When Jeff read in July that the Pompidou Centre in Paris would be hosting an exhibition celebrating the 100th anniversary of the Surrealism movement, we knew we’d have to go see it. As we planned the trip, we found several other opportunities to see art, not knowing how well each exhibit would seamlessly flow into the next.
To be sure, the Surrealism exhibition was unreal – it was even designed as a labyrinth, which was clever, yet a bit frustrating (probably intentionally so). Starting with Andre Breton’s 1924 Manifesto of Surrealism, a French national treasure, the scope of the works on display was tremendous, including all the big names as well as many unknown to us. It was interesting to learn the history and inspirations for the movement, and how it evolved. Marcel Jean’s Surrealist Wardrobe was a real treat – a humble object that becomes so much more, offering an imagined escape through its many portals.
Ultimately, surrealism shows how art is an expression of philosophy, reconfirming why many of Jeff’s favorite artists are surrealists. As we left, pondering everything we had just seen, the fountain full of colorful sculptures outside was a fun bonus.
Next up was a return to the Picasso Museum to see Jackson Pollack, the Early Years (1934-1947). We knew of Pollack’s later drip paintings but knew very little else about him or his art. Picasso was highly influential in Pollack’s artistic evolution, both thematically and stylistically. He had Surrealist influences as well, which were noteworthy after our Pompidou visit. Being able to compare Pollack and Picasso works side by side was intriguing.
A fabulous docent had the group of French children mesmerized. The museum has recently allowed a modern Cubist artist to paint the “chapel” space, and if you hadn’t read the description, you might mistake it for Picasso’s work. The museum is an elegant and inviting space – you can see Jeff taking a brief rest down below.
Our third exhibit was Heinz Berggruen, A Dealer and His Collection, at the Musee de l’Orangerie, which was filled with works by 20th century masters, including Picasso, Klee, and Matisse, among many others. Berggruen escaped Nazi Germany yet 60 years later sold his extensive collection to the country he left behind. The collector/dealer perspective was distinct, but the artists overlapped and felt like an extension of the prior two exhibits.
Several of Monet’s famous water lily paintings are on permanent display at the L’Orangerie. Serving as a modern counterpoint were Amelie Bertrand’s Hyper Nuit interpretation of the water lily motif.
These contemporary versions of classic works were the perfect segue to our last exhibit, Pop Forever, Tom Wesselmann & … at the Foundation Louis Vuitton. Admittedly, neither one of us had heard of Wesselmann, who was one of Pop art’s leading figures. So, the exhibit was quite an education, both about the artist and the movement. Wesselmann was prolific and seeing his works presented with so many other Pop artists (many of whom we did know of, e.g. Andy Warhol) was entertaining, as Pop art has quite a sense of humor.
These two collage pieces take the mundane and make it fun. Many of Wesselman’s pieces are multidimensional. His large pieces were especially amusing and witty.
As we left the FLV we were greeted by a newly arrived sculpture, Flower Parent and Child by Takashi Murakami, who has collaborated with Louis Vuitton in the past. The piece was recently moved to Paris from Kyoto. The golden piece matched well with the gold Balloon Dog by Koons shown in the exhibition.
As this will be our last post of the year, we wish you all joy and good health in 2025!
Adieu 2024,
Shana & Jeff