1927

Max Ernst (1891-1976), Le Chaste Joseph, 1928. ‘I was visited nearly every day by the Superior of the Birds named Loplop, my private phantom, attached to my person.’ – MaxErnst LONDON - Max Ernst (1891-1976)’s fascination with nature – and in particular, birds and forests – will be brought into the spotlight with an exhibition of eleven rare and important works by the artist from 1921 – 28. Ernst was Paris’ foremost Surrealist artist, and these paintings showcase a dynamic period in the capital’s art... [Lire la suite]

Pierre Chareau Portrait, 1925. Photo © Centre Pompidou  NEW YORK, NY.- The Jewish Museum is presenting the first U.S. exhibition focused on French designer and architect Pierre Chareau (1883-1950) from November 4, 2016 through March 26, 2017. Showcasing rare furniture, lighting fixtures, and interiors, as well as designs for the extraordinary Maison de Verre, the glass house completed in Paris in 1932, Pierre Chareau: Modern Architecture and Design brings together over 180 rarely-seen works from major public and... [Lire la suite]

Edward Steichen, Greta Garbo, Hollywood, 1928. NEW YORK, NY.- Greta Garbo was the undisputed queen of Hollywood from the mid-1920's through the 1930's. The combination4 of her extraordinary beauty and brilliant acting ability elevated her to international stardom from the beginning of her career while she was still in her early 20's and newly arrived from Sweden. Her image as an exotic, sophisticated woman of the world was developed by MGM, as was her public persona as a woman of mystery who avoided publicity and... [Lire la suite]

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]

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]

Coco Chanel, Evening Cape, 1927. The Museum at FIT

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]

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]

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]

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]