PAID ENTRY | Beaux-arts de Paris

Exhibition conceived by the French Academy in Rome - Villa Medici and the Beaux-Arts de Paris, with the support of the Musée national d'art moderne - Centre Pompidou, Paris. A first part, including a selection of ancient works from Italian collections, was presented in Rome from March to May 2022. This second Parisian part was established on the basis of the collections of the Beaux-Arts de Paris and other French and European institutions.

Bringing together more than one hundred and fifty original works from the Renaissance to the contemporary period, Gribouillage / Scarabocchio highlights one of the most repressed and least controlled aspects of drawing practice. By addressing the multiple facets of "scribbling",
the exhibition reveals how these experimental, transgressive, regressive or unintentional graphic gestures can be used to
transgressive, regressive or liberating, which seem to obey no law, have always punctuated the history of artistic creation.

By proposing new comparisons between the works of the masters of early modernity - Leonardo da Vinci, Raphael, Michelangelo, Bernini... - and those of major modern and contemporary artists - Jean Dubuffet, Henri Michaux, Helen Levitt, Cy Twombly, Jean-Michel Basquiat, Luigi Pericle... - the exhibition blurs chronological classifications and traditional categories (margin and centre, official and unofficial, classic and contemporary, work and document) and places the practice of doodling at the heart of artistic making.

Curators: Francesca Alberti, Director of the Department of Art History at the French Academy of Rome - Villa Medici, Associate Professor at the University of Tours, CESR
Diane Bodart, Professor of Art History at Columbia University (David Rosand Chair in the History of Italian Renaissance Art)

Associate curators: Anne-Marie Garcia, heritage curator, responsible for the collections of the Beaux-Arts de Paris and Philippe-Alain Michaud, art historian, heritage curator at the Musée national d'art moderne - Centre Pompidou.

Events and visits are organized every other Thursday night, find the program here

Set design: Isabelle Raymondo
Lighting design : Virginie Nicolas (Concepto)
Set design and furniture : Version Bronze

Exhibition with the support of the Association Orphée, Flos, RATP.

CATALOGUE

The exhibition catalogue, which brings together 300 of the works exhibited in Rome and Paris, is published in Italian and French versions, co-edited by Beaux-Arts de Paris éditions and the Villa Medici. This reference publication offers a richly documented synthesis of the two exhibitions.

Number of pages: 400
Price incl. VAT: €39.00

Directed and introduced by the curators of the exhibition, Francesca Alberti and Diane Bodart, it contains seven chapters and brings together unpublished contributions by numerous authors whose essays and notes shed light on the works and extend the research work.

Authors of the essays: Francesca Alberti, Diane Bodart, Emmanuelle Brugerolles, Baptiste Brun, Angela Cerasuolo, Hugo Daniel, Vincent Debaene, Dario Gamboni, Tim Ingold, Giorgio Marini, Philippe-Alain Michaud, Anne Monfort-Tanguy, Mauro Mussolin, Gabriella Pace, Maria Stavrinaki, Nicola Suthor, Alice Thomine-Berrada, Barbara Wittmann.

Authors of the notes: Marco Simone Bolzoni, Emmanuelle Brugerolles, Cristina Cilli, Anne Marie Garcia, Gloria Guida, Mauro Mussolin, Federica Rinaldi, Carla Subrizi, Meta Valiusaityte.

Graphic designer: Mauro Bubbico.

Affiche GRIBOUILLAGE / SCARABOCCHIO De Léonard de Vinci à Cy Twombly

Cy Twombly, Delian Ode n°19, août 1961 Craie grasse, crayon, crayon de couleur et stylo à bille sur papier, 33,3 x 35,3 cm Collection privée, Paris / Dépôt à la Collection Lambert, Avignon © Cy Twombly Foundation

Giovanni Francesco Caroto, Portrait d’enfant montrant un dessin, 1515-1520 Huile sur toile, Vérone, Museo di Castelvecchio © Archivio Fotografico dei Musei Civici, Verona (Gardaphoto, Salò)

Jean Dubuffet, Henri Calet, 1947 Encre de Chine (plume) sur papier Paris, Fondation Dubuffet © Fondation Dubuffet / ADAGP, Paris

Rembrandt, Griffonnements avec la tête de Rembrandt, Portrait, 1632 Gravure sur cuivre © Beaux-Arts de Paris

Inge Morath, Alberto Giacometti encadrant un graffiti sur le mur de son atelier parisien au 46 rue Hippolyte-Maindron, 1958 Tirage gélatino-argentique, New York, Inge Morath Estate © Inge Morath / Magnum Photos

Asger Jorn, L’Avangarde se rend pas (détail), 1962, Paris, Centre Pompidou / MNAM-CCI © Donation Jorn, Silkeborg / Adagp, Paris, 2022 / Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais, photo : Georges Meguerditchian

Eva Jospin is the new guest in the cycle of the Cabinet des Dessins devoted to artists who have graduated from the Beaux-Arts de Paris and are making their mark on the international art scene.

For the occasion, the artist, known for her sculptures - forests composed mainly of cardboard, caves or follies made of concrete and natural stone - is exhibiting for the first time drawings made with Indian ink. A dozen graphic works that visit the themes dear to the artist, revealing the play of lines and stratifications that structures all his explorations.

It is an exclusive selection of works in Indian ink that Eva Jospin proposes for the cabinet of drawings, rich of nearly 25,000 works. As a familiar figure in sketching, which she uses daily to create her sculptures, the artist identifies two types of drawings in her work. The first is precisely that which she composes for preparatory purposes, a construction plan with explanatory value for her workshop.
The second is an aesthetic research, through a medium that she cherished during her studies, and that she always finds with happiness to express what the other materials or techniques cannot tell.

Unlike the volume that generally characterizes her works, the flat drawing allows a view from above, like a cartography that shows symbolized reliefs. Because her meticulously executed lines evoke the idea of a contour line or even a fingerprint, they also refer to the protruding board that leads to the print. In the background, there is a reference to engraving, a technique she has used in the course of her career, through etching, and which she favored in response to a commission from the Louvre Museum. On this occasion, she entered the collection of chalcographies of national museums, with Grotto in 2017.

To put old works in dialogue with those she has created, her preference was to send in the works of the architects resident at the Académie de France in Rome, Hector-Marie-Désiré d'Espouy (1888) and Jean-Jacques Haffner (1921), dedicated to the Basilica of Constantine: each of them, in their own way, gives a spectacular vision of the building. She then favored a drawing by the painter, archaeologist and diplomat, Louis-François-Sébastien Fauvel, which represents an extraordinary section of the famous grotto of St. John on the island of Antiparos (1789) and four drawings by Louis-François Cassas, who spent several years in Rome to survey the ruined ancient monuments there.

With d'Espouy, Haffner and Cassas, Eva Jospin echoes her love for the architecture of Roman antiquity in particular, appreciating these buildings for their monumental character but also their ruined appearance. Left abandoned and overgrown, they are for her an inexhaustible source of contemplation and reverie. Conceived as exercises, these works take on an invaluable archival and learning value for this graduate of the Beaux-Arts de Paris.

With Fauvel, she shares a fascination for caves. The majestic one represented here is theatrical because of the many celebrations held there, and touching for Eva Jospin because she visited it during a stay in the Cyclades.

Beyond the subjects depicted, the common thread is the spirit of the "Grand Tour", the journey of initiation to beauty and the world that artists had to make in the 17th and 18th centuries, wandering from capitals to cultural centres to contemplate and be inspired by ancient masterpieces.

It is from this tradition that the Prix de Rome was born, a grant awarded to young artists to perfect their skills, such as d'Espouy, who was evaluated in his fourth year by the drawings presented here. Abolished in 1968, the competition was transformed into a pension at the Villa Medici, which Eva Jospin was able to benefit from after her studies at the Beaux-Arts de Paris. It was during her stay that she discovered the embroidery room at the Palais Colonna in the company of a fabric restorer. Here begins a project of great magnitude, that of designing embroidered landscapes. The preliminary sketches necessary for the elaboration of the pieces will influence her style of drawing, because the sense of the line presides over the sense of the embroidery.

His hand, now instructed by all these experiences, composed for the cabinet of drawings of the Beaux-Arts works like poetic reveries, grafted on a familiar structure - whether it is an architectural element (church facade, cenotaph, folly) or a natural element (cave, cliff, mound). An optical walk oscillating between a shared conscious language and an underground world, specific to each viewer.

Curator: Emmanuelle Brugerolles

The Drawing Room

With nearly 25,000 works, the Cabinet des Dessins des Beaux-Arts de Paris has, after the Louvre, the largest collection of drawings in France. The collection is made up of exceptional works by masters such as Leonardo da Vinci, Raphael, Rubens, Poussin and Boucher, and covers a period from the Renaissance to the present day. This wealth of works is closely linked to the history of the School, and is part of its teaching and influence.
Today, the collection continues to be enriched by a policy of acquisitions designed for educational purposes, as well as by donations from professors, young artists, and the association "Le Cabinet des amateurs de dessins des Beaux-Arts de Paris".

Esquisse pour Côté cour Côté jardin, 2021 encre sur papier, 26 x 36 cm © Eva Jospin

Dessin préparatoire pour la Foret de soie, 2021 encre sur papier, 36 x 26 cm © Eva Jospin

Grotto 1, 2019 encre sur papier, 26 x 36 x 4 cm © Eva Jospin

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