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Maurice Allemand OR HOW MODERN ART CAME to SAINT-ÉTIENNE (1947-1966) a Story of the Collections / Nov

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Maurice Allemand OR HOW MODERN ART CAME to SAINT-ÉTIENNE (1947-1966) a Story of the Collections / Nov maurice allemand OR HOW MODERN ART CAME TO SAINT-ÉTIENNE (1947-1966) A STORY OF THE COLLECTIONS / NOV. 30TH 2019 - JAN. 3RD 2021 press kit PRESS CONTACT Lucas Martinet [email protected] Tél. + 33 (0)4 77 91 60 40 Agence anne samson communications Federica Forte [email protected] Tel. +33 (0)1 40 36 84 40 Clara Coustillac [email protected] Tél. +33 (0)1 40 36 84 35 USEFUL INFO MAMC+ Saint-étienne Métropole rue Fernand Léger 42270 Saint-Priest-en-Jarez Tél. +33 (0)4 77 79 52 52 mamc.saint-etienne.fr Maurice Allemand in 1960 in front of the Musée d’Art et d’Industrie de Saint-Étienne with Reclining Figure by Henry Moore (1958), temporary [email protected] exhibition One Hundred Sculptors from Daumier to the Present Day. Photo credit: Geneviève Allemand / MAMC+ OR HOW MODERN maurice allemand the Curator’s foreword ART CAME TO SAINT-ÉTIENNE (1947-1966) The foundations of the exceptional collection of modern art at the MAMC+ were laid after the Second World War A STORY OF THE COLLECTIONS by Maurice Allemand (1906-1979), director of the musée d’Art et d’Industrie from 1947 to 1966, at that time the NOV. 30TH 2019 - JAN. 3RD 2021 only museum in Saint-Étienne. This art collection is now part of the MAMC+, created in 1987, and a pioneer of regional modern art museums. The story recounting the genie of the institution is retraced from largely unpublished archives. They provide an alternative understanding of the founding of the collection and allow to rediscover, next to the masterpieces, artists who are little known today, and some one hundred works which have not been on display for twenty years. Modern art in France was not always subject to unequivocal unanimity. There was a time not so long ago when french museums had almost no access to works generated by modernist movements like Dada, Bauhaus, International constructivism, and Abstraction ; they barely had any works by Picasso. After Vichy, after the Nazi destruction, to defend press kit such works was a form of combat, a conquest. Considering the founding of current modern art museums in France, Saint-Étienne holds a special place as a laboratory and forerunner for it’s time. The town memorializes to this day the cultural adventure promoted by Maurice Allemand, director of the Musée d’Art et d’Industrie from 1947 to 1966. While building up collections with ancient art, arms or textiles, making up the singularity of the institution, Maurice Allemand invented the conditions for a courageous and refined diffusion of PRESS CONTACT modern art. This diffusion operated through countless conferences, which highlighted non-elitist media such as engraving Lucas Martinet or ceramics, and, most especially, through the organization of trailblazing exhibitions, which explored such diverse [email protected] Tél. + 33 (0)4 77 91 60 40 subjects as African Art, Abstract art, Collage, and Assemblage. Maurice Allemand surrounded himself with the greatest artists, gallery owners, and collectors of the time, among whom Michel Seuphor and Tristan Tzara can be counted. The Agence anne samson communications donations and purchases made by these influential figures transformed the collection and established foundation for the Federica Forte originality that defines this museum. Few other French museums can boast to have acquired a grand mobile of Calder in [email protected] Tel. +33 (0)1 40 36 84 40 1955, an Abstract composition of Aurélie Nemours in 1959, or a work of Enrico Baj in 1964. Clara Coustillac [email protected] Maurice Allemand’s genius lay in being able to create a geography of friendships and a horizon of enthusiasm. His tenacity Tél. +33 (0)1 40 36 84 35 enabled him to obtain important reserves from the French State, a way of making up for the chronic inadequacy of credits from the municipal authorities. The MAMC+ collection we see today, constituted over the course of two decades (1947- USEFUL INFO 1966), reflects a history of determination, passion, and cunning. It is a polyphonic and polycentric history that is common MAMC+ Saint-étienne Métropole to us all. rue Fernand Léger 42270 Saint-Priest-en-Jarez Tél. +33 (0)4 77 79 52 52 Through two hundred works, the chronological journey of this exhibition follows step by step the changes made by Maurice mamc.saint-etienne.fr Allemand, showing the great exhibitions he programmed. [email protected] Cécile Bargues art historian and exhibition curator, focuses on the relationships between art and politics, particularly the future of about Dada troughout the twentieth century. Recently, Raoul Hausmann. Photographies 1927-1936, (Le Point du Jour / Le Jeu de Paume / Musée départemental de Rochechouart),translated in english (Koenig Books). Lajos Kassák, Motifs populaires [Popular Motifs], 1921, gouache on paper, 26.3 x 19.8 cm. On long-term loan from the Centre national des arts plastiques – ministère de la Culture et de la Communication, MAMC+, 1966. Photo credit: Y. Bresson / MAMC+ © Kassák Estate p. 3 “The bizarre museum that I direct” “I was taught in the past that fortune smiles on the bold.” (Maurice Allemand to Jean Bazaine, 29 November 1956) (Maurice Allemand to Douglas Cooper, 15 November 1956) The Musée d’Art et d’Industrie de Saint-Étienne was created in 1890 in a late-century In 1956, on the eve of major changes, Maurice Allemand wrote to Hans Hartung: “You’ve probably never heard of the spirit that loved to combine beauty and usefulness. In 1947, when Maurice Allemand took Musée de Saint-Étienne. It is a technical and fine arts museum, hence very complex. In terms of art, I am striving to orient the helm of the museum, the utopia of the early period had been completely lost. In this it towards contemporary art and, as much as possible, towards avant-garde movements.” In France, there were very few strange, neglected venue, several old paintings were found; other more recent ones, other museum curators with such a project. bought mainly at the local fair, without any connection whatsoever with the art thenceforth Maurice Allemand, who had no staff at his service (besides one concierge-pedestal maker-carpenter-electrician and one known as “modern”; finally and predominantly, a bit of everything, so long as it was attendant), sent hundreds of letters to the greatest artists of his day. A network of cooperation and friendship was formed. related to the regional industries: weapons, ribbons, shuttle looms, ceramics, and a It was to become the basis for the huge transformations that the museum underwent. Thus the director explained his reconstruction of the galleries of a coal mine. project to Calder: “In a big city (182 000 inhabitants and 250 000 if you include the inner suburbs), the museum must The difference with the Musée de Grenoble was colossal, directed from 1919 to 1949 by present a collection as complete as possible that gives the public a précis of the evolution of art and that must above all Andry-Farcy, which Maurice Allemand nonetheless emulated and in which he sought enable them to acquire a taste for it. (…) I shall put great stock in not restricting myself to the École de Paris.” His broad hope. Allemand created a “cycles” section and rethought the presentation of his museum. sweep of the compass is unique. Countering a degree of chauvinism and anti-Germanic sentiment that was still very much press kit While increasing the quantity and quality of the old collections, he embarked on a major present, Maurice Allemand paid attention to the most radical, experimental, and exciting adventures of the avant-gardes, project: opening the museum up to the art being created in the present, and fostering its including when these flourished outside of France or went unnoticed in Paris. acceptance by his audiences and city council,which remained to be convinced. In 1955 he managed to convince his commission – comprising people who had never seen any of Calder’s work before – to acquire one of the latter’s Mobiles, which was the first to enter French collections. In 1957, the musée de Saint-Étienne was the first, in France, to purchase an artwork (and not just any artwork!) by Otto Freundlich. Since his options were nevertheless limited, many artists that Maurice Allemand exhibited and defended, such as Raoul Hausmann, were to enter the collection sometimes long after his departure, in continuity and as a tribute to what he had Left page, from left to right: created, alone, and without resources. It would appear that fortune does indeed smile on the bold. Jean-Baptiste Greuze, L’effroi [Fear], XVIIIth century, oil on canvas, 47.5 x 41.5 cm. Bequest from Baron Arthur de Rothschild, 1904. On long-term loan from the Musée du Louvre, Otto Freundlich Paris, MAMC+, 1961. Photo credit: Y. Bresson/MAMC Otto Freundlich (born in 1878), pioneer of abstraction, Statuette Akua’ba, Ashanti, Ghana, spent his life between France and Germany where, Africa, twentieth century, wood and glass beads, 37.9 x 16.2 x 4 cm. between 1929 and 1933, he was among the progressives Acquisition, 1963. MAMC+ Collection. of Cologne and contributed to the a bis z magazine, a Photo credit: Y. Bresson/MAMC+ © All rights reserved platform of artistic and political struggle against Right page: reactionary forces. His plaster cast L’Homme nouveau [New Man] reproduced on the cover of the defamatory Otto Freundlich, Composition, 1930, oil on canvas, 116 x 89 cm. exhibition organised by the Nazis in Munich in 1937, Acquisition,1957. MAMC+ Collection. Photo credit: C. Cauvet / MAMC+ Entartete kunst [Degenerate Art] became the depressing emblem of the persecution of modern art under the Third Reich.
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