Rivane Neuenschwander prepares ribbons printed with wishes for “I Wish Your Wish,” part of a show of her art at the New Museum, New York, in 2010. Photo: Suzanne DeChillo/The New York Times
L’arche de Noé XLIII, Elie Saab, HC Summer 2014, Grand Palais, Paris, 12th February 2015. Color-print from original polaroid, 35 1/2 x 47 1/4 in. Edition of 10
Paul Durand-Ruel in his gallery in Paris, c1910. Photograph: Dornac/ AACV
“Wɖt hm, sd Mone, w wd’nt hv svîvd.
So ynivrsli popylr r ɖ Imprešnists tde, it’s hād t imajin a tîm ẇn ɖe wr’nt. Bt in ɖ ŕli 1870z ɖe strugld t b axptd. Šund bî ɖ ātistablišmnt, ɖe wr īvn lambastd az lūṇtcs bî wn critc.
Wn man, hvr, recgnîzd ɖer wrʈ fṛm ɖ bginñ. Pwl Dŭrã-Ruel, an ontṛpṛnŕı̣l ātdīlr fṛm Paris, dscuvrd ɖs grūp v yuñ ātists – includñ Mone, Degā, Mane, Renwā, Pīsaro n Sisle – n gambld.
Paul Durand-Ruel’s grand salon at Rue de Rome, with Renoir’s ‘Dance in the City’ on the left (Picture: Archives Durand-Ruel)
Riylîzñ ɖ fašnbl ptenšl v ɖer ḍrîdd imprešnz v ŕbn n sbŕbn lîf, Dŭrã-Ruel dedicetd ɖ rest v hiz lîf t bildñ an ōdı̣ns fr ɖer wrc – crietñ ɖ modn ātmācit in ɖ prôses.
Sč wz hiz prsviṛns, Dŭrã-Ruel nirli bancruptd hmslf twîs, bfr sxesfli glôblîzñ hiz oṗrešn wɖ âtposts in Lundn, Bruslz n Ny Ywc, n istablišñ ɖ wn-man šo az ɖ inṭnašnl nwm fr xbišnz.
Ɖ Imprešnists – a trm frst yzd ḍrogtvli bî critcs – wz t bcm ɖ hâshold nem ɖt standz tde.
Invntñ Imprešnizm fīčrz 85 mastrpìsz fṛm ɖ muvmnt, ol bt wn hvñ pást ʈru Dŭrã-Ruel’z handz, includñ ʈri v Renwā’z fems Dansz n fîv fṛm Mone’z Popḷrz siriz.”
The Sheepfold, Moonlight, 1856-60 by Jean-François Millet. Photograph: Alamy
Edouard Manet’s Boy with a Sword, 1861. Photograph: Alamy
Manet’s sketch for his 1882 work A Bar at the Folies-Bergère
Édouard Manet, Music in the Tuileries Gardens (1862) Photo: The National Gallery
Édouard Manet: The Battle of the U.S.S. “Kearsarge” and the C.S.S. “Alabama”, 1864
Claude Monet, The Thames below Westminster, about 1871. Oil on canvas. Picture: The National Gallery, London
The Artist’s Garden (detail), Monet, 1873 (Picture: Board of Trustees, National Gallery of Art, Washington DC)
The Ballet Class, Hilaire-Germain-Edgar Degas. Oil on canvas, about 1880. (Picture: Philadelphia Museum of Art)
Two Sisters (on the Terrace)’, 1881, by Pierre-Auguste Renoir
The daughters of Paul Durand-Ruel, Marie-Thérèse and Jeanne, Pierre-Auguste Renoir. Oil on canvas, 1882. (Picture: Chrysler Museum of Art, Norfolk, Virginia)
Pierre-Auguste Renoir, Dance in the Country, 1883, Oil on canvas (Picture: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski)
Pierre-Auguste Renoir: Paul Durand-Ruel in 1910 (Archives Durand-Ruel)
Mary Cassatt: The Child’s Bath, 1893. Art Institute of Chicago
Ʈrt ɖ frst hāf v ɖ twentiiʈ senčri, š seḷbretd ɖ modn wrld v muvmnt, tecnoḷji n ŕbn lîf, xplorñ ny îdiyz abt culrʈiyri tgɖr wɖ hr huzbnd Robt Ḍlwne.
Ɖs wl b ɖ frst YC retṛspctv t ases ɖ bredʈ v hr vîbṛnt ātistc practis acrs a wîd renj v mīdia. It wl fīčr ɖ grândbrecñ pêntñz, txtîlz n cloɖz š md acrs a sixti-yir c̣rir, az wel az ɖ rzults v hr iṇvtv c̣laḅrešnz wɖ powts, coriogṛfrz n manyfacčrrz, fṛm Diagilev t Liḅti.
Propeller (Air Pavilion), 1937, at Tate Modern. Photograph: Tim Ireland/AP
A nocât šo. (Êdrı̣n Srl, Ɖ Gādı̣n)
Ɖs šo mcs a pârfl āğmnt fr Ḍlwne az a tru radicl: ahd v hr tîm, ṣprīmli reḷvnt t ârs. (Ben Lūc, Īvnñ Standd)
Ḍlwne z wn v ɖ crūšl refṛnspýnts in modn āt n dzîn. VÔG”
Yellow Nude 1908 Musée des Beaux-Arts de Nantes, Nantes
Bag from beach set, 1922-3
Coat for Gloria Swanson, 1923-24. Photograph: Private Collection
Simultaneous Dresses (The three women), 1925. Museo Thyssen-Bornemisza, Madrid
Day coat, 1925
Court shoes, 1925. Photograph: Les Arts Décoratifs, Musée de la Mode et du Textile, Paris
Rhythm Colour no. 1076, 1939
Syncopated rhythm, so-called The Black Snake 1967 Musée des Beaux-Arts, Nantes, France
Installation view of Paysage avec poussin. Photo by Andy Keate.
Film still from Figures, 2011, 16mm film
Film still from Premier rêve d’Oskar Fischinger, 2008, 16mm film
“Ɖ Sâʈ Lundn Gaḷri n Spîc Îḷnd, Bristl, priznt a tu-pāt sôlo xibišn bî Frenč ātist Izabel Cornaro. Ɖ SLG hôsts an xistñ lj-scêl insṭlešn ẇl ɖ prezntešn at Spîc Îḷnd fôc̣sz on ny n rīsnt wrc.
At ɖ Sâʈ Lundn Gaḷri, Cornaro priznts ɖ sixʈ in ɖ siriz v insṭlešnz intîtld Paysage avec Poussin et témoins oculaires stātd in 2008. Č v ɖz insṭlešnz z lūsli bêst on a clasicl landscêp pêntñ bî ɖ 17ʈ senčri ātist Nīc̣ôla Pūsĩ (1594–1665), crietd az ʈri-dimnšnl intrpṛtešnz yzñ sets v peḍstlz n standñ wōlz t dsple objcts in mtikḷs arenjmnts. Ɖ objcts r ṣlectd bî Cornaro fr ɖer sṗsific fwm or dec̣rešn. Grūpñ ɖm bî sîz, lînz v pspctv n fr ɖer lît n šado ifcts, š pts intu qesčn ɖer isʈetc n culčṛl valy. Ɖ clirli strucčrd comṗzišn riinfwsz ɖ ilužn v pspctv, alawñ vizitrz t xpirı̣ns ɖ wrc fṛm dfṛnt vypýnts ẇlst olso biyñ ebl t wōc btwn ɖ peḍstlz, incântrñ fragmnts v Cornaro’z cnstructd landscêp.
T acumṗni ɖs wrc in ɖ SLG’z mn spês, Cornaro’z šwt filmz Figures (2011) n Premier rêve d’Oskar Fischinger (2008) wl b šôn in ɖ frst flor gaḷriz.
Izabel Cornaro wrcs wɖ pêntñ, sculpčr, film n insṭlešn, t xplor ɖ inflụns v histri n culčr on âr pspšn v riaḷti. Az a trênd āthistwrı̣n spešlîzñ in 16ʈ senčri Yṛpiyn Maṇrizm, hr vižl lanĝj drwz on a wîd are v refṛnsz, fṛm ɖ Ḅroc t moḍnist abstraẋn. In hr wrc Cornaro yzz fând objcts imbyd wɖ simbolic ptnšl or imošnl valy, ẇč š priznts in dfṛnt tîps v dsple n mīdia t rvil ɖ sutl šifts v mīnñ pṛvoct bî prôsesz v rīpṛduẋn n trnzlešn.
Borod fṛm dmestc, decṛtv or funẋnl contxts, ɖz āṭfacts r ofn lnct t Westn culčr az a mīnz v pâr, ɖer combinešn n arenjmnt in ɖ ātist’s wrc invîtñ spectetrz t qesčn ɖ rlešnšps btwn sistmz v repṛzentešn n âr undrstandñ v ɖ wrld.
TÉMOINS OCULAIRES │ Spike Island, Bristol → 29 March 2015
Photograph by Stuart Whipps
“…At Spîc Îḷnd, Cornaro priznts a siriz v spešli cmišnd insṭlešnz, in ẇč š cntinyz hr invstigešn intu comṗzišn, vižl pspšn n intrpṛtešn. Ɖz tablo, ẇč cd b dscrîbd az fizicl repṛzentešnz v ɖ act v wočñ, activet sṗsific vypýnts reminisnt v siṇmatc n editñ tecnīcs (fremñ, fôc̣s, clôs-p, wîd angl, tracñ, sīqnsšot ets.). Č tablo criets a slf-cntend spês wɖ vẹriyñ pspctvz, in ẇč ɖ objcts r rtrnd t ɖer destini v fetišz, ẇč z t šîn fṛm a distns, in ɖ wrdz v ɖ Frenč filmcritc Serž Dane.”
Scenes # 4 (2015) (detail). Photograph by Stuart Whipps
Scenes # 4 (2015) (detail). Photograph by Stuart Whipps
Scenes # 4 (2015). Photograph by Stuart Whipps
Installation view (2015). Photograph by Stuart Whipps
Installation view. Photograph by Stuart Whipps
Choses (2014) installation view. Photograph by Stuart Whipps
“Ɖ YC’z ljst evr xibišn v ɖ influenšl n enigmatc fašnftogṛfr Gi Bŭrdĩ, fīčrñ ovr 100 wrcs n prīvı̣sli unsin mtirı̣l fṛm ɖ ftogṛfr’z istet, fṛm 1955 t 1987. Ɖs mêjr šo čāts Bŭrdĩ’z dstnĝšt 40-yir c̣rir, fṛm Man Re’z proṭže t ftogṛfīreṿlušnri in hiz ôn rît, n xplorz hiz psyt v pfẋn. Ɖ xibitd wrcs xmplifî ɖ craftsmnšp bhnd hiz imijz, fṛm pṛduẋn t publicešn, n ɖer indyrñ qoḷti az a consiqns.
Gi Bŭrdĩ’z editwrı̣l n advtîzñ imijri repriznt a hîpýnt in lêt twentiiʈ senčri fašnftogṛfi. Hiz wrc tc ɖ bêsic funẋn v ɖ fašnfôṭgraf – t sel cloɖñ, byti n axeṣriz – n md it intu smʈñ rič n strenj. Bŭrdĩ dd ɖs wɖt rzwtñ t xotisizm; instd, h istablišt ɖ îdīa ɖt ɖ product z secndri t ɖ imij. Fṛm hiz pṛfešnl dêby fr Paris Vôg in ɖ 1950z, Bŭrdĩ dveḷpt a dstnctv stîl v vižl stwrītelñ, ẇč cntinyz t srv az a sws v inspirešn t cntmprri fašnftogṛfrz fṛm Tim Wōcr t Nic Nait.
Kretd bî Alister O’Nīl wɖ Šeli Vertīm, ɖ xibišn includz ovr 100 culr xibišnprints v Bŭrdĩ’z most significnt wrcs, az wel az ŕli n lêt wrcs in blac n ẇît ɖt srv t čalinj Bŭrdĩ’z repytešn az a culrftogṛfr. Ɖs z complimentd bî a renj v uɖr fôṭgrafic mtirı̣lz: ynīc Pôḷrýd testšots, dubl-pêj spred lêâts, contactšīts n trnspaṛnsiz māct fr comṗzišn ɖt xplor Bŭrdĩ’z craftsmnšp az an imijmêcr n ɖ prôsesz involvd in pṛdysñ stātlñ n pṛvoc̣tv imijri in a prīdijitl êj. It olso hîlîts Bŭrdĩ az a paynir v fašnfilm, šôcêsñ a renj v Sūpr-8 filmz h md at ɖ sem tîm az hiz on-lcešn fôtôšūts.
Ɖ xibišn olso fīčrz a ṣlẋn v pêntñz, wrcñdrōñz, scečz n nôtbcs, nt sīn in ɖ YC bfr, ẇč infwm hiz aproč az a comṗzišnl imijmêcr n mtikḷs draftsmn. A hîlît z ɖ Wōcñlegz siriz – a campen cmišnd bî Šāl Žŭrdã in 1979 xibitd in its intîṛti fr ɖ frst tîm wɖ a yt unsin acumṗniyñ fašnfilm.”
