Paris: mars 2013

samedi 30 mars 2013

Peu connu du grand public, Georges Jouve n’en demeure pas moins un des ‘’grands’’ de la céramique du XXe siècle. Son travail apparaît comme une référence incontournable pour ses contemporains. Après une formation à l’Ecole Boulle, il fréquente dès 1931 les académies de peinture telles La Grande Chaumière et Juilian. Il y apprend la mesure et le travail de qualité. Si ses premières pièces datées de 1941, s’inspirent d’un sobre classicisme, Georges Jouve va petit à petit développer un style personnel et singulier, modernisant l’art de la céramique. Orientées vers le sacré, ses créations se distinguent par une double identité : à la fois utilitaire (objets rituels) et esthétique (objets décoratifs). A la fin de la guerre, Georges Jouve rentre à Paris où il installe son atelier rue de la Tombe Issoire. Il y produit de nouvelles pièces, ayant souvent recours à un noir profond. Ce dernier, à l’éclat à peine satiné, n’est pas sans rappeler le ‘’buccero nero’’, technique employée par les étrusques au VIe siècle avant J.C. En 1949, il expose ses oeuvres au Salon des artistes décorateurs. Un tournant s’opère dans sa création artistique : les dimensions de ses rendus changent et se tournent vers un aspect plus monumental. A la fin des années 1950, il laisse définitivement tomber l’objet de décoration et se tourne vers la sculpture. Cette nouvelle orientation lui permet de collaborer avec des architectes et élargie son champ d’investigation. Son travail artistique s’inscrit dans l’histoire des Arts décoratifs du XXe siècle.

mercredi 27 mars 2013

1931 FACE DOS PROFIL / Galerie du Crédit Municipal de Paris

Robe Madeleine Vionnet 1931/ Archives de Paris The exhibition "1931, back-face-profile" is dedicated to the deposition model. It is designed and produced by the Galliera Museum, with the assistance of the Archives of Paris. This exhibition is an invitation to discover the extraordinary creativity of the Parisian fashion of the 1930s, through archival documents, revealed for the first time to the public in Paris. March 28 to July 6, 2013. This exhibition presents a new collection of photographs and fashion designs from a collection of over three million model deposits preserved in the Archives of Paris. These documents reveal an industry of high fashion anxious to protect their creations against copying, depositing in each collection, the main models of clothing or accessories from the tribunal of Paris. Valuables, they testify to the extraordinary creativity and virtuosity of a golden age of Parisian couture, with the presence of the biggest names like Madeleine Vionnet, Jeanne Lanvin, Hermes ... but also houses neglected and no less talented as Druilhe Callot Sisters, Heather. Yet the documentary requirement induces a photographic device to industrial design, the model is duplicated in diptychs, triptychs and sometimes three-sided mirrors, which can turn around (front, back, profile) into a kinetic view and modern dress. The year 1931 is exceptionally rich deposits (more than 10,000) and saw the birth of a style that marks the 1930s. Lines apparent simplicity build sophisticated day dresses with cutouts or inlays. High contrast with the two-tone geometric united skirts. Pajamas become elements of a wardrobe active and worldly. For evening satin sheath black and white reigns, bust and hips molded plunging neckline in the back. In parallel there is the temptation of a popular romantic ruffles and chiffon while. Fur, including ermine, is needed at any time of the day. To highlight the major fashion trends of the year, pictures and drawings are set against publications of the time as well as clothing and accessories from the collections of Galliera. COMMISSIONER: Sylvie Lécallier, responsible for photographic collection of Galliera Assisted by Corinne Dom and Alexander Samson

lundi 18 mars 2013

Vincent William Gagliostro / SAVE THE DATE

Vincent William Gagliostro is a nationally known artist and graphic designer. He has helped to mold major advertising campaigns for leading brands including Prada, Hush Puppies, and The GAP among others. He has been an AIDS activist since the first days of the epidemic, and designed ACRIA’s logo.