Fondation Louis Vuitton‘s latest presentation is a milestone exhibition in honor of the great Henri Matisse’s The Red Studio (1911), juxtaposed with a groundbreaking retrospective of the luminary Ellsworth Kelly, (May 4–September 9).
Henri Matisse, “The Red Studio, Issy-les-
Moulineaux,” 1911, Oil on canvas, 181 x 219.1 cm; courtesy of The Museum of Modern Art, New York and Mrs. Simon Guggenheim Fund, 1949.
“Matisse: The Red Studio” Unveils a Thought-Provoking Summer Show
In a vivid collaboration with the Museum of Modern Art (MoMA) in New York and the SMK, Statens Museum for Kunst, in Copenhagen (National Gallery of Denmark), “Matisse: The Red Studio” examines the origins and development of the legendary artwork which was acquired by MoMA in 1949. The thought-provoking show is spearheaded by Ann Temkin, the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at MoMA, and Dorthe Aagesen, SMK’s Chief Curator and Senior Researcher, in vital partnership with the Archives Henri Matisse.
The visually arresting piece places Matisse’s own studio at its heart, journeying through the intimate space brimming with mesmeric decorative objects, sculptures, furniture, and paintings. In an inaugural show, the works of art within the The Red Studio (1911) are exhibited alongside the canvas itself, further embellished by precious archival materials.
Henri Matisse, “Young Sailor (II),” 1906, Oil on canvas, 101.3 × 82.9 cm; © The Metropolitan Museum of Art, Collection Jacques and Natasha Gelman, 1998 / The Metropolitan Museum of Art, New York, Jacques and Natasha Gelman Collection, 1998.
An Experiential Presentation of Matisse’s Singular Artistry Unfolds
“Now over 110 years old, The Red Studio is both a landmark within the centuries-long tradition of studio paintings and a foundational work of modern art,” said Ann Temkin, MoMA’s Chief Curator.
“The picture remains a touchstone for any artist taking on the task of portraying their studio. Matisse’s radical decision to saturate the work’s surface with a layer of red has fascinated generations of scholars and artists, including Mark Rothko and Ellsworth Kelly. Yet much remains to be explored in terms of the painting’s origin and history.”
Six paintings, three sculptures, and one ceramic work are placed in compelling conversation with the masterpiece, all which were developed between 1898 and 1911. Visitors will have the opportunity to bask in transcendent paintings, rarely seen yet iconic, such as Young Sailor (II) (1906), Corsica, The Old Mill (1898), Bathers (1907), Le Luxe (II) (1907-08), and Nude with a White Scarf (1909).
“The Red Studio is both a landmark within the centuries-long tradition of studio paintings and a foundational work of modern art,”
Ann Temkin
Ellsworth Kelly, “Four Greens, Upper Manhattan Bay,” 1957, Collage on postcard, 8.5 x 13 cm; © Ellsworth Kelly Foundation.
The First Comprehensive Survey of Ellsworth Kelly in France
Rejoicing in what would be the 100th birthday of the visionary, “Ellsworth Kelly. Shapes and Colors, 1949-2015” makes history as the first comprehensive survey of Kelly’s spellbinding artistry in France.
In a deftly collaborative presentation with Glenstone Museum (Potomac, Maryland), and the Ellsworth Kelly Studio, over 100 trailblazing works abound, spanning sculpture, painting, collage, photography, and drawing. Generous loans derived from private collections, as well as leading institutions throughout the world such as the Art Institute of Chicago, Kröller-Müller Museum, Museum of Modern Art, San Francisco Museum of Modern Art, Tate, and Whitney Museum, culminate in a euphoric exhibition of the pioneering abstract artist.
Installation view of “Ellsworth Kelly at 100”, Glenstone Museum,
Ellsworth Kelly, “Yellow Curve,” 1990, acrylic on canvas on wood, 777 x 742 x 3 cm / 306 x 292 x 1 inches; © Ellsworth Kelly Foundation, Courtesy Glenstone Museum, Potomac,
Maryland; © Ron Amstutz.
Fondation Louis Vuitton Sets the Dreamlike Scene for a Masterful Creative Journey
Throughout two vast floors of Fondation Louis Vuitton, artworks inspired by the captivating beauty of nature and the visionary’s personal environment unfold. A masterful level of restraint gives way to energetic portals in monochrome colorways, unveiling meticulous attention to detail for a visual symphony of pigment, form, and emotion.
Works created by Kelly at a young age, such as Tableau Vert (1952) and Painting in Three Panels (1956), unearth the beginnings of his exploration of monochrome as well as architectural prowess. Authoritative later works of the Chatham and Spectrum series join hypnotic plant drawings and little seen photographic treasures.
The sweeping floor painting Yellow Curve (1990) will enrapture all, as will the tremendous permanent commission by Kelly situated in the Auditorium. The immersive work is placed in rich conversation with the Frank Gehry-designed edifice, celebrating the enduring language and soulful sensibilities of the legendary creative.
