30 mars 2016

Exhibition of drawings and watercolors by Ernst Ludwig Kirchner opens at Galerie St. Etienne

Ernst Ludwig Kirchner, Dodo with Japanese Umbrella, 1909. Lithograph in five colors on heavy off-white wove paper. Signed, lower right, and inscribed "Handdruck" (hand-print), lower left. 15" x 12 3/4" (38.1 x 32.4 cm). One of six known impressions (the only impression in these colors); hand-printed by the artist. Gercken 387/a. Private collection. © Galerie St. Etienne NEW YORK, NY.- Galerie St. Etienne presents Ernst Ludwig Kirchner: Watercolors and Drawings from the Robert Lehman Collection, an... [Lire la suite]

22 janvier 2016

"L'asie rêvée" à la Fondation Baur

Pot à pinceau en porcelaine, Chine, dynastie Qing, marque et règne de Qianlong (1736-1795). Marian Gérard © Fondation Baur, Genève. GENEVE - Aux XIXe et XXe siècles, on collectionne des « curios » – ainsi nommés, à juste titre, puisqu’ils suscitent la « curiosité ». Ces objets exotiques en provenance de Chine ou du Japon, ornés de décors fantaisistes, façonnés dans divers matériaux, dont certains encore méconnus, subjuguent les Occidentaux. Ils provoquent un engouement pour l’Asie, envoûtent... [Lire la suite]
24 décembre 2015

Coco Chanel, Evening Cape, 1927

Coco Chanel, Evening Cape, 1927. The Museum at FIT
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19 octobre 2015

Jeanne Lanvin

Lee Miller, Jeanne Lanvin in Vogue, June 1, 1928. Photo Edward Steichen Joan Clement in Lanvin's crystal embellished robe de style, Vogue, November 1, 1926. Photo Edward Steichen Mme-Hilling, wears Lanvin's Russian diadem, Vogue, October 1, 1933. Photo George Hoyningen-Huene  Helen Lyons in Jeanne Lanvin Vogue, May 1, 1924. Photo Edward Steichen  Lanvin's romanticism, here Expressed with a butterfly bow at the back of a stunning evening dress, coexisted with Art Deco's streamlined aesthetic Vogue, May 1, 1927.... [Lire la suite]
30 septembre 2015

Major monographic exhibition of works by Tamara de Lempicka on view in Verona

VERONA.- A major monographic exhibition on Tamara de Lempicka, one of the most popular and best-loved female artists of the 20th century, opened in Verona. Hosted in the stunning rooms on the Piano Nobile of Palazzo Forti, home to the Arena Museo Opera – AMO, the show traces Tamara’s extraordinary artistic career through 200 works: oils, drawings, photographs, watercolours, videos, and also fashion items. The show features masterworks like Portrait of Mme. Ira Perrot (1931–1932), The Blue Scarf (1930) and The Beautiful... [Lire la suite]
11 septembre 2015

Evening Cape, Gabrielle ‘Coco’ Chanel, House of Chanel, 1927

Evening Cape, Gabrielle ‘Coco’ Chanel, House of Chanel, 1927.  This evening cape is constructed of two 45-inch-wide lengths of silk crepe sewn together vertically and then ingeniously gathered and knotted to form a cape. The color of the silk crepe changes from black to cream, with metallic brocade covering the transition area. The influence of Japanese art is evident in the construction and drape of the cape and the use of the chrysanthemum motif. Chanel combined Art Deco aesthetics along with East Asian forms and... [Lire la suite]
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11 septembre 2015

Coat, House of Chanel, Gabrielle ‘Coco’ Chanel, 1927

Coat, House of Chanel, Gabrielle ‘Coco’ Chanel, 1927.  The convergence of Art Deco line, the modernist impulse to facilitate pure form, and Japonisme’s potential to offer a vocabulary of untailored wrapping shapes was more than fortuitous. Chanel uses a French ombré textile with pattern sources from the Japanese kimono but brings to it the ethos of chaste minimalism. As Western fashion designers discovered from the East that untailored lengths of fabric could constitute modern dress, the cylinder and the textile... [Lire la suite]
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11 septembre 2015

Evening Coat, House of Chanel, Gabrielle ‘Coco’ Chanel, 1927

Evening Coat, House of Chanel, Gabrielle ‘Coco’ Chanel, 1927.  Silk jacquard patterned with black and green graduation and gold chrysanthemum motif; matching tie-collar; two panels at back; wadded sleeve hems. The chrysanthemum had often appeared as a fashionable motif sine the latter half of the nineteenth century. The textile with woven chrysanthemums in Japanese makie-like (gold lacquer) style represents the taste of Art Deco. The soft wadded cuffs are similar to the kimono’s fuki (wadded... [Lire la suite]
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16 avril 2015

"Adolfo Wildt (1868-1931) : Le dernier symboliste" au musée de l'Orangerie

Adolfo Wildt (1868-1931) : Le dernier symboliste. Affiche PARIS - Ce sculpteur italien, proche du mouvement Liberty et du symbolisme, a su élaborer un langage ou l'expressionnisme se mêle aux réminiscences de l'art antique, de la Renaissance, mais aussi néogothiques, dans un équilibre inédit entre la force expressive du modèle et la grâce de motifs purement décoratifs. Etranger au monde des avant-gardes, Wildt connut un succès critique controversé, tant en raison des sujets de ses oeuvres parfois obscurs, que de... [Lire la suite]
17 juin 2014

Some Pagoda brocches

Platinum diamond and emerald brooch of a shrine. C.1927.The architecture, which is entirely carried out in diamonds of various cuts - circular, emerald, baton - culminating in the trapezoid shaped stones at the apex of the roof, encloses a carved emerald Buddhist divinity raised up on steps. Diamond and emerald Pagoda brooch, Janesich, circa 1925. Photo Sotheby’s.Designed as a pagoda with stylized columns and upturned eaves, set with baguette, square-shaped, trapeze-cut, triangular-shaped, single-cut and rose-cut diamonds... [Lire la suite]
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