Adolphe MONTICELLI (Marseille, 1824 - 1886)
La Halte des cavaliers près de la fontaine, c. 1876-1878, Oil on panel, 46 x 72 cm, MU 12688
Gherasim LUCA (Bucharest, 1913 - Paris, 1994)
Madeleine, undated, autograph manuscript, images cut from magazines with autograph poem, ms 860
Of Romanian origin, Gherasim Luca established close ties with French artistic circles in the early 1930s, most notably with the Surrealist group, before settling permanently in France in 1953.
Unica ZÜRN (Berlin, 1916 - Paris, 1970)
Der Geist aus der Flasche, 1960, pen and black ink, 31.9 x 24.5 cm, EBA 11279
Unica ZÜRN (Berlin, 1916 - Paris, 1970)
Oracles and spectacles, Paris, Georges Visat. 1967, n° 8/120, artist's book, 12 unbound leaves gathering fourteen anagram poems illustrated with eight etchings (1966) on vellum, eight etchings out of text on mother-of-pearl colored Japanese paper; Postscript and drypoint frontispiece signed Hans Bellmer, 4° 50082
Henri CUECO (Uzerche, 1929 - Paris, 2017)
Self-portrait with dandelion leaves, n°2, 2002, acrylic on canvas, 46 x 55 cm, MU 12684
Anonymous, known as ZORRO (active 1940 - 1970)
Self-portrait, c.1940, matte aristotype, 12 x 9 cm, Ph 25052
Anton PRINNER (Budapest, 1902 - Paris, 1983)
La Femme tondue, Paris, A.P.R., 1946, artist's book, [58] p., 8 original engravings, 8° 26242
Born in Budapest in 1902, Anton Prinner studied at Beaux-Arts de Paris from 1920 to 1924. He left Hungary at the age of 25 and arrived in Paris in late 1927 or early 1928.
How to continue to create? How not to be crushed by the way things are going? How to stay in motion? The stakes are high, more than ever.
At the initiative of Beaux-Arts de Paris, Felicità Goodbye Horses brings together the thirty or so congratulated artists from the Beaux-Arts de Paris in 2019 and the École nationale supérieure d'art de Bourges in 2019 and 2020.
Opening
As part of the Théâtre des Expositions Act 2
Since 2016, Lénio Kaklea has been developing Encyclopédie pratique, a multidisciplinary project that consists of the creation of a non-exhaustive corpus of daily, intimate, visible or invisible practices of the European territory.
From this corpus, the choreographer proposed to the students of the Emmanuelle Huynh workshop to question the multiple practices that make up their own artistic research (introspection, discussion, strolling, sport, painting, assembly of objects etc.).
