Lacroix, La Source et le Ballet de l’Opéra de Paris

Exposition au cncs du 16 juin au 31 décembre 2012
Centre national du costume de scène et de la scénographie

Commissariat : Christian Lacroix, designer
Brigitte Lefèvre, directrice de la danse de l’Opéra national de Paris
Delphine Pinasa, directrice du Centre national du costume de scène

Direction artistique : Christian Lacroix

Le Centre national du costume de scène et de la scénographie poursuit son travail avec Christian Lacroix, en le suivant au coeur de l’Opéra national de Paris où il a créé les costumes du ballet La Source, dans une chorégraphie du Danseur Étoile Jean-Guillaume Bart. Portés sur scène par le Ballet de l’Opéra national de Paris au Palais Garnier, à l’automne 2011, ces somptueux costumes brodés de cristaux Swarovski seront présentés dans une exposition orchestrée par Christian Lacroix.

Le parcours de l’exposition, au coeur des ateliers de couture de l’Opéra national de Paris
L’exposition et le livre qui l’accompagne sont une invitation à découvrir ces costumes et accessoires de costumes, depuis leur conception par le couturier, leur fabrication par les ateliers de couture du Palais Garnier, jusqu’à la représentation du ballet en scène. Ainsi, transporté au coeur des ateliers de couture de l’Opéra Garnier, le CNCS dévoilera, salle par salle, les différents costumes des personnages du ballet, retraçant pour chacun les étapes d’élaboration, les recherches techniques et les enjeux artistiques. Vitrines et salles seront habillées des sources d’inspiration de Christian Lacroix (documents, photographies et pièces de vêtements historiques), des maquettes qu’il a dessinées pour chaque personnage, et aussi, des toiles, patrons, échantillons de tissu, essais de teintures et prototypes…

Autant de témoignages tangibles du travail des couturiers, tailleurs, décorateurs, modistes… de l’Opéra national de Paris, mis à l’honneur dans cette exposition, véritable hommage au savoir-faire d’exception des ateliers de couture de cette maison prestigieuse.

Les compléments de l’exposition
Pour rendre compte de ce travail, des interviews et des reportages sont diffusés dans l’exposition. Brigitte Lefèvre, Jean Guillaume Bart, Christian Lacroix, Eric Ruf et les danseurs du Ballet de l’Opéra national de Paris évoquent les spécificités de création de ce ballet. Le visiteur peut aussi visionner des reportages dans les ateliers de couture (essayages, traitement des matières), l’élaboration du maquillage, la fabrication et le montage des décors, les répétitions, etc.

Enfin, de nombreuses photographies prises par Anne Deniau dans les ateliers de couture et de décors (fabrication, couture, essayages, montage, patine), lors des répétitions chorégraphiques en studio et sur scène… mais aussi des reproductions des archives de la Bibliothèque-Musée de l’Opéra (maquettes de costumes, de décors…) illustreront ces différents thèmes.

Christian Lacroix dans les ateliers de couture du Palais Garnier. © Anne Deniau.

Centre national du costume
de scène et de la scénographie
Quartier Villars, Route de Montilly,
03000 Moulins
Tél. 00 33 (0) 4 70 20 76 20
Fax 00 33 (0) 4 70 34 23 04
info@cncs.fr / www.cncs.fr


Horaires de l’exposition
du 16 juin au 31 décembre 2012.
Le cncs est ouvert tous les jours
de 10h à 18h, jusqu’à 19h en juillet et août.
Fermeture exceptionnelle le 25 décembre.
Le cncs fermera ses portes à 16h le 24 et le 31 décembre.

Maquette de costume de Christian Lacroix
pour Naïla dans le ballet La Source. Palais Garnier, 2011. © Christian Lacroix.
Conception : Atalante-Paris 

Museo Thyssen-Bornemisza - Madrid

Rostros y manos, pintura germánica antigua y moderna

Coincidiendo con la celebración de su 20 aniversario, el Museo Thyssen-Bornemisza ha puesto en marcha diversas actividades para conmemorar su apertura. En este contexto se inscribe , un ciclo expositivo cuyo objetivo es incentivar en los visitantes un juego de conexiones y divergencias entre obras de distintas épocas y estilos procedentes de las colecciones del propio Museo.


A partir del 22 de mayo se presenta, en la sala mirador de la primera planta -con acceso directo desde el hall central y entrada libre-, la segunda entrega de esta serie, con el título Rostros y manos, pintura germánica antigua y moderna. La muestra propone una confrontación entre el Renacimiento germánico y el Expresionismo y la Nueva Objetividad que surgen en Alemania tras la Primera Guerra Mundial, con obras de Alberto Durero, Lucas Cranach el Joven, Otto Dix o Max Beckmann, entre otros. Tanto en el Renacimiento como en el siglo XX los artistas de estos movimientos se interesaron por el hombre y su imagen, así como por su exaltación a través del arte. Para estos ideales el retrato era el vehículo perfecto, lo que contribuyó al gran auge que tuvo en ambas épocas. El retrato constituye uno de los géneros pictóricos de mayor calidad y cantidad de la Colección Permanente del Museo Thyssen-Bornemisza. Su importancia dentro de la tradición pictórica alemana explica la preferencia por este género del primer barón Thyssen-Bornemisza y de su hijo y fundador del Museo, Hans Heinrich.

Una mirada atenta a la selección de obras que se presenta en este nuevo montaje permitirá al espectador advertir la influencia que los maestros antiguos alemanes ejercieron sobre artistas como Otto Dix o Max Beckmann a principios del siglo XX. A pesar de su lejanía en el tiempo, es posible observar su proximidad técnica y teórica en aspectos como la similitud en los esquemas de representación, el interés por el detalle y el realismo, así como la obsesión por retratar la personalidad y la psicología de los personajes a través de los rostros y de las manos.

Rostros y manos, pintura germánica antigua y moderna 

Del 22 de mayo al 2 de septiembre de 2012

Museo Thyssen-Bornemisza
Comisaria: Dolores Delgado, área de Pintura Antigua del Museo Thyssen-Bornemisza


Horario: de martes a domingo de 10.00 a 19.00 h. A partir del 12 de junio, los lunes y los
domingos de 10.00 a 19.00 h. y de martes a sábado de 10.00 a 23.00 h.
Museo Thyssen-Bornemisza, Paseo del Prado, 8. Madrid.
Balcón-mirador de la
primera planta, con acceso directo desde el hall central.
Acceso gratuito

The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde

Henri Matisse (French, 1869–1954)
Woman with a Hat, 1905 - Oil on canvas
31 3/4 x 23 1/2 in. (80.7 x 59.7 cm)
San Francisco Museum of Modern Art, Bequest of Elise S. Haas
© 2012 Succession H. Matisse / Artists Rights Society (ARS), New York

February 28 – June 3, 2012

Exhibition Location: The Tisch Galleries

The Stein siblings—Gertrude, Leo, Michael, and his wife Sarah—were important patrons of modern art in Paris during the first years of the 20th century. This American family collected hundreds of artworks by a group of relatively unknown artists with whom they became close friends. The Steins opened their apartments on Saturday evenings to anyone who arrived with a reference in hand. At these salons, scores of international artists, collectors, and dealers passed through their doors in order to see and discuss the latest artistic developments, long before they were on view in museums. Ultimately, the Steins’ enthusiasm for avant-garde art—particularly the work of Henri Matisse and Pablo Picasso—had an indelible impact on its development for decades to come.

The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde—at The Metropolitan Museum of Art from February 28 through June 3, 2012—unites some 200 works of art to demonstrate the significant impact the Steins’ patronage had on the artists of their day and the way in which the family disseminated a new standard of taste for modern art. The exhibition traces the evolution of the Steins’ collections and examines the close relationships that formed between individual members of the family and their artist friends. While focusing on paintings by Matisse and Picasso, the exhibition will also include paintings, sculpture, and works on paper by Pierre Bonnard, Maurice Denis, Juan Gris, Marie Laurencin, Jacques Lipchitz, Henri Manguin, André Masson, Elie Nadelman, Francis Picabia, and others.

The exhibition is made possible by The Philip and Janice Levin Foundation and the Janice H. Levin Fund.

Additional support provided by The Daniel and Estrellita Brodsky Foundation.

The exhibition was organized by The Metropolitan Museum of Art, New York, the San Francisco Museum of Modern Art, and the Réunion des Musées Nationaux-Grand Palais, Paris.

It is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Leo Stein was a collector by nature. Once he settled in Paris in early 1903, he was amazed to discover that he could afford to purchase contemporary oil paintings. He was most attracted to colorful figurative work, traditional subject matter rendered in innovative ways. Leo’s youngest sister Gertrude joined him in the fall of 1903. Their eldest brother, Michael, together with his family, followed from California in January 1904. Leo was the driving force of the collection during these early years. After realizing that his plan to build a collection of paintings by Paul Cézanne, Edgar Degas, Édouard Manet, and Auguste Renoir was beyond his means, Leo changed strategies and instead began to purchase inexpensive paintings by relatively unknown younger artists. In 1905 he bought his first pictures by Picasso and Matisse.

 Pablo Picasso
Melancholy Woman, 1902 - Oil on canvas
39 3/8 x 27 ¼ in. (100 x 69.2 cm)
Detroit Institute of Arts, bequest of Robert H. Tannahill
© 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Following Leo’s lead, Sarah and Michael began purchasing fairly inexpensive pictures by Cézanne, Gauguin, Manguin, Picasso, and Vallotton. They became close friends with Matisse after Leo introduced them in late 1905. Within three years, the walls of their apartment were filled with colorful canvases. With the exception of Matisse’s own studio, there was no better place to see his recent work.

The Steins had close bonds with the emerging artists whose works they collected. They went horseback riding and swimming with Henri Matisse and arranged for their friends from San Francisco, Harriet Lane Levy and Alice Toklas, to take French lessons from Picasso’s girlfriend, Fernande Olivier. It was not uncommon for Leo to have lunch with Matisse and dinner with Picasso in a single day. Both artists sent the Steins sketches and reports of their work in progress.

The Steins were natural networkers. They famously introduced Matisse to Picasso and made the art of the Parisian avant-garde available to hundreds of people who might not have had a chance to see it otherwise. The first documented visitors to 27, rue de Fleurus were Leo’s artist friends, who often found him pacing the studio or reclining on a daybed while extolling the individual merits of the pictures. As word of the Steins’ collections spread, they were overwhelmed with requests for visits. A decision was made to consolidate the visits and open both Leo and Gertrude’s atelier and Sarah and Michael’s apartment on Saturday evenings to anyone who arrived with a reference. Artists, writers, musicians, and collectors convened to discuss the latest artistic developments. Visitors from the United States, Europe, and Russia spread news of what they had seen. By opening their homes and making their collections accessible, the Steins did more to support avant-garde painting than any other collectors or institutions during the first decade of the 20th century.

By late 1910, the modest two-bedroom apartment at 27, rue de Fleurus that Leo had initially rented for himself was home to three occupants: Leo, Gertrude, and her companion, Alice Toklas. Leo’s increasing deafness led him to distance himself from the Saturday evening salons, and by 1913 he recognized that it was time for him to leave rue de Fleurus altogether. Leo and Gertrude divided their collection. Gertrude kept the Picasso paintings, and Leo took 16 Renoirs. “Rather an amusing baggage for a leader in the great modern fight,” he conceded. Leo was relieved to live a quieter, simpler life with Nina Auzias, whom he married in 1921. He spent the rest of his years in Italy, France, and the United States, painting, writing and lecturing about aesthetics.

Meanwhile, Gertrude and Alice renovated the atelier and removed the frames from most of the paintings, which accentuated her more orderly display. Gertrude took her writing quite seriously, and friends noted that in books such as Tender Buttons (1914 ) and The Making of Americans (1925), Gertrude was “doing the same thing in literature that Matisse & Picasso [were] doing in art.”

World War I had a particularly devastating impact on Sarah and Michael’s collection. At Matisse’s request, they lent 19 of their largest and most important paintings by him to a July 1914 gallery exhibition in Berlin. When Germany declared war on France in early August, the paintings were trapped. After years of legal negotiations, Michael and Sarah opted to sell them to the Norwegian shipowner Tryggve Sagen and the Danish collector Christian Tetzen-Lund. Matisse regretted the turn of events and painted portraits of Sarah and Michael (1916; San Francisco Museum of Modern Art), the only portrait pendants he is known to have made. In the mid-1920s, the couple commissioned a villa from Le Corbusier. “After having been in the vanguard of the modern movement in painting in the early years of the century, we are now doing the same for modern architecture,” Michael said.

Of all the Steins, only Gertrude managed to keep the bulk of her collection together. She could no longer afford to buy paintings by the artists she had once supported. Most new acquisitions were gifts or acquired through trade, such as the last Picasso painting she added to her collection, Still Life (1922; The Art Institute of Chicago). Younger artists such as Louis Marcoussis, André Masson, Francis Rose, and Pavel Tchelitchew gravitated to Gertrude, flattered by her interest in them. She and Alice retreated to their country home at Bilignin during World War II, ignoring repeated warnings from the American Embassy to leave. It was probably Bernard Fäy, a close friend, translator of many of Gertrude’s writings, and influential Vichy collaborator, who protected her.

In the mid-1930s, Gertrude reminded her readers that the art of Matisse and Picasso was once scorned. “It is very difficult now that everybody is accustomed to everything to give some idea of the uneasiness once felt when one first looked at all these pictures on the walls.”

The Steins Collect; Matisse, Picasso, and the Parisian Avant-Garde revisits this decisive moment. It is the story of one American family residing in Paris who shaped the development of modern art for decades to come.

Highlights from the exhibition include Matisse’s Woman with a Hat (San Francisco Museum of Modern Art), purchased by Leo Stein from the famous “fauve” Salon d’Automne of 1905, and Picasso’s painting of Gertrude Stein (The Metropolitan Museum of Art), which will be presented alongside additional portraits of the Stein family by Matisse, Picasso, and Vallotton.

Life-size photographic enlargements of the Steins’ Parisian apartments will be displayed throughout the exhibition to show how the art was installed in the Steins’ residences. Additional themes covered in the exhibition include Sarah and Michael Stein’s role in the formation of the Académie Matisse, the influential art school that operated from 1908 to 1911; their commission of a villa from Le Corbusier; and Gertrude’s later friendships and collaborations with Juan Gris, Elie Lascaux, Francis Rose, and Virgil Thomson.

Exhibition Credits and Catalogue
The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde is organized by Janet Bishop, curator of painting and sculpture at SFMOMA; Cécile Debray, curator of historical collections at the Musée National d’Art Moderne, Centre Pompidou, Paris; and Rebecca Rabinow, Curator in the Metropolitan Museum’s Department of Modern and Contemporary Art.

 Paul Cézanne

Bathers, ca. 1892
Oil on canvas, 8 11/16 x 13 in. (22 x 33 cm)
Musée d’Orsay, Paris on deposit at the Musée des Beaux-Arts, Lyon

Primer Aniversario Danza Ballet Revista

Primer Aniversario
Danza Ballet Revista de Colección, Nº4
Junio/Julio, 2012

Ballet Giselle - Vestido de Carla Fracci (Acto I, Giselle. Opera de Roma)
Música de Adolphe Adam con libreto de Théophile Gautier
Coreografía de Jean Coralli y Jules Perrot, revisada por Frederick Ashton y Tamara Karsavina
Escenografía y diseño de vestuario de James Bailey realizados en los talleres del Royal Opera House en 1960
Se exhibió en la exposición “Rudolf Noureev”, Centre National Costumes Scène 2009
Foto © CNCS

Indumentaria de Rudolf Noureev en el papel de el príncipe Albrecht
(Acto II, Giselle) Ballet Giselle
Producción Royal Ballet, Londres. 1962 - Diseño de vestuario James Bailey
Confeccionado por atelier de Martín Kamer en París - Colección Fondation Rudolf Noureev (RN)
Foto © CNCS / Pascal François - CNCS/Colección Ópera Nacional de París

Nuestros trajes de portada por Cruz Santamera Cerceda ©2012 Danza Ballet