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| No title 1999 |
There was an new installation at the MAM so after having seen the
Darger (see following chapter) I wandered off to the permanent collection. I peeped into the
Up-dated contemporary section - and left. So many of these installations
seem to express violence or something rebellious coming out of the
artist’s fantasy or reality, as you wish.
In the permanent collection
there was a small room dedicated to a Anne-Marie Schneider. I had read
this on her site before looking at her work. What was said seemed
interesting. I was disappointed though as I could not relate this to the
work in front of me.
Since
the early 1990’s, Anne-Marie Schneider has developed her unique style
which goes almost against common trends. Drawing is essential for her as
it enables her to comment on the hazards of her daily life. But this
process, close to that of a diary, is sublimated in her art. All the
emotions and sensations are subjected to the work of the unconscious.
The real world becomes the emanation a circumstanced -and almost
dreamlike- relationship with the heaviness of the world’s hazards. Her
drawings often bear more direct political meaning. In this respect,
Anne-Marie Schneider subsequently applied herself to deciphering the bad
habits of our culture. The dream therefore turns into a nightmare and
confirms how difficult it is to be faced with the diktats of economic or
political authorities.
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| No title 1999 |
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| No title 1999 ( I liked this too) |
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| No title 1999 |
However, this particular painting, the only one which really was different, appealed to me. Although it was « untitled » there was a sub-title. Very ambiguous. « La Belle et la Bete Metamorphose - de la Belle et la Bete au chocolate. » I think that is self explanatory. I found the work a lot of fun. Those eyes staring out at me.
André Masson (1896-1987), is as you know by now, one of the artists I follow. I have never really thought of him as a surrealist but belonging or having been influenced by the American period, Abstract Expression. These sketches on the museums were very new to me. I would happily have had any one of them.
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| au musée 1958 |
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| au musée 1958 |
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| au musée 1958 |
Then there were some old favorites from the German Expressionism. Penk, Baselitz,
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| A.R.Penk - "The women from Shillerplatz", 1979 |
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| A.R.Penk. "The Man, the woman, the lion and the animals at the water-hole" , 1989 |
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| Baselitz, "My Mother, Mme Cezanne," 1996 |
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| A.R.Penk |
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| Penk, "Moi, Conscience de soi" - 1987 |
not to forget Dufy (1877-1953) with his reclining nude and look what was practically next to it.
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| Dufy, Nu Couché, 1930 |
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| Leonard Foujita, "Nu a la toile de Jouay" 1922 |
Leonard Foujita (1886-1968) was a painter and printmaker born in Tokyo, who applied Japanese ink techniques to Western style paintings. He has been called "the most important Japanese artist working in the West during the 20th century ». I know he published a book on cats which is one of the top ever sold as a rare book and consequently was described as the best book on cats ever. Here he was quite obviously influence by Manet's "Olympia".
Just a couple more....
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| Victor Brauer (1903-66) "Colloque Ethnographique", 1956 |
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| Jorg Immendorf (1945-2007) - "To put in a corner" - 1956 |
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| The head of Immendorf's "To put in a corner" |
I didn’t stay too long, just updating my previous visits, which I hope to go on doing for a long time to come!
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