Ellsworth Kelly Window Museum of Modern Art Paris 1949
Modest and transcendent, limpid and luminous, an intimate exhibition of some 50 works at the Middle Pompidou, through May 27, 2019, pays tribute to American painter Ellsworth Kelly, whose poetic minimalism redefined artistic brainchild. The exhibition's curator, Jean-Pierre Criqui, has brought together for the beginning time the serial of half dozen iconic works on windows, starting with his seminal work, "Window, Museum of Modern Art, Paris" (1949), which he gifted to the Pompidou in 2015, shortly earlier his death at age 92, and which is the centerpiece of the exhibition. The series, carried out by Kelly at the first of his stay in France from 1948 to 1954, a seminal period in his piece of work, is juxtaposed with dozens of related paintings, drawings, sketches and photographs.
Ellsworth Kelly, born in Newburgh, New York, in 1923, grew upwards in New Jersey; his father was an insurance executive, his mother a former schoolteacher. He studied fine art in Brooklyn in the early 1940s before existence joining the US Army (much has been fabricated of the fact that he signed up for a special cover-up battalion); this permitted him to travel through England, Belgium, Grand duchy of luxembourg, Deutschland and France. Sent to Normandy in June 1944, he participated in the Liberation, so discovered Paris for the first fourth dimension. Upon his return to the States, he pursued his painting studies in Boston, where he worked in a figurative vein. Dissatisfied, he returned to Paris in the fall of 1948, where he remained until bound 1954. "It was wonderful. That was the showtime for me," he said of this time of powerful exploration and creativity, which laid the foundations for everything that followed.
"After arriving in Paris in 1948, I realized that figurative painting and besides abstract painting (though my knowledge of the latter was very express) as I had known it in the 20th century no longer interested me as a solution to my own issues. I wanted to surrender easel painting which I felt was too personal…. Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it equally itself lonely," he later wrote.
Ph. Jerry Fifty. Thompson, courtesy Ellsworth Kelly Studio
An avid traveler and museumgoer, Kelly soon met Arp and Brancusi; he made pilgrimages to Monet'due south garden in Giverny, to Grünewald's Isenheim altarpiece in Colmar, to the Romanesque churches in Poitou-Charentes; he made frequent visits to Parisian institutions, particularly the Louvre. In museums, in cafés, everywhere in the metropolis'southward architecture, he found himself drawn to windows, fascinated past shadows and low-cal, geometric shapes and patterns; in a thing of months, he made the shift from figuration to abstraction.
Kelly notably embarked on a series of works in which, he explained, "the subject of the drawings and the subsequent paintings were not recognizable even though they were exact copies of the affair seen. I wanted to use things that had no pictorial use.". They were, he explained, about construction. In the summer of 1949, while staying on Belle-Ile, he painted "Window I," a small-format black-and-white piece of work, and then several variations, from "Window 2," and white monochrome "Window III," developed from quick sketch drawn on the dorsum of an envelope, to his kickoff "object," "Window, Museum of Mod Art, Paris"; a two-function painted woods-and-canvas construction in white and greyness, information technology is crafted of two stretched canvases assembled vertically.
"After constructing 'Window' with ii canvases and a woods frame, I realized that from then on painting as I had known information technology was finished for me. The new works were to exist objects, unsigned, bearding. Everywhere I looked, everything I saw became something to exist made, and it had to exist exactly as it was, with cypher added. It was a new liberty; there was no longer the demand to compose. The subject was in that location already made, and I could take from everything. It all belonged to me: a glass roof of a factory with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was notwithstanding: anything goes. I felt that everything is beautiful but that which homo tries intentionally to make cute, that the work of an ordinary bricklayer is more valid than the artwork of all but a very few artists. The grade of my painting is the content."
A simultaneous exhibition at the legendary Cahiers d'Art publishing firm and gallery also honors Ellsworth Kelly in a magnificent display of collages and works on newspaper from the early on 1950s, most never earlier seen in France. Cahiers d'Art is also the publisher of the catalogue raisonné of Kelly'south paintings, reliefs and sculpture through 1953 and is currently preparing the 2d book, which will represent the years 1954 – 1959, and is slated for 2020.
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Source: https://www.art-critique.com/en/2019/02/ellsworth-kellys-windows-at-pompidou-and-cahiers-dart/
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