rd th THE EXHIBITION OF SUMMER 2012 23 June – 14 October 2012 Bodies and Shadows and his European followers

Bodies and Shadows Caravaggio and his European followers Musée Fabre, Montpellier Agglomération Montpellier - Toulouse Opening times Everyday from 10am to 8pm exceptionally opening every monday Under the guidance of the Franco-American cultural in september and october during the exhibition. th th cooperation organisation, FRAME (French Regional American Open on the 14 July and the 15 August. Museum Exchange), the Musée Fabre in Montpellier and Ticket Prices the Musée des Augustins in Toulouse are working with Los Full Price 0 9 € Concessions 7 € With Pass’Agglo 0 8 € Family ticket 18 € Angeles County Museum of Art and the Wadsworth Atheneum The entry ticket is valid for one day and also gives the holder access to the Museum of Art in Hartford, to present an exceptional exhibition permanent collections and the Decorative Arts department. devoted to European Caravaggism. It is a selection of chief Concessions rate will be given at the Musée Fabre upon the presentation works, ranging from Caravaggio to and Georges of an entry ticket to the exhibition at the Musée des Augustins. de La Tour. Ordinarily, these works are rarely loaned, but they Guided Tours are going to be displayed to the European and American Individuals Everyday from 11am to 4pm except Mondays. public thanks to the cooperation of prestigious international Groups Reservations must be made for groups of 10 or more people.

[email protected] or +33 467 148 316 institutions including, amongst others, the museum, Adults Schools [email protected] the National Gallery in London, the Palazzo Pitti in Florence, Bodies and Shadows the Prado museum in Madrid... about 1593 - 1594, Caravaggio and his European followers The two largest cities in the ancient region of Languedoc, 39, boulevard Bonne-Nouvelle Montpellier and Toulouse, were touched by Caravaggism at 34000 Montpellier the start of the 17th Century, thus making them appropriate Tél. : +33 467 148 300 23rd June cities to organize this exhibition. The two French museums Fax : +33 467 660 920 More information can be found at www.museefabre.fr th will each simultaneously present a section of this exhibition, 14 October 2012 Fully accessible to those with reduced mobility. which has been designed to be displayed in two parts: Musée Fabre, Montpellier Agglomération The Musée Fabre in Montpellier will present Italian, Musée des Augustins, Toulouse Musée des Augustins, French and Spanish Caravaggism: from Caravaggio and his Opening times first followers (Gentileschi, Manfredi…), to their influence Everyday from 10am to 7pm. On Wednesdays until 9pm. Toulouse on the Spanish (Ribera, Velázquez, Zurbarán) and French Michelangelo Merisi da Caravaggio , Boy Bitten by a Lizard (detail) Ticket Prices (Valentin, Vouet…) schools of thinking. The exhibition will Full Price 9 € Covered up : Fondazione di Studi Storia dell’Arte Roberto Longhi, Florence, © Longhi conclude with the realist paintings of Georges de La Tour. Concessions 5 € Free admission under 18 years old and schools Concessions rate will be given at the Musée des Augustins The Musée des Augustins in Toulouse will present upon the presentation of an entry ticket to the exhibition Flemish and Dutch Caravaggism: from the first painters at the Musée Fabre. who travelled to Italy (Honthorst, Seghers, Stom, Sweerts…) to those they influenced (Jordaens, Rembrandt).

An exhibition of this type has not been displayed in France 21, rue de Metz 31000 Toulouse for nearly fifty years; it will bring together multiple discoveries Tél. : +33 561 222 182 This exhibition is recognised as being of National Interest by the French Ministry of Culture and Communication/ Department of heritage/ French museums service. made about this period through research carried out recently. More information can be found at www.augustins.org As such, it receives special financial support from the State. Michelangelo Merisi da Caravaggio, The Denial of Saint Peter , Danae, about 1612, Guido Cagnacci, David with the Head of Goliath, 1645-1650, , The Fortune-teller, about 1620, The Metropolitan Museum of Art, New York, © Photo The Metropolitan Museum of Art, Dist. RMN / image of the MMA Saint Louis Art Museum, 93.1986, Saint Louis, © Photo Saint Louis Art Museum The J. Paul Getty Museum, Los Angeles, Musée des beaux-arts du Canada, Ottawa. Acheté en 1957, © Photo MBAC © Photo The J. Paul Getty Museum, Los Angeles From Caravaggio to Caravaggism Michelangelo Merisi da superior use of , and people very quickly began to a European school when young perpetuated the dramatic and Zurbarán. Georges de Caravaggio is a revolutionary the way he created scenes in emulate Caravaggio. The first artists from all backgrounds who chiaroscuro that Rembrandt La Tour was at the junction figure in . which he framed three-quarter followers (Baglione, Saraceni, had gathered in Rome, began carried with him to the peak between Northern, Italian Born in 1571 in Milan, he length figures. Meanwhile, his and Gentileschi) were inspired perpetuating and developing in his career. In accordance and French cultures, and his appeared on the Roman artistic realist interpretations of divine by his direct approach to reality. his style. His student, Manfredi, with the way that Caravaggio’s art was highly influenced by scene at a time when the scenes mixed the ordinary and Other artists, including the passed on the most significant themes and techniques had Caravaggism in the play of aesthetic was developing. the sacred, making religious likes of Cagnacci and Guercino, legacy of the genre: foreign artists, spread through the rest of chiaroscuro. However, his Caravaggio quickly established art accessible to ordinary maintained their adherence most notably French (Vouet, Europe, his style dispersed interpretation of the style led himself as a significant mortals. Additionally, he led the to the resolutely classic or Valentin…), Flemish and Dutch through the kingdom of Spain to a more contemplative and figure thanks to the radically conception of new themes, such Baroque styles, but were painters (Seghers, Honthorst…), from Naples; a city which the less dramatic aesthetic. These innovative character of his art. as everyday scenes illustrating tempted into interpreting took up the themes of games, artist frequented twice. Here, final works consolidated half His compositions revealed a games, taverns, fortune tellers, certain forms or themes put brawls and trickeries after they his penchant for darkness was a century of European art previously unexplored sense of and musicians. Being the talk forward by Caravaggio. featured heavily in Manfredi’s interpreted by such illustrious that had been influenced by dramatic power thanks to his point of the artistic world, The work of Caravaggio became work. The school of Utrecht figures as Ribera, Velázquez Caravaggio.

Francisco de Zurbarán, Saint Serapion, 1628, At the musée des Augustins in Toulouse: Georges de La Tour, The New Born, about 1645, Michelangelo Merisi da Caravaggio, Saint Francis of Assisi in Ecstasy, about 1594, Wadsworth Atheneum Museum of Art, Hartford, CT. The Ella Gallup Sumner and Mary Catlin Gerrit van Honthorst, A Woman playing the lute, about 1614, Musée des beaux-arts, Rennes, © Photo MBA, Rennes, Dist. RMN / Louis Deschamps Wadsworth Atheneum Museum of Art, Hartford, CT. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1943.222, Sumner Collection Fund, 1951.40, © Photo Wadsworth Atheneum Museum of Art, Hartford, CT Musée national du château de Fontainebleau © Photo RMN / Gérard Blot © Photo Wadsworth Atheneum Museum of Art, Hartford, CT