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Horrific Practices

December 2, 2014 | by

Two centuries after the Marquis de Sade, a French exhibition traces his influence. 

Jeandel_Deux femmes nues attachees

Charles-Francois Jeandel, Deux femmes nues attachees, allongees sur le cote, between 1890 and 1900; © Musee d’Orsay, dist. RMN-Grand Palais / Alexis Brandt

10. Moreau_Appartion

Gustave Moreau, L’Apparition, 1876; © RMN-Grand Palais (Musee d’Orsay) / Jean-Gilles Berizzi

Cezanne_Tentation-saint-antoine

Paul Cézanne, La Tentation de Saint Antoine, 1877; © RMN-Grand Palais (Musee d’Orsay) / Hervé Lewandowski

Cezanne_Femme etranglee

Paul Cézanne, La Femmeétranglée, between 1875 and 1876; © Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

Degas_Scene de guerre

Edgar Degas,Scène de guerre au Moyenâge, 1865; © RMN-Grand Palais (Musée d’Orsay) / Gérard Blot

03. Von Stuck_Chasse sauvage

Franz Von Stuck, La Chasse sauvage, 1899; © Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

02. Delacroix_Chasse aux lions

Eugène Delacroix, Chasse aux lions (esquisse), 1854; © RMN-Grand Palais (Musée d’Orsay) / Gérard Blot

05. Rodin_Minautore

Auguste Rodin, Minotaure ou Satyre et nymphe, 1885; © RMN-Grand Palais (Musee d’Orsay) / Adrien Didierjean

13. Rousseau_La Guerre

Henri Rousseau, La Guerre, 1894; © Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

06. Vuillard_Figure de douleur

Edouard Vuillard, Figure de douleur, between 1890 and 1891; © Musee d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

08. Khnopff_Futur

Fernand Khnopff, Futur, 1898; © RMN-Grand Palais (Musee d’Orsay) / Hervé Lewandowski

Eugene Thirion, Jeune homme nu, debout, soutenu par les bras; © RMN-Grand Palais (Musee d’Orsay) / Adrien Didierjean

12. Verasis_Pierson_Comtesse  de Castiglione

Virginia Verasis and Pierre-Louis Pierson, Portrait de la comtesse de Castiglione, assise sur une table, le visage en partie coupe, 1865 and 1867; © Musee d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

16. Daumier_Dupin

HonoréDaumier, AndréMarie Jean Jacques Dupin, ca. 1832; © Musee d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

17. Burne-Jones_Roue de la fortune

Sir Edward Burne-Jones, La Roue de la Fortune, between 1875 and 1883; © RMN (Musee d'Orsay) / Gerard Blot

The Marquis de Sade died two hundred years ago today, on December 2, 1814. To mark the bicentennial, Annie Le Brun, a French academic and writer, has curated a sprawling show in the Marquis de Sade’s name at the Musée d’Orsay in Paris. The exhibition, “Attaquer le soleil” (“Attacking the Sun”), takes its name from a snippet in The 120 Days of Sodom, and it traces “the revolution of representation” occasioned by Sade’s unbridled lasciviousness: how his ideas about desire and violence seeped into the cultural zeitgeist and into some of the most seminal art created during and after his lifetime.

It seems tenuous, at first, to link Sade to a whole host of artistic traditions—traditions that didn’t necessarily need his help to see society as a holding cell, for teeming vices, impulses, and cruelties, all barely contained by etiquette. During a conference introducing the exhibition, Le Brun clarified her premise: “We didn’t try to illustrate Sade—on the contrary, the propos of Sade illuminates the violence that exists deep within at the moment of mythological, historical, religious painting … everything that Sade addresses was there before, and will of course continue after.” What Sade tapped into, and what’s elevated in the exhibition, is what Le Brun calls the “exaltation of passions” and the “vertigo of excess”—mixed, of course, with “flagrant atheism.” Read More »

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Inside Stories

September 3, 2014 | by

Quentin Blake at the House of Illustration.

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From The Twits

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From The Clown

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From The Wild Washerwomen

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From Danny Champion of the World

Quentin Blake - Inside Stories

Inside Stories

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From Sad Book

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From How Tom Beat Captain Najork and His Hired Sportsmen

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From The Story of the Dancing Frog

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From Clown

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From The Twits

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From The Boy in the Dress

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From Candide

Located somewhat improbably behind King’s Cross St. Pancras, the thrumming London tube and train stations, is the cheery House of Illustration, which opened in early July. The path leading to it is lined with illustrated panels, a showcase of the visual treasures to come: advertisements and poster art, medical and botanical sketches, children’s books and fashion illustrations. The center’s present exhibition, “Inside Stories,” features original work by the beloved illustrator Quentin Blake, one of the House’s trustees and now an octogenarian, whose drawings have enchanted young readers for nearly half a century.

Blake is perhaps best known for his work with Roald Dahl, but no matter who he’s collaborating with, his illustrations retain a buoyant, often impish air. His first drawings were published in the magazine Punch when he was still in high school. He began illustrating children's books in 1960, and taught for more than twenty years at the Royal College of Art. Since the nineties, he’s worked as exhibition curator, and has more recently created larger-scale works for health care wards and communal spaces.

Claudia Zeff, a publishing industry art director who has spent twenty years designing book jackets, curated “Inside Stories.” Zeff’s collaborative process with Blake was already comfortable—the two have worked together for more than a decade. The ideas for the exhibition “evolved quite gradually,” Zeff said. “Quentin came up with the idea of using the story behind the books as the theme … and expressed the different approaches/techniques he uses to illustrate to different types of narrative.” Read More »

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