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FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco

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FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco UNDER THE HIGH PATRONAGE OF HIS SERENE HIGHNESS PRINCE ALBERT II OF MONACO FROM IMPRESSIONISM TO POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco FROM IMPRESSIONISM TO POP ART Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposi- tion qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”. Nous remercions Son Altesse Sérénissime le Prince Albert II de Monaco d’avoir bien voulu nous faire l’immense honneur d’être le parrain de l’exposition. Nous sommes également très heureux du partenariat avec l’association monégasque Mission Enfance, qui s’occupe de l’enfance en difficulté dans le monde. À cette occasion, Opera Gallery Monaco reversera un pourcentage du chiffre d’affaires des ventes pour cette cause. Didier Viltart Gilles Dyan Manager, Opera Gallery Monaco Fondateur et Président, Opera Gallery Group Following the tremendous success of last year’s “Picasso” exhibition, Opera Gallery Monaco is proud to present this summer’s artistic sensation: “From Impressionism to Pop Art”. With more than 50 masterpieces on display, this thrilling exhibition takes us on a guided tour of the History of Art from the Impressionist revolution up to the undisputed success of Pop Art. Tin tubes for storing paint were invented in 1840; this innovation allowed impressionist painters to escape from their studios to paint breathtaking landscapes “sur le motif” (in the open air). Similarly, diluted acrylic paint hit the art scene in 1963 and was immediately adopted by Pop Artists. Andy Warhol was the first to use this industrial paint that so perfectly and pertinently reflected the artist’s take on the consumer society. As an artistic bridge between these two schools - with the Impressionists represented by Claude Monet and Pierre-Auguste Renoir and Pop Art by “King Andy” - visitors will revel in the works of Fernand Léger, Marc Chagall, Joan Miró (with his splendid Untitled, 1960) and Fernando Botero. Finally…we couldn’t resist the temptation and supreme pleasure of choosing one of René Magritte’s masterpieces for the catalogue’s cover. Les Grâces naturelles is such an eloquent tribute to the Master of Surrealism during his Renoir period and is an obvious and ultimate symbol for an exhibition that retraces one of Art History’s most popular periods - indeed, the one most cherished by informed art collectors as well as the preferred choice when it comes to art as a “safe haven”. We would like to express our deepest gratitude to His Serene Highness Prince Albert II of Monaco for having accepted to sponsor our exhibit, an immense honour for Opera Gallery. We are also proud to announce our partnership with Mission Enfance, a Monaco-based organization that comes to the aid of children in need around the world. As a result, a portion of the sales generated from the exhibit will be donated to this international charity. Didier Viltart Gilles Dyan Manager, Opera Gallery Monaco Founder and Chairman, Opera Gallery Group 2 Price on request Croiser les chemins entre l’art et l’humanitaire résulte du postulat que l’expression artistique et l’acte de Crossing paths between art and humanitarian follows from the assumption that artistic expression and the générosité touchent l’une et l’autre à l’essence même de l’Homme, par des voies néanmoins divergentes... act of generosity both concern the essence of Man itself, by however divergent pathways... L’acte humanitaire posé par notre organisation, Mission Enfance, repose sur trois piliers fondateurs : le don The humanitarian act posed by our organization, Mission Enfance, is based on three founding pillars: the de soi, la dignité et la liberté. gift of one self, dignity and freedom. Pour nous, humanitaires, le don de soi émane des abysses de la “conscience de soi”. Dans notre quête de For us, humanitarians, self-giving comes from the abyss of “self-awareness”. In our quest for inner truth - vérité intérieure - et bataille contre l’omniprésence du doute devant des situations souvent anachroniques - and battle against the ubiquity of doubt facing many often anachronistic situations -, we see emerging in nous voyons émerger dans l’art, une force, inconnue en nous, dont la perception découle de l’inconscient the art, a force, unknown to us, whose perception springs out of the unconscious of our life experience. - de notre vécu. Nous n’agitons pas les mêmes ressorts… We do not activate the same springs... La protection de l’être à secourir - l’enfant, ses parents - ne peut s’accomplir qu’à l’aide d’une profonde The protecting of the being to be rescued - the child, his parents - can be achieved only with a deep self- conscience de soi, condition sine qua non pour rendre à la victime, sa dignité perdue. awareness, sine qua non condition for giving the victim’s lost dignity back. En revanche, c’est dans la suggestion que l’art illustrera la dignité de l’humain - les “trois paires de souliers” However, it is in suggestion that art will illustrate the dignity of human being - Van Gogh’s “three pairs of de Van Gogh témoignent combien ces objets, pourtant abandonnés, usés, vieillis, symbolisent, dans leur shoes” shows how these objects, however, abandoned, worn, aged, symbolize, in their artistic expression, expression artistique, “l’homme ajouté à la nature”, porteur d’altérité. L’idée d’art devient, dans ce cas, “the man added to nature,” bearing otherness. The idea of art becomes, in this case, inseparable from inséparable de l’humanisme, car il exprime l’humain dans sa représentation la plus nue. humanism, because it expresses the human being in its most naked representation. En créant des écoles d’art pour la jeunesse oubliée d’Arménie, des centres d’animation de jeux traditionnels By creating art schools for the forgotten youth of Armenia, activity centres of traditional games for the pour les descendants des esclaves chocoanos de Colombie ou des ateliers de fabrication de tapis pour les descendants of Chocoanos slaves of Colombia or workshops of carpet fabrication for refugee women femmes réfugiées du Kurdistan irakien, Mission Enfance permet la réappropriation de cultures ancestrales, of Iraqi Kurdistan, Mission Enfance enables the reappropriation of ancestral cultures, obscured by the occultées par les aléas de la guerre, de la politique ou de catastrophe naturelle. C’est de l’appartenance à vagaries of war, politics or natural disaster. Human dignity also emerges from the belonging to a culture. une culture que procède aussi la dignité humaine. The crushing of some families under stifling economic problems until climax, cannot and must not alter L’écrasement de certaines familles sous des problèmes économiques étouffants jusqu’au paroxysme, ne the sense of freedom of the individual. A notion that we share with art, itself born of this “typically human peut et ne doit pas altérer le sentiment de liberté de l’individu. Une notion que nous partageons avec l’art, something” that is freedom. With artists, we pursue this search for emancipation, struggling during the provenant lui-même de ce “quelque chose de typiquement humain” qu’est la liberté. Avec les artistes, nous realization of our humanitarian programmes, against the mental imprisonment caused by poverty or fear. poursuivons cette recherche d’affranchissement, luttant, lors de la réalisation de nos programmes humani- taires, contre l’emprisonnement mental provoqué par la pauvreté ou la peur. But the real communion between us - initiated by the Opera Gallery, which we praise the generous event today - that communion between people of art and humanitarians, lies in the expression of unalterable love. Mais la véritable communion entre nous - initiée par Opera Gallery dont nous louons la généreuse opération Art here joins The Outraged of Camus.The one who, if not claiming to solve everything, accepts to face. Its d’aujourd’hui -, cette communion donc, entre gens de l’art et de l’humanitaire, réside dans cette expres- domain is immanence, in its identification with another being. Its driving force, love of the world. His ethics, sion inaltérable de l’amour. L’art rejoint ici l’Homme révolté de Camus. Celui qui, s’il ne prétend pas tout active altruism towards the living. résoudre, se résout à faire face. Son domaine est l’immanence, dans son identification à un autre être.
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