PARIS ETERNATIONS OF THE BARONESSES ETHTINGAN automatic translate
In the 1910s, in the heyday of the Paris avant-garde, few of the innovators in art - artists, writers, critics, musicians - did not know the salon of Baroness Ettingen in Montparnasse. A fatal beauty with a sonorous title, nee Polish aristocrat Elena Mionchinskaya, arrived in Paris with her cousin, talented artist and fine connoisseur Sergei Yastrebtsov, at the very beginning of the twentieth century. The passion for new art, the intensity of creative energy, constant vivid initiatives, often taking the form of romantic ties, made Baroness Oettingen and Sergei, who took the pseudonym of Serge Fehr, one of the key figures in the artistic life of Paris. Over the long years of their life they managed to give impetus to dozens of avant-garde projects and to participate in them on an equal footing: in their "inner circle" were Pablo Picasso, Georges Braque, Henri Matisse, Andre Derain, Cubists of the "Golden Section" group and Italian futurists, masters of the Paris School, the poets Guillaume Apollinaire and Jean Cocteau.
Exhibition of the Pushkin Museum named after A.S. Pushkin, in partnership with French colleagues, is called upon to recreate the lively and rich atmosphere of the Parisian life of Ettingen and Fehr in the 1900s and 1950s. It will include materials of a private archive of the French heirs of the Baroness - the Rousseau family - unknown to the general public, along with the works of the largest Parisian art museums of the 20th century, the Pompidou Center and the City Museum of Modern Art. It is assumed that the project will feature about 40 paintings, up to fifty drawings, unique archival materials, works of applied art and design.
The leitmotif of the exhibition will be the salon of the Baroness - the meeting place of the masters of the avant-garde, as well as the versatile talents of his mistress, a secular lady who acted simultaneously as an artist, poet, critic. Therefore, the apartments on Raspay Boulevard in Montparnasse, decorated with paintings by Henri Rousseau (Customs), were equally attractive for talents in all forms of art.
A separate theme will be the story of Ettingen and Fehr in the role of patrons of the avant-garde. In the 1910s, the Baroness salon concentrated around itself and the recluses of Pablo Picasso and Georges Braque, and more openly Albert Glace, Jean Metzinger, Robert Delaunay, Fernand Leger, and the future Dadaist Francis Picabia, and the compositions of Serge Fehr himself, in terms of expression, are not inferior to the textbook samples Cubism. Beloved Baroness, an artist from Finland Leopold Survage, became one of the pioneers of abstract art.
At the same time, the relations between Baroness Oettingen and literature were romantic and sublime. Poets and writers used her special disposition. Legendary was the magazine "Paris Evenings" ("Soirees de Paris"), which Ettingen and Fehr in 1913 "gave" to his friend Guillaume Apollinaire, which turned him into a podium of the avant-garde. About the sounding in the house of the Baroness verses Apollinaire, Cocteau, Max Jacob, Andre Salmon, their relations and connections with the artists will tell a special section of the exhibition.
The end of the First World War was the time of the "explosion" of innovative theater projects in Paris. Along with the "Parade" in the scenery of Picasso, in 1917 it was the play by Apollinaire "The Breasts of Tiresia", which was called by the authors "surrealist" by Serge Apra, this was the first time the famous word was sounded.
The revolution in Russia deprived Etingen and Fehr of income, turned them from generous philanthropists into tireless authors of all new creative initiatives. The Baroness actively wrote poetry and published, interacted with the musicians of the famous French "Sixes" and the artists of the Paris School, and her experiences of the 1920s in fashion and design intersect with the works of her famous contemporaries Sonya Delaunay and the art deco aesthetics. In turn, Serge Fehr in the interwar twentieth anniversary became famous for his theatrical projects and philosophical compositions with harlequins, which so inspiredly admired Cocteau. Having lived to an advanced age, Fera remained the custodian of the memory of the heroic times of the formation of the avant-garde, carefully preserving the archive of Baroness Oettingen.
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- Exhibition-installation "Anatomy of Cubism"
- Festival Pushkin
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