Скачать или смотреть Russian born artist celebrated in new Paris exhibition

(12 Sep 2023)

FRANCE RUSSIAN ART

SOURCE : ASSOCIATED PRESS

LENGTH : 7:31

ASSOCIATED PRESS
Paris - 11 September 2023

1. Pan inside exhibition room showing four large paintings -from left to right: L’Orchestre (1953), Bouteilles dans l’atelier (1953), Les Indes galantes (1953), Le Parc de Sceaux (1952)
2. Close up Les Indes galantes (1953)
3. Employees of Museum of Modern Art looking at paintings
4. Charlotte Barat-Mabille, curator of the Nicolas de Staël exhibition, walking through exhibition room, looking at paintings
5. SOUNDBITE (French) Charlotte Barat-Mabille, curator of the Nicolas de Staël exhibition
“The career of Nicolas de Staël is extremely brief, it spreads over 12 years as he committed suicide when he was 41 years old. So there is this very brief period and at the same time he was a very prolific painter, who worked constantly, who was incredibly intense in his work and in this very short period of time he created more than 2,000 works, about half of them graphic works and paintings for the other half. So in this exhibition we want to show this prolific aspect but also that, from year to year, very quickly and very radically, he changes his way of painting. He’s an artist who evolves constantly, who is never satisfied with what he does.”


6. Four small paintings on wall (Peinture, 1952, Gentilly, 1952, Les toits de Paris, 1952, Paysage, 1952)
7. Various shots of paintings in exhibition rooms
8. SOUNDBITE (French) Charlotte Barat-Mabille, curator of the Nicolas de Staël exhibition
“When he starts working on abstract concept in 1942, especially tied to his friendship with some painters such as (Dutch painter Cesar) Domela or (Italian painter Alberto) Magnelli, abstract work is still is a minority movement, still in its infancy etc. And Stael goes for it, a bit against what was done as his time. And in contrast, in 1952, at the opposite of what is done, in what we often describe as his famous return to representational art, meaning after years of more or less abstract work, he will introduce again some elements of the real world in his painting, be they objects, landscapes, places as with the famous ‘Parc des Princes’. He does that in 1952 at a time when actually abstract work became the dominant (painting) movement. So, this time again, he goes completely against the style and trend of his time.”

9. Series of three small paintings on wall, all called Composition, 1949-1950
10. Four paintings on wall, from left to right: Les toits, 1951, Composition, 1951, Fugue, 1951-1952, Composition, 1951
11. Close up La Procession, 1950
12. Pan Charlotte Barat-Mabille seated on bench looking at Parc des Princes, 1952
13. SOUNDBITE (English) Charlotte Barat-Mabille, curator of the Nicolas de Staël exhibition
“When he was alive, about two years before he died, he actually was more recognized in the United States than in France. He had more success there because of his relationship with Paul Rosenberg, who was a famous (art) dealer at the time, and he sold a lot of paintings there, in the U.S. The American collectors were asking for more and more and more paintings so at the end of his life he was also exhausted because the demand for his work was so high, especially in the United States. So during his lifetime, yes, he was successful there, more than in France, and probably after he died in 1955 it was the time of some abstract expressionism rising up in the United States and the French scene, in a way, kind of got forgotten.”

14. Nicolas de Staël’s paint box with brushes
15. Close up paintbrushes
16. Painting called Le Lavandou, 1952


STORYLINE:



Find out more about AP Archive: http://www.aparchive.com/HowWeWork
Twitter:   / ap_archive  
Facebook:   / aparchives   ​​
Instagram:   / apnews  


You can license this story through AP Archive: http://www.aparchive.com/metadata/you...