- Catalogue officiel de l'exposition « Paul Klee Chefs d'œuvre de la collection Beyeler » présentée au musée de l'Orangerie à Paris du 14 avril au 19 juillet 2010. Ernst Beyeler, décédé le 25 février 2010, fut un infatigable collectionneur de Paul Klee. Ce galeriste bâlois a réuni, avec son épouse Hildy, une des plus belles collections aujourd’hui accessible au public dans sa fondation des environs de Bâle. Les vingt-six chefs-d’oeuvre de sa collection, présentés ici, illustre le chemin parcouru par l’artiste, peintre suisse le plus célèbre du siècle, et un des plus convaincants explorateurs de l'abstraction. Peintre suisse (1879-1940), Paul Klee est un peintre d'art moderne qui a influencé l'art de la première moitié du XXe siècle. C'est lors d'un voyage en Italie que l'artiste fait la connaissance de deux grands artistes du Blaue Reiter (Le Cavalier Bleu) Vassili Kandinsky et Franz Marc. Il expose ses toiles à Berlin avec eux. En 1931, il part enseigner à l'académie de Düsseldorf, mais il est bientôt révoqué et expulsé d'Allemagne par les nazis, qui qualifient son art de 'dégénéré’. Choqué, souffrant de sclérodermie, il retourne à Berne où Picasso et Braque, solidaires, viennent lui rendre visite. Il meurt d'une paralysie du muscle cardiaque, avant que la guerre ne soit achevée. Il a laissé de nombreux écrits théoriques, fondateurs de l'art moderne. Le musée de l'orangerie présente aujourd'hui une sélection de ses œuvres picturales issues de la Fondation Beyerler (Bâle, Suisse). Parallèlement à leur importante activité de galeristes, les collectionneurs Hildy et Ernst Beyeler (décédé en février 2010), ont en effet rassemblé au cours d’une cinquantaine d’années plus de 200 tableaux et sculptures, témoignant d’un regard à la fois personnel et connaisseur sur les grands classiques de l’art moderne.

Paul Klee (1879-1940). La collection d'Ernst Beyeler

Arts & Photography

Büttner, Philippe

Frontisi, Claude

History & Criticism

Hazan

Wolfgang Laib's extraordinarily concentrated installations are touching in an immediate and fundamental way, perhaps because they also address various levels of early childhood consciousness. Beeswax tunnels are redolent with an overwhelming scent of sweet honey and pollen; powdery piles of pollen are such a luminous yellow that you want to put your hands in them and play. Visitors to the installations are opened up, become aware of the energetic presence of the natural materials shown, and are prepared for a spiritual and intellectual encounter with the work's symbolic content. This retrospective monograph establishes the unique position and great power of Laib's work.

Wolfgang Laib

Küster, Ulf.

Reference

Hatje Cantz Publishers

Though he is more often viewed as a semi-lunatic Symbolist or proto-Expressionist, the great Norwegian artist Edvard Munch (1863-1944) was in fact a forerunner of much Modern art. His works concentrate on the human dramas of love and death, and on contemporary conditions of claustrophobia and alienation--or what he called "the modern life of the soul"--frequently deploying contemporary effects to depict this condition. He worked in paint, printmaking and photography (though he once wrote that "the camera cannot compete with a brush and canvas, as long as it can't be used in heaven and hell"). Edvard Munch: Signs of Modern Art assesses the significance of Munch's oeuvre as a highly independent contribution to Modern art, drawing on more than 100 paintings, as well as 60 drawings and prints. In flouting the boundaries between the genres of painting and printmaking, in his work with photography and film, and through his emphasis on process--for example exposing his paintings to outdoor weather--Munch opened up a turn-of-the-century view of the future.

Edvard Munch: Signs of Modern Art

Hatje Cantz

Late in their careers, Swiss art dealers Ernst and Hildy Beyeler asked the renowned architect Renzo Piano to design a home for their collection. In 1997, it opened to the public, a low, sunny temple within driving distance of Basel. In its first 10 years it has attracted almost 3,000,000 visitors over some 30 exhibits. The Beyelers had always seen the museum as a place of living involvement and innovation, and the resulting juxtapositions have provided surprising insights and experiences for a broad range of visitors, many of whom are international. The works on show have included Claude Monet to Digital Impressionism, the paintings of Titian and Velazquez and a continuous shifting Mark Rothko installation. In 2008, Samuel Keller, director of the influential European art fair, Art Basel, will assume the directorship of the foundation and continue the Beyelers' life work. This complete catalogue of the foundation's collection documents 230 paintings and sculptures by artists like Cézanne, Picasso, Rousseau, Mondrian, Klee, Ernst, Matisse, Newman, Bacon, Dubuffet and Baselitz.

Beyeler Collection

Hohl, Reinhold

Beyeler, Ernst

Collections, Catalogs & Exhibitions

Nicknamed "Le Douanier" ("the customs officer"), Henri Rousseau (1844-1910) was in his early forties when he finally embraced his métier in painting, arriving with his independently achieved realism fully formed. Like Erik Satie, whom he resembles in what Roger Shattuck memorably called "tranquil self-confidence," Rousseau straddles the Parisian avant gardes at the turn of the century, admired by Redon, Gauguin, Jarry and Degas at the outset of his career, and championed by Picasso, Apollinaire and Delaunay towards its close. Rousseau's style was derisively dubbed "Primitivism" by the press, but its lucid unity of limpid color and eerily serene definition was sophisticated in its simplicity, as his early advocates knew. Happily, Rousseau was so steeped in his vision that he could not be diverted from it--Apollinaire wrote that "Rousseau had so strong a sense of reality that when he painted a fantastic subject, he sometimes took fright and, trembling all over, had to open the window." With 80 color illustrations, this book commemorates the hundredth anniversary of the artist's death, placing at its core Rousseau's fascination with the frictions between a domesticated West and an untamed imaginary natural world. Previously unpublished records of early encounters with his works dimensionalize Rousseau within the lively milieu of his time, and show him to have been, from the start, a much beloved artist.

Henri Rousseau

GREEN, Christopher

Hohler, Franz

Surrealism rose from the ruins of interbellum Europe to become one of the most influential artistic and literary movements of the twentieth century. Under the leadership of André Breton, Surrealist artists undertook a passionate search for “freedom in all of its forms,” delving into the imagery and language of the subconscious through the revolutionary methods of automatism, radical juxtaposition and chance. Surrealism in Paris reproduces a spectacular selection of artworks from the Fondation Beyeler’s exhibition of the same name. Featuring key paintings, sculptures and works on paper by Hans (Jean) Arp, Hans Bellmer, Salvador Dalí, Giorgio di Chirico, Marcel Duchamp, Max Ernst, Alberto Giacometti, René Magritte, Man Ray, André Masson, Joan Miró, Meret Oppenheim, Francis Picabia, Pablo Picasso and Yves Tanguy, and essays by a host of renowned scholars, this substantial catalogue revisits a crucial moment in French cultural history.

Surrealism in Paris

KOPP, ROBERT

Drost, Julia

Rylands, Philip

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Books by Büttner, Philippe