FACES, FACES AND MORE FACES........chapter 2
I had been look forward to this exhibition since we had booked our trip to Marseille. Going back to the Vieille Charité is more than a pleasure for me. Nostalgia as I said in my previous chapter is not really part of my way of being and yet the Vieille Charité seems to live inside me. But looking at all the Blog chapters since I started some in 2012, I had not apparently been back to this peaceful spot.
La Vieille charité is a former almshouse, now a museum and cultural centre, situated in the heart of the old Panier quarter which I talked about in the first chapter. It was constructed between 1671 and 1749 in the Baroque style following designs of the architect Pierre Puget. When Pierrette and I stopped to look at a statue of Puget, some long lost historical memories came to my mind. The building comprises four ranges of arcaded galleries on three floors surrounding a space with a central chapel surmounted by an ovoid dome. The idea of an almshouse for the poor, dedicated to Notre-Dame, mère de Charité (Our Lady, Mother of Charity), was originally conceived in 1622; but it was not until 1640 that a suitable plot of land was acquired, with the first pensioners admitted in the following year. I’m sure that they lived peacefully and were in good hands because that is how I always feel when visiting this spot.
It becomes a double pleasure. The site and the exhibition. After such a visit it can take days of ruminating, practically brooding over the subject. What did I see ? What have I seen. It’s been a little like this for « Visages ». Too often titles lead me astray. « Picasso, Magritte, Warhol…. » and I’m pretty sure it was the Picasso that made me jump on the occasion to go. There were only four Picasso - three of which you will see. Then, BINGO, more than 30 artists I have never heard of. Writing down names furiously, I became somewhat disillusioned by the number of artists I knew nothing about despite the fact that they had worked in the periods I follow closely. Pierrette said, and rightly so, « how many will you follow from now on? » Not too many.
The human figure has always been an emblematic theme for artists. This exhibition focuses on modern and contemporary art, as pictorial codes are broken and artists probe beyond the appearance of the subject, going deep into the subjective. Part one of the exhibition, « Faces in Society », shows how the horrors of the war upturned established convention and breached the floodgates which brought Dadaistic iconoclasm, surrealism and a re-examination of everything – from the blurring of the figure to photographic hyper-realism. There I refer to Warhol of course…..
Part two explores the Faces of Intimacy, not only of the artist himself but also in the private intricacy of family and couples. Picasso’s emblematic Woman at the Mirror, used on the promotional poster reigns over part three, Faces of the Mind, exploring the inner space, psyche, dreams, nightmares and the spirit with Magritte’s look at the complexity of the inside/outside mystery of the human being. I knew the paintings and didn’t include them here.
Finally, in the circular Chapel, a choice of sculptures revolves around the real workings of thought, with Tony Cragg’s ambivalent curves and the derision of Gilles Barbier’s Men.
I did not put the paintings into their periods as described in the catalogue. I saw them differently and preferred to show them as above.
More than 150 works by over 80 artists are shown in this exhibition. There are discoveries which can more than hold their own faced with the most recognisable works of art. Everybody says « Do not miss it ». I’m very glad we didn't but I’m still wondering what will remain…..apart perhaps from the Picasso…..
One of the nicest moments was lunch.....can you understand why?
 |
La Vieille charité is a former almshouse, now a museum and cultural centre, situated in the heart of the old Panier quarter which I talked about in the first chapter. It was constructed between 1671 and 1749 in the Baroque style following designs of the architect Pierre Puget. When Pierrette and I stopped to look at a statue of Puget, some long lost historical memories came to my mind. The building comprises four ranges of arcaded galleries on three floors surrounding a space with a central chapel surmounted by an ovoid dome. The idea of an almshouse for the poor, dedicated to Notre-Dame, mère de Charité (Our Lady, Mother of Charity), was originally conceived in 1622; but it was not until 1640 that a suitable plot of land was acquired, with the first pensioners admitted in the following year. I’m sure that they lived peacefully and were in good hands because that is how I always feel when visiting this spot.
 |
| The Chapel |
 |
| Overlooking the Chapel |
 |
| The three floors can be seen clearly |
 |
| The wind was getting up |
 |
It becomes a double pleasure. The site and the exhibition. After such a visit it can take days of ruminating, practically brooding over the subject. What did I see ? What have I seen. It’s been a little like this for « Visages ». Too often titles lead me astray. « Picasso, Magritte, Warhol…. » and I’m pretty sure it was the Picasso that made me jump on the occasion to go. There were only four Picasso - three of which you will see. Then, BINGO, more than 30 artists I have never heard of. Writing down names furiously, I became somewhat disillusioned by the number of artists I knew nothing about despite the fact that they had worked in the periods I follow closely. Pierrette said, and rightly so, « how many will you follow from now on? » Not too many.
The human figure has always been an emblematic theme for artists. This exhibition focuses on modern and contemporary art, as pictorial codes are broken and artists probe beyond the appearance of the subject, going deep into the subjective. Part one of the exhibition, « Faces in Society », shows how the horrors of the war upturned established convention and breached the floodgates which brought Dadaistic iconoclasm, surrealism and a re-examination of everything – from the blurring of the figure to photographic hyper-realism. There I refer to Warhol of course…..
 |
| George Crosz - Street Scene 1925 |
 |
| Jean Hélion - The Man with a red face - 1943 |
 |
| Martial Raysse - The Beautiful Mauve 1962 |
 |
| Eduardo Arroyo - Jean Hélion Escape on his way to Paris. 1974 |
Part two explores the Faces of Intimacy, not only of the artist himself but also in the private intricacy of family and couples. Picasso’s emblematic Woman at the Mirror, used on the promotional poster reigns over part three, Faces of the Mind, exploring the inner space, psyche, dreams, nightmares and the spirit with Magritte’s look at the complexity of the inside/outside mystery of the human being. I knew the paintings and didn’t include them here.
 |
| Franz Wilhelm Seiwert - German Peasants 1932 |
 |
| Laetitia Molenaar - Sunlight in a Cafeteria 2011-2012 and could be a Hopper? |
 |
| Frantisek Kupka - Gigolette's profile 1908-09 |
 |
| Ersnt Ludwig Kirchner The Painter 1920 |
 |
| Ersnt Ludwig Kirchner Self Portrait 1914 |
 |
| Georg Baselité - Otto D. (Blong without a casque 1992) |
 |
| Raoul Hausmann - Stomach or a carriage 1920 |
 |
| Oskar Schlemmer Family 1936 |
 |
| Giorio de Chirico - Hector and Andromaque 1924 |
 |
| Paul Delvaux - All the lights 1962 |
 |
| Marie Toyen - The screen 1966 |
 |
| Francis Bacon - Self portrait 1976 |
 |
| Erik Dietman - Face 1990 |
 |
| Karl Hubbuch - Twice Hilde 1927 |
Finally, in the circular Chapel, a choice of sculptures revolves around the real workings of thought, with Tony Cragg’s ambivalent curves and the derision of Gilles Barbier’s Men.
 |
| Toby Cragg - Mixed Feeling, Version 1 -2010 |
 |
| Gilles Barbier - King's Head 2010 |
I did not put the paintings into their periods as described in the catalogue. I saw them differently and preferred to show them as above.
 |
| Leszek Skurski Der Schlauch 2012. This one came out of the blue. We both liked it immensely.The narrow line? |
More than 150 works by over 80 artists are shown in this exhibition. There are discoveries which can more than hold their own faced with the most recognisable works of art. Everybody says « Do not miss it ». I’m very glad we didn't but I’m still wondering what will remain…..apart perhaps from the Picasso…..
 |
| Pablo Picasso - Head of a woman smiling 1943 |
 |
| Pablo Picasso - The Kiss 1943 |
 |
| Picasso - Woman in a miror 1959 |
One of the nicest moments was lunch.....can you understand why?
Commentaires