Carole Puéo

 

CAROLE PUÉO

Carole Puéo is a contemporary French painter born in Trévoux in 1973, who currently lives and works in Burgundy. She is a renowned figurative artist whose work focuses primarily on female portraits. Carole Puéo has a solid academic background. She studied at the École Nationale des Beaux-Arts in Dijon and then continued her university studies in the history of contemporary art. Her artistic research is strongly inspired by art history, particularly feminist art movements. While she is highly recognized for her acrylics, dry pastels, and ink works, oil painting serves as a foundational medium for her deeper psychological explorations.

 

Katsushika Hokusai / Museum of Fine Arts, Boston

(Credit: Katsushika Hokusai / Museum of Fine Arts, Boston)

Hokusai and the wave that swept the world

Jason Farago
9 April 2015

Without the Japanese printmaker Hokusai, Impressionism might never have happened. Jason Farago examines the moment when European art started turning Japanese.

In the beginning was the wave. The blue and white tsunami, ascending from the left of the composition like a massive claw, descends pitilessly on Mount Fuji – the most august mountain in Japan, turned in Katsushika Hokusai’s vision into a small and vulnerable hillock. Under the Wave off Kanagawa, one of Hokusai’s Thirty-Six Views of Mount Fuji, has been an icon of Japan since the print was first struck in 1830–31, yet it forms part of a complex global network of art, commerce, and politics. Its intense blue comes from Hokusai’s pioneering use of Prussian Blue ink – a foreign pigment, imported, probably via China, from England or Germany. The wave, from the beginning, stretched beyond Japan. Soon, it would crash over Europe.

Françoise Gilot y Pablo Picasso

 

Françoise Gilot y Picasso

Françoise Gilot and Pablo Picasso

Françoise Gilot y Picasso

Anne-Christine Roda / Portraits

ANNE-CHRISTINE RODA

PORTRAITS

Anne- Christine Roda is a French artist born in 1974, who defines a highly interpretation of the portrait: in her work the painting is entirely subjugated to the portrayal of man’s fragility. Her choice of subject speaks directly to our everyday lives.

Gilberte by Proust

Marcel Proust

GILBERTE

BY ALEC WAUGH

T

HEIR eyes meet across a hedge when she is still a little girl. In his eyes the look is one of appeal unconsciously, in hers of ironic indifference and contempt. He hears her name called: “Gilberte”; and she obeys instantly without turning to look back in his direction, leaving him with a disturbing enervating memory, the sense suddenly appreciated of things distant and intangible, of a world withheld from him. And that brief encounter sets the tone of their relations. She is always very largely a creature of his imagination, a window through which he can see but cannot reach immortal pastures. Never in the sense that Odette is, does she become a personality to him. Consequently to the reader she appears only in intermittent flashes of reality: when she gives him the marble that has the same colour as her eyes; when they wrestle for the letter—their feelings one shy articulation—and she says, “You know, if you like, we might go on wrestling for a little”; when in spite of her grandfather’s anniversary and her father’s disapproval she insists on going to a concert: in her impatience at being kept from a dancing lesson by her lover’s unexpected visit.

And when we recall the endless pains expended, through Swann’s love for her, on Odette,-64- on the making indeed a mirror of that love for the woman by whom it was inspired and from whom it drew its strength and weakness, we realise that purposely the author has left of Gilberte “a loveliness perceived in twilight, a beauty not clearly visioned”; that he considered the emotions felt for her not to be a response to any emanation from herself; but that she was rather a focus, a rallying-point, for the aspirations and intimations of boyhood; that she was in herself uninteresting, filling rather than creating a position in the life of the “moi” of A la Recherche du Temps Perdu. Throughout the episode the reader’s attention is fixed always on the “moi,” on the detailed analysis of his love: its ebb and flow; its dawn of timidity and reverence and hopeless longing; its discontent; its substitution for love of friendship; its oblique and unrepeated essay, in the wrestle, towards a physical expression; the resignation for its sake of a diplomatic career which would carry him from Gilberte; the disagreement over a trifle; the gradual recognition of its failing power, and the final realisation that those emotions of his, which he had considered in the light of a gift to Gilberte, as her permanent possession, had returned to him, to be showered in time, but in a different form, before another woman. This particular series of emotions, so familiar and yet, belonging as it does to Jurgen’s enchanted garden between dawn and sunrise, so distant; this love that must, in John Galsworthy’s phrase, “become-65- in time a fragrant memory—a searing passion—a humdrum mateship—or once in many times vintage full and sweet with sunset colour on the grapes,” Marcel Proust has in the last pages of Du Côté de chez Swann and the first part of A l’Ombre des Jeunes Filles en Fleurs presented in unfaltering analysis.

It is a series of emotions that has been treated many times and has inspired more than one masterpiece of the world’s literature. For, whatever else in life comes twice, that does not come. Love may advance down the years often enough and gaily enough, “overthrowing all ancient memories with laughter”: the passions of maturity may be deeper, stronger, less impermanent. But the particular charm of that first flowering is irrecapturable. Whence its unique fascination for the novelist. To compare Proust’s treatment of it with that of other writers—with, for example, Turgenev’s beautiful First Love—would be a forlorn and foolish business. To praise the one at the expense of the other would be to blame a big writer for failing to achieve a thing at which he never aimed. Those who find themselves in sympathy with Proust’s methods, who recognise in the technique of his work a new formula, in its style a new prose rhythm, and in the spirit of it an alert and original intelligence, will always look on Gilberte as one of his most fortunate successes.

GUTENBERG

Françoise Gilot / La Marionette, 1955

 

La Marionette (Claude and Paloma Picasso with Germaine Brooks), 1955. Oil on canvas.

Françoise Gilot. 

Françoise Gilot

La Marionette (Claude and Paloma Picasso with Germaine Brooks), 1955.

Françoise Gilot (French, b. 1921)
La Marionette (Claude and Paloma Picasso with Germaine Brooks), 1955
Oil on canvas
46 x 28-1/2 inches (116.8 x 72.4 cm)
Signed lower left: F. Gilot.
Titled and dated on the stretcher bar: La Marionette 1955

PROVENANCE:
Collection of the artist;
Vincent Mann Gallery, New Orleans, Louisiana;
Acquired by the present owner from the above, February 20, 2010.

EXHIBITED:
Paris, Galerie Louise Leiris, n.d..;
New Orleans, Louisiana, Collection Privée: Early Works by Françoise Gilot 1940-1960," February-May, 2010.

LITERATURE:
M. Yoakum and D. Vierny, Françoise Gilot: Monograph 1940-2000, Lausanne, Switzerland, 2000, p. 135.

Famous for her bold, modernist canvases and successful career as a painter in postwar Paris, Françoise Gilot is also renowned for having been the muse and lover of Pablo Picasso. While her story may be inextricably linked to 20th century art's most towering figure, Gilot's remarkable life and vast oeuvre is extremely impressive on its own merits. In a career spanning over seven decades, her distinct artistic language reveals a mastery of modernist concepts, technical skill, and a dual focus on both personal and universal themes. A sort of playful abstraction, Gilot's style lies somewhere between that of Picasso and Henri Matisse, whom she also counted as a close friend and mentor.

In conversation / Claude Picasso and John Richardson

Claude Picasso, New York, November 29, 1967, photographed by Richard Avedon 

IN CONVERSATION

CLAUDE PICASSO ANDJOHN RICHARDSON

Picasso biographer and family friend Sir John Richardson sits down with Claude Picasso for a wide-ranging conversation. The two discuss Claude’s photography, his enjoyment of vintage car racing, his encounters with Willem de Kooning, and the future of scholarship related to his father, Pablo Picasso.

Nightmare at the Picasso Museum

John Richardson

Winter 2018

JOHN RICHARDSON So, what brings you to New York?

CLAUDE PICASSO Well, tomorrow is my birthday and I thought I’d spend it with [my mother] Françoise [Gilot]. It’s amusing because we’re exactly twenty-five years apart, so it’s easy to remember: When I turned twenty-five, she turned fifty. When she turned seventy-five, I was fifty. This week she said, “And what are you going to be? Oh, seventy-two? So it means I’ll be a hundred” [laughter]. I said, “Not yet.”

A Conversation with Françoise Gilot

 

Françoise Gilot

A Conversation with Françoise Gilot

Posted on Sept. 10, 2016

“What makes you smile?” our photographer asks Françoise Gilot. Her serious expression suddenly shifts into a delighted grin. Everyone laughs. We are in the Colas Engel Art Gallery in North Park, where Gilot’s paintings are on exhibit in advance of Symphony at Salk, the annual concert and benefit for the Salk Institute for Biological Sciences. The internationally-known artist and author has served as Honorary Chair since the event’s inception in 1994, and her strong, dynamic works have been featured as the event’s signature posters. “I paint for me,” says Gilot who began studying art as a child. “It’s a natural thing. It’s a way of expressing both my ideas and also my passions.”

Françoise Gilot / Blue eyes / Les yeux bleus

 

Françoise Gilot

Françoise Gilot Blue eyes (Les yeux bleus)

By Ted Gott | 20 Dec 18

Inspired by her mother, who was a watercolourist, Françoise Gilot decided to become an artist herself at the age of five. She was tutored first by her mother and then by her mother’s art teacher. In 1938 Gilot attained a Bachelor of Arts (Philosophy) at the University of Paris, and then completed another degree in English literature at Cambridge University in 1939. In order to please her father Gilot enrolled to study law from 1940−42, during the Nazi Occupation of Paris, but eventually decided to pursue a full-time career as an artist, spending her time sketching in Paris subways and cafes. Her art heroes at this time were the masters of the Italian Quattrocento, as well as Paul Gauguin and Vincent van Gogh. In 1941 at the Salon des Tuileries she met a young Hungarian painter Endre Rozsda, who was an enthusiast of Surrealism and the work of Pablo Picasso, who allowed her to work in his studio. Gilot now developed an interest in the work of Henri Matisse and Georges Braque. In Paris from 1943–45 she studied at the Académie Julian, the Académie Ranson and the École des Beaux-Arts.

In 1943 Gilot held her first exhibition in Paris, showing work alongside another artist friend, Geneviève Aliquot. In this same year, at age twenty-one, she met Pablo Picasso. The two were romantically linked as partners for the next decade, and had two children together, Claude and Paloma. Following the war, the couple lived primarily in the south of France. Gilot continued to work as an independent artist during and after her relationship with Picasso. In 1949 she entered into a contractual arrangement with the Galerie Louise Leiris, becoming the first woman artist to exhibit with this prestigious gallery in 1952. Gilot separated from Picasso in September 1953, leaving the home she shared with him in Vallauris and returning to Paris with their children. In May 2016 Françoise Gilot recalled:

'Life With Picasso' Stands As An Invaluable Work Of Art History

'Life With Picasso' Stands As An Invaluable Work Of Art History

Nightmare at the Picasso Museum

Lily Meyer
June 6, 2019

When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.

She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.

Balthus / Study for "La Chambre"

Study for "La Chambre", ca 1952 - 1953
Balthus

Balthasar Klossowski de Rola, known as Balthus

(Paris, 1908 - Rossinière, 2001)

Study for "La Chambre" ("The Room"), ca 1952-1953

Pencil, 35 x 52 cm.
 

Related work: Balthus, La Chambre, (The Room) 1952–1954, oil on canvas, 270.5 x 335 cm, Private collection
 

Hitherto unshown
 

Certificate by Madame de Rola

Born in Paris into a Polish family soon forced to take refuge in Switzerland during the First World War, Balthus spent his childhood in Geneva with his brother Pierre Klossowski. He had only just turned twelve when he published his first book of drawings, Mitsou, a tale of a cat; the cat being an animal that looms large (and frequently) in the Balthus oeuvre. The preface for this precocious publishing venture bore the signature of poet Rainer Maria Rilke. After spending time in Paris, where he made numerous copies at the Louvre, he went to Italy to study the Renaissance frescoes of Masaccio and Piero della Francesca, which would have a lasting influence on the physique of his figures and the palette he used for his sizable compositions. In the 1930s he attracted critical attention with his enigmatic scenes of young girls in softly lit interiors, while at the same time working with directors on the production of stage sets; and in 1935 his Indian ink illustrations for a French edition of Emily Brontë’s Wuthering Heights appeared in issue no. 5 of the magazine Minotaure. Gallerist Pierre Loeb introduced him into the Surrealist group, but ultimately he had little contact with André Breton. In the late 1930s he had several exhibitions at Pierre Matisse’s New York gallery. During the War he lived for a few months in Savoie, then in Fribourg and Cologny, near Geneva, where he took part in discussions between artists, intellectuals and writers associated with publisher Albert Skira and the monthly Labyrinthe, for which he sometimes contributed ideas for illustrations and layout. It was in Switzerland that he finished Les Beaux Jours (1944–1946).

Balthus Polaroids

BALTHUS POLAROIDS

Presented by BENOIT PEVERELLI

All images copyright Harumi Klossowska de Rola

Several years after the death of Balthus, some 2,000 photographic documents were found in his studio at the Grand Chalet in Rossinière, Switzerland. These previously undiscovered documents have been carefully preserved and edited to form a chronological archive catalogued by theme, pose, composition, subject, object, motif, and place, thus creating a coherent corpus that allows a fuller understanding of the painter’s lengthy preparatory process.

The last studies of Balthus, executed over the final eight years of his life, are the preliminary preparations for his last six paintings, three of which remain unfinished. As old age affected his ability to draw, he resorted to the Polaroid camera as a kind of prosthetic tool — at once hand and pencil — to access once more the mysterious sketching ritual that allowed him to discover and gradually create the fundamental idea from which the pictorial image emerges. These photographs are thus part of a minutely precise practice, as well as of Balthus’s persistent quest for beauty.