SHARE
COPY LINK

ART

France: Monet’s ‘secret’ art collection on show for first time

French art historians spent four years tracking down the startling collection of work by contemporaries including Renoir, Cezanne, Pissarro and Delacroix that Monet secretly bought.

France: Monet's 'secret' art collection on show for first time
“I am selfish. My collection is for myself only… and for a few friends,” the master once told journalists who called on him at his country home at Giverny in Normandy, whose remarkable gardens draw half a million visitors a year.
   
“We knew really very little about the collection,” said Marianne Mathieu, one of the curators of the show at the Marmottan Monet Museum, which has brought together the bulk of the collection.
   
“Monet didn't speak about his private life and kept his art collection just as private,” she added.
   
He kept the paintings upstairs in his private apartments at Giverny far from prying eyes, Mathieu said, and he didn't keep records of what he bought.
 
   
While the great and good came to visit him as he painted his famous water lilies, only a privileged few were allowed a peek at the canvasses he kept for himself.
   
An inventory was taken by experts when Monet died in 1926 but it was destroyed during World War II.
 
Mania for privacy
 
So Mathieu and her colleague Dominique Lobstein had to hunt down the 120 works, which included several by Manet and Boudin and more than 20 albums of prints by the Japanese artist Hokusai.
   
Monet began building his collection when he was still on the breadline with gifts from other painter friends like Renoir and Manet.
 
Even then his mania for privacy was evident. He was reluctant to sit for Manet with his wife and model Camille, and in the unfinished “The Painter Monet in His Studio” that Manet later gave him, his face is only sketched.
   
His beloved Camille died of TB in 1879 with her husband immortalising her on her deathbed. Poignantly, Monet kept a Renoir picture of her with their son to his own dying day.
   
Mathieu said the artist was a “determined and secretive” collector who was not averse to digging in his heels, particularly when he traded works with his contemporaries.
   
When he lent Pissarro 15,000 francs to buy a house he demanded his acclaimed 1891 painting “Peasant Women Planting Stakes” in return.
   
But Pissarro's wife Julie — to whom the painter had already gifted it — would not let it go. A stand-off ensued that Monet eventually won.
 
Big spender
 
But the struggle was all the more surprising given that the painting was more in the Neo-Impressionist style of Seurat and Signac, whom Monet had pointedly refused to exhibit alongside, Mathieu told AFP.
   
“This shows there was a dichotomy between what he said publicly and what he collected,” she said.
   
In fact, Monet kept four watercolours by Signac until his death.
   
Clearly, however, he was not overly fond of Degas, acquiring only one small pastel by the aristocratic artist who had cold shouldered him from his own enormous collection.
 
As soon as he had the cash, Monet began collecting work by his “masters” — Delacroix, Boudin and Corot — although he did not acknowledge their influence on his work until late in his life.
   
But from the 1890s onwards as he became rich and famous, Monet concentrated his efforts buying on Renoir and Cezanne, Mathieu added.
 
And tellingly, for the privacy of own rooms at Giverny, he bought a series of nudes from Renoir, a subject he never dared tackle himself.
   
He also splashed out on Orientalist works, paying 10,000 francs — a small fortune in 1881 — for Renoir's “The Mosque (Arab Festival)”.
   
Most of the works in the show, which runs until January 2018, come from the Marmottan Monet Museum's own vaults, which hold more Monets than any other gallery in the world.
   
But the curators also managed to persuade the Sao Paulo Museum of Art to lend them the first of the 12 Cezannes Monet acquired, including the rarely seen “The Negro Scipio”, whose title grates on modern ears.

ARCHITECTURE

Futuristic Gehry tower opens in World Heritage Arles

Rising high beyond an ancient Roman arena in Arles, a tall, twisted tower created by Frank Gehry shimmers in the sun, the latest futuristic addition to this southern French city known for its World Heritage sites.

Futuristic Gehry tower opens in World Heritage Arles
Gehry's Luma Tower opens in Arles, France. Photo: H I / Pixabay

The tower, which opens to the public on Saturday, is the flagship attraction of a new “creative campus” conceived by the Swiss Luma arts foundation that wants to offer artists a space to create, collaborate and showcase their work.

Gehry, the 92-year-old brain behind Bilbao’s Guggenheim museum and Los Angeles’ Walt Disney Concert Hall, wrapped 11,000 stainless steel panels around his tower above a huge glass round base.

It will house contemporary art exhibitions, a library, and offices, while the Luma Arles campus as a whole will host conferences and live performances.

From a distance, the structure reflects the changing lights of this town that inspired Van Gogh, capturing the whiteness of the limestone Alpilles mountain range nearby which glows a fierce orange when the sun sets.

Mustapha Bouhayati, the head of Luma Arles, says the town is no stranger to
imposing monuments; its ancient Roman arena and theatre have long drawn the
crowds.

The tower is just the latest addition, he says. “We’re building the heritage of tomorrow.”

Luma Arles spreads out over a huge former industrial wasteland.

Maja Hoffmann, a Swiss patron of the arts who created the foundation, says
the site took seven years to build and many more years to conceive.

Maja Hoffmann, founder and president of the Luma Foundation. Photo: Pascal GUYOT / AFP

Aside from the tower, Luma Arles also has exhibition and performance spaces in former industrial buildings, a phosphorescent skatepark created by South Korean artist Koo Jeong A and a sprawling public park conceived by Belgian landscape architect Bas Smets.

‘Arles chose me’

The wealthy great-granddaughter of a founder of Swiss drug giant Roche, Hoffmann has for years been involved in the world of contemporary art, like her grandmother before her.

A documentary producer and arts collector, she owns photos by Annie Leibovitz and Diane Arbus and says she hung out with Jean-Michel Basquiat in New York.

Her foundation’s stated aim is to promote artists and their work, with a special interest in environmental issues, human rights, education and culture.

She refuses to answer a question on how much the project in Arles cost. But as to why she chose the 53,000-strong town, Hoffmann responds: “I did not choose Arles, Arles chose me.”

She moved there as a baby when her father Luc Hoffmann, who co-founded WWF,
created a reserve to preserve the biodiversity of the Camargue, a region between the Mediterranean Sea and the Rhone river delta known for its pink flamingos.

The tower reflects that, with Camargue salt used as mural panels and the
delta’s algae as textile dye.

Hoffmann says she wants her project to attract more visitors in the winter, in a town where nearly a quarter of the population lives under the poverty line.

Some 190 people will be working at the Luma project over the summer, Bouhayati says, adding that Hoffman has created an “ecosystem for creation”.

SHOW COMMENTS