of Man" at the Museum of Modern Art in New York. In the 1960s, he gained international recognition for his innovative fashion photography. His eclectic work combines photojournalism, fashion, landscape and portraiture, as well as street photography and essays on nature and sculpture. Since the 1980s, he has devoted himself almost exclusively to personal projects. The most famous are: Portraits d’arbres, Vraies Semblances, New York up and down, Les sculptures de Degas, Figures romanes…
His photographs are now part of the collections of prestigious museums: Musée d’art moderne de la Ville de Paris, Centre Pompidou, Paris, MoMA, New York, Victoria & Albert Museum, London, Musée Galliera, Paris, Maison Européenne de la Photographie, Paris.
« The idea of referring to famous master-pieces probably came to me from a thought that had often crossed my mind – on the subway, for instance – when glancing at some woman who struck me as particularly beautiful, but who didn’t seem conscious of her beauty, and whom a fashion editor would never have allowed me to photograph for a magazine, although I could easily imagine her in a painting by Leonardo da Vinci, Rubens or Ingres. I visualised them in the costume and with the hairstyle of one of those periods, or even naked in some mythological scene: partly because I like fantasising about bygone ages, but more because, as a photographer, I prefer discovering unexpected beauties, rather than celebrating those that, in my eyes, are somewhat devalued by general admiration. I have to admit that in the beginning I wasn’t a great connoisseur of classical painting. But little by little, as this game of associations went on and as the project took shape, I began to revisit museums and to assemble a small library of art books, which in turn helped to feed my phantasies. » Frank Horvat
Available in October 2020: Frank Horvat, Xavier Barral Editions.
Below, watch the movie "Portrait de Photographe, Frank Horvat” produced and edited by Philippe Abergel (abergel-gallery.com)
Each of the paintings in this series of small works produced in the days before the year changed so radically, is anything but a miniature painted with a tiny brush and great precision. Instead these are like details, close ups, cut-outs from a movement that goes way beyond their boundaries. The viewer can read in this surge of material the openings, eruptions and flows that reflect their state of mind at the time.
See the press release
Each of the paintings in this series of small works produced in the days before the year changed so radically, is anything but a miniature painted with a tiny brush and great precision. Instead these are like details, close ups, cut-outs from a movement that goes way beyond their boundaries. The viewer can read in this surge of material the openings, eruptions and flows that reflect their state of mind at the time.
While producing this series of works, Fabienne Verdier was also re-reading ‘That Mighty Sculptor, Time’ by Marguerite Yourcenar, where the author underlines the ambiguity of that moment where as we enter summer, the days are starting to shorten and without us realising it, winter is already on its way. That is what led her to give the title Solstices to this sequence of great paintings in small formats.
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