Brisson
The DANCE of LIFE
“The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.” – Marcel Proust
Pierre-Marie Brisson The Dance of Life If we afford ourselves the chance to look closely, Pierre-Marie Brisson’s richly-textured paintings offer us an invitation au voyage, to draw upon the title of French poet Charles Baudelaire’s mid-19th century poem, beckoning us to travel to a site of visual pleasure, rapturous colors and Mediterranean light, existing outside of time, or, perhaps more aptly, across time. By invoking this sensibility of “luxe, calme, et volupté” I want, of course, to connect Brisson with another great French artist of the 20th century, Henri Matisse (Figure 1), who famously transposed Baudelaire’s excursionary poem into a type of dazzling pastoral within his eponymous painting of 1905, and who, like Brisson would later do, intentionally left the colder climes of Paris for the warmth and bright sunlight of Southern France and beyond (including several trips taken by each to North Africa). Both artists would eventually make their homes in the South; Matisse moved to Nice in 1917, and Brisson settled over a decade ago in the Camargue, a vast triangular plain on the coast of the Mediterranean Sea, in a region layered in strata of Gallic, Roman, and (Fig. 1) Henri Matisse, Luxe, calme, et volupté Medieval history, and possessing strong cultural affinities with nearby Spain and North Africa. Given Pierre-Marie Brisson’s temperament and artistic journey, it seems inevitable that he would be drawn to this place. Brisson has never concealed his great passion for the legacy and traditions of Western art and civilization; his practice has acknowleged the full record of Western Art, from Paleolithic cave paintings and ancient frescoes of Crete and Pompeii, to Renaissance art and the early modern masters of the 19th and 20th centuries.
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His deep admiration for Henri Matisse, however, has become increasingly evident in recent years, visible in the artist’s rhythmically-organized compositions, allusions to Matisse’s Danse paintings, and exuberantly-colored, abstracted configurations that seem to exist in sacred conversation with Matisse’s later cutouts (Figure 2). Brisson is not simply following in the footsteps of the earlier French master, or paying homage, but reaching towards and beyond the essential (Fig. 2) Pierre-Marie Brisson truths of Matisse’s art, in order to better evoke his own “condensation of experience,” to use Matisse’s term, first espoused in lectures to students and in his Notes of a Painter in 1908. This goal of “condensation” is more than a personal predilection; it is a reflection of the artists’ position in our own century. With the whole of history available, and mobility allowing for an understanding of the great breadth of the world and its cultures, the artist is both privileged and accountable to an expanded awareness of place and time. It is in this light, which, like that of the Mediterranean itself, radiates an intense brightness reflected by mirrors of the past, that we must view Brisson’s most recent works: (Fig. 3) Pierre-Marie Brisson series of simplified shapes (Figure 3), painted in dense yellows, orange-reds, and strikSimplement V ing blues, against scumbled, sun-bleached surfaces, and ebullient asymmetrical forms floating in stark relief against impastoed cerulean grounds, simultaneously seeming to convey both aerial and aquatic infinities. No doubt these images hold a souvenir of Matisse’s great cutout works, of their vibrancy and lyrical deftness; perhaps they also owe some debt to Gauguin’s self-designed textiles. But in their more suspended, painterly state — allusive rather than descriptive — Brisson’s pictures activate our senses and our reverie, in a way that is completely personal and intimate; contingent, but invoking a more universal experience. Henri Matisse “Drawing with scissors”
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One can imagine looking down into shallow pools at these fluttering jewel-colored forms (Figure 5), or, walking in the sand, as like-shaped kelp and innumerable shells are delivered by each wave. Brisson has clearly pondered the age-old questions about the origin and nature of the universe and he addresses those questions — if not answers — in his work. His pictures leave the viewer struck by the awesomeness of the natural world and the unfinished continuum of human history. Like the sand that Brisson uses as part of his artistic process, to physically erode his surfaces — these impressions, queries, and remnants always (Fig. 5) Pierre-Marie Brisson, Dans tous les sens double back to the cyclical patterns in the vastness of time.
Remembrance Although the mechanisms of memory can be explained intellectually, remembrance and its associative behaviors remain mystifying, triggering unexplainable movements in our viewpoint, even our sense of self. Just as the shoreline is infinitesimally redrawn by successive waves, memory is a malleable construction of our minds, and particularly our unconscious, continually shifting and re-inscribed by each new experience. Remembrance can exist as a “Proustian Madeleine,” awakening a personal flood of childhood memories, but it also can lead us to a more collective realm, in the Jungian sense, (Fig. 6) one embedded more deeply in the shared cultural record of human Pierre-Marie Brisson endeavor and existence. Génèse Many of us have placed special “keepsakes,” cards, and photographs, into scrapbooks — moments collected and grouped together by hand, as if these metaphors for past experiences could exist in relation to one another physically, and as if time might be reconstituted and therefore recuperated. Brisson has sometimes related the effect of his pictures to the experience of such mementos, a sense most strongly felt in artworks where the surfaces are papered over with strips of intricately patterned, old-fashioned wallpaper, adding both compositional and coloristic richness, but also a feeling of domestic
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intimacy and history (Figure 6). Using this collage technique, Brisson both visually alludes to the durational process of picture making as well as to the broader metaphor of time passing. Likewise, through his multi-step process in creating original paintings on paper, Brisson works and “ages” all of his surfaces to create a sense of wear, of years gone by; in effect, offering “ready-made” artifacts, which stir the same sentiment of nostalgia as when one sees ancient frescos or antebellum daguerreotypes. Adding further allusions to tradition in his pieces, Brisson stages a complex palimpsest of historical recall — constructing an art that is — and always will be — both ancient and new at the same time. A template for this type of “mental archaeology” is provided by Matisse’s oeuvre, in which previous motifs are reworked and intertwined, and the past is made to seem not distant at all. Matisse’s late cutouts, especially those with complexly patterned, integrated surfaces suggesting acanthus leaves and birds, algae and coral, retrieve fertile memories from a Tahitian trip taken by the artist in 1930 (Figure 7). Recollections of the pristine ocean, incandescent sunsets and equatorial flora, as well as the formalization of Polynesian quilts and textiles seen by the artist, were later used en famille with the vocabulary of semi-tropical forms he was surrounded by in Nice. Similarly, La Danse (of 1909) (Figure 8) re-imagines a circle of dancers, originally inspired by contemporary fishermen dancing a sardana, who appeared earlier in the background of Matisse’s Bonheur de Vivre (1906) (Figure 9). Enlarged and more stylized, the later female dancers are intended to evoke more ancient connection to the red-figures of Ancient Greek vases and broader nostalgia for a lost Golden Age. Even Matisse’s signature saturated blue, employed across works from La Danse to his late cutout female forms, aspired to the color of Giotto’s sacred 14th century Italian frescos.
(Fig. 8) Henri Matisse, La danse I
(Fig. 7) Henri Matisse, Les betes de la mer
(Fig. 9) Henri Matisse, Bonheur de vivre
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Dance As with Matisse, the idea of dance has long been a personal preoccupation for Brisson (Figure 10). He has not only studied the theme of “the dance” in art, but observed its traditions first-hand across many cultures. Like a dancer repeating and practicing their steps, Brisson has reiterated and transformed dancers, individually and paired, time and again. Employing live models to contemporize his pictures, he has developed a rich repertoire or corps of poses, gestures and moods, invoking such diverse traditions as Balinese temple (Fig. 10) dance, encoded Egyptian movement, graceful Pompeian steps, percussive FlaPierre-Marie Brisson menco, and, of course, the elegant extensions and turns of classical ballet. Fantomette VII Pictorial gesture and the artist’s own creative dance, partner and blend; as he touches the canvas and communicates with the imagined figures, bringing them into form, and interpreting a type of story for us. That Brisson’s exploration of dance would culminate in an engagement with Matisse’s Arcadian ring of dancers seems inevitable, coming full circle, if you will, as he recasts these archetypal figures against his own variegated, aged paper environments (Figure 11). In these images, Dance is not only an art form, but relates to the evolution of ritual and pleasure, one of man’s earliest expressions of freedom, connection, and intimacy. Brisson states, “We realize that since the beginning of mankind, people have danced, and that since primitive times, human beings have found the best way to express their joy is through dance.” Top right: (Fig. 11) Matisse achieved his expression of joy through images revitalizing Pierre-Marie Brisson the past. With deep color (Figure 14), allusive pentimenti, and vital La danse rouge
arabesque lines, and in his cutout images of oceanic forms, birds,
Lower right: (Fig. 12) and figures, he created beings that reach, swim, dance, and soar in Pierre-Marie Brisson
“I had this dance in me for a long time, and I had to put it into La joie de vivre. It was like a rhythm within me that carried me along.” – Henri Matisse (Fig. 13) Pierre-Marie Brisson, Les acanthes
recognition of the unfurling, swaying, forms of plants, the swimming of fish, the flight of birds — and the evolving, moment-to-moment process of art making (Figure 12). In this equipoise, they all relate on the canvas and metaphorically stand for one another. From this perspective, we might also see Brisson’s botanized forms as connecting to his (own) series of dancers; they, too, are gestural, moving and extending gracefully into limitless space. They appear, they repeat, they come together and move apart, like human beings (Figure 13), and cause us to reflect upon the continuum of connection — the dance of life — in the world around us. Above all, dance is about life, because it is innately tied to our human experience. For mankind, and especially the painter, it is an embodiment of life-force, a brave gesture against the shadow of death. Woven from all traditions, its origins belong to no one; dance is universal. Made of the stuff of time itself, it leaps above and transcends it.
(Fig. 14) Henri Matisse, Nu bleu IV
Larissa Bailiff New York-based Art Historian Frequent lecturer for the Museum of Modern Art
Les belles their freedom. One of Matisse’s greatest lessons is that the feeling of profondeurs movement might be expressed by both form and gesture — by the
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Oil s o n Can vas
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ApportĂŠ par le vent IV Oil on canvas 24 x 29 inches 2013
opposite: Entre les eaux I Oil on canvas 51 x 77 inches 2013
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Belle III Oil on canvas 58 x 45 inches 2013 opposite: Homage Ă Degas II Oil on canvas 51 x 77 inches 2013
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Espace Oil on canvas 51 x 77 inches 2013
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Bonheur Oil on canvas 47 x 47 inches 2013
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ApportĂŠ par le vent I Oil on canvas 24 x 29 inches 2013
Empreinte bleue Oil on canvas 29 x 24 inches 2013
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Empreinte jaune Oil on canvas 29 x 24 inches 2013
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Blue ballerina I Oil on canvas 59 x 59 inches 2013
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Blue ballerina III Oil on canvas 59 x 59 inches 2013
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ApportĂŠ par le vent II Oil on canvas 24 x 29 inches 2013 opposite: Dans tous les sens Oil on canvas 59 x 59 inches 2013
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C’est la vie Oil on canvas 32 x 39 inches 2013 opposite: La belle heure Oil on canvas 45 x 57 inches 2013
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Blue ballerina IV Oil on canvas 59 x 59 inches 2013
Blue shadow IV Oil on canvas 32 x 39 inches 2013
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Blue shadow I Oil on canvas 32 x 39 inches 2013
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opposite: Florilège I Oil on canvas 47 x 47 inches 2013
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above: Florilège II Oil on canvas 47 x 47 inches 2013
Florilège VII Oil on canvas 47 x 47 inches 2013
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II Fantomette Oil on canvas 39 x 39 inches 2013
Dynamique bleue I Oil on canvas 51 x 64 inches 2013
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VIII Fantomette Oil on canvas 39 x 39 inches 2013
Dynamique bleue II Oil on canvas 51 x 64 inches 2013
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Simplement I Oil on canvas 47 x 47 inches 2013 opposite: Simplement III Oil on canvas 51 x 64 inches 2013
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Mouvement #3 Oil on canvas 45 x 57 inches 2013
Simplement IV Oil on canvas 47 x 47 inches 2013
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Simplement V Oil on canvas 47 x 47 inches 2013
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Jardin jaune Oil on canvas 51 x 38 inches 2013
Florilège III Oil on canvas 47 x 47 inches 2013
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Florilège IV Oil on canvas 47 x 47 inches 2013
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Génèse Oil on canvas 58 x 45 inches 2013 opposite: Homage à Degas III Oil on canvas 51 x 77 inches 2013
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L’échange Oil on canvas 59 x 59 inches 2013
Blue shadow II Oil on canvas 32 x 39 inches 2013
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Blue shadow III Oil on canvas 32 x 39 inches 2013
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Monde nocturne Oil on canvas 47 x 47 inches 2013 opposite: Homage Ă Degas IV Oil on canvas 51 x 77 inches 2013
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Jardin rouge Oil on canvas 51 x 38 inches 2013
Florilège V Oil on canvas 47 x 47 inches 2013
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Florilège VI Oil on canvas 47 x 47 inches 2013
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Carmen Oil on canvas 51 x 64 inches 2013 opposite:
Lucia Oil on canvas 51 x 64 inches 2013
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Entre les eaux II Oil on canvas 51 x 77 inches 2013 opposite: Les belles profondeurs Oil on canvas 51 x 77 inches 2013
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Herbe rouge Oil on canvas 29 x 36 inches 2013 opposite: La danse rouge Oil on canvas 45 x 57 inches 2013
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Simplement II Oil on canvas 47 x 47 inches 2013 opposite: I am happy Oil on canvas 51 x 64 inches 2013
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Les bons amis Oil on canvas 45 x 54 inches 2013 opposite: Les acanthes Oil on canvas 59 x 59 inches 2013
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wo rk s o n paper
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Composition I Mixed media on paper 20 x 25 inches 2013
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Composition II Mixed media on paper 20 x 25 inches 2013
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Composition III Mixed media on paper 20 x 25 inches 2013
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Composition IV Mixed media on paper 20 x 25 inches 2013
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Projet Mixed media on paper 30 x 22 inches 2013
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RĂŠvĂŠlation Mixed media on paper 34 x 26 inches 2013
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White dress I Mixed media on paper 30 x 22 inches 2013
White dress II Mixed media on paper 30 x 22 inches 2013
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White dress III Mixed media on paper 30 x 22 inches 2013
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PIERRE-MARIE BRISSON Born June, 1955 in Orléans, France Currently lives and works in the South of France and Paris 2013 Franklin Bowles Galleries, New York/ San Francisco, USA 2012 Franklin Bowles Galleries, New York/ San Francisco, USA Gallery Espace d’Art, Genova, Switzerland Dominique Bouchet, Wa-Bi salon, Paris, France 2011 Gallery Emeraude, Le Touquet, France Chapelle des Capucins, Aigues Mortes, France Gallery Ho, Saint Rémy de Provence, France Gallery Addiction, Honfleur, France Lille Art Fair, Gallery Herzog, Lille, France Gallery Forré & Co, Aspen, USA Art Chicago, Timothy Yarger Gallery, Chicago, USA Gallery Thinkart, Chicago, USA 2010 Group exhibition: 150th Anniversary of the Angélus, Barbizon, France Exhibition “The Story of a Friendship between a Chef and a Painter” Dominique Bouchet, Paris Gallery Gil Bastide, Orléans, France Group exhibition: Eglise Saint Anne, Montpellier, France Muséum Faure, Aix les Bains, France
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2003 Musée Faure, Aix Les Bains, France Orangerie du Sénat (group exhibit) Paris, France Musée des Beaux-Arts, Chateau de Foucaud, Gaillac, France Franklin Bowles Galleries, New York / San Francisco, USA Art-Paris (Galerie Frédéric Storme) Lille, France Carré Sainte Anne, Montpelier, France Timothy Yarger Fine Art, Los Angeles, USA
Cloître des Cordeliers - Espace Tartarin, Tarascon en Provence, France Gallery Claudine Legrand, Paris, France Gallery Ducastel, Avignon, France Gallery Paschos, Grimaud, France Art Chicago, Gallery Timothy Yarger, Chicago, USA Franklin Bowles Galleries, New York / San Francisco, USA Gallery Timothy Yarger, Los Angeles, USA 2009 Gallery Fallet, Genève, Switzerland Château des Marres, St Tropez, France Gallery Paschos, Grimaud, France Gallery Gil Bastide, Orléans, France Art Miami, Timothy Yarger Gallery Art Los Angeles, Timothy Yarger Gallery 2008 Space Chouleur, Nimes, France Gallery L’Ecusson, Montpellier, France Gallery Franklin Bowles, New York et San Francisco, USA Art Paris, Pasnic, France Gallery Fae, Boulogne, France Galerie Cheloudiakoff, Belfort, France Galerie Storme, Lille, France 2007 20 Years in America, Franklin Bowles Galleries, San Francisco/New York, USA Gallery Ducastel, Avignon, France
2002 Franklin Bowles Galleries, New York / San Francisco, USA Galerie Ducastel, Avignon, France 2006 Franklin Bowles Galléries, San Francisco, USA Gallery Ariel Sibony, Paris, France Gallery Ducastel, Avignon, France 2005 Franklin Bowles Galleries, New York, USA Palm Beach Contemporary Art Fair, Palm Beach, USA Palm Springs Art Expo, Palm Springs, USA Timothy Yarger Fine Arts, Los Angeles, USA 2004 Franklin Bowles Galleries, New York, USA Musée d’art et d’histoire de Cognac, Cognac, France Collégiale Saint-Pierre-le-Puellier, Orléans, France Musée de l’Hospice Saint-Roch, Issoudun, France Galerie Fabrice Galvani, Toulouse France Timothy Yarger Fine Art, Los Angeles, USA Villa Béatrix-Enea and Georges Pompidou Gallery, Anglet, France Hospice St Roch Muséum, Issoudun, France Fabrice Galvani Gallery, Toulouse, France
2001 Franklin Bowles Galleries, New York, USA Timothy Yarger Fine Art, Los Angeles, USA 2000 Franklin Bowles Galleries, New York / San Francisco, USA Rivington Gallery, London, England Simon Patrich Gallery, Vancouver, Canada 1999 Stadtisches Museum, Gelsenkirchen, Germany Musée de Gelsenkirchen, Gelsenkirchen, Germany Franklin Bowles Galleries, New York, USA Galerie Arte, Dakkar, Sénégal Fondation Carcan, Carcan, Belgium Chateau de Lussan, Lussan, France 1998 Franklin Bowles Galleries, New York, USA Galerie Thierry Spira, Paris, France Galerie Couleurs du temps, Gèneve, Switzerland Galerie Voigt, Nüremberg, Germany Galerie Kühn, Berlin, Germany Chapelle des Capucins, Aigues-Mortes, France
Timothy Yarger Fine Art, Los Angeles, USA SAGA (Galerie Thierry Spira), Paris, France Aibotheque, Miramas, France Galerie Lucien Schweitzer, Luxembourg 1997 Musee Faure, Aix les Bains, France Franklin Bowles Galleries, New York / San Francisco, USA Galerie Schweitzer, Luxembourg Bowles Yarger Gallery, Los Angeles, USA Galerie Thierry Spira, Paris, France Galerie Couleurs du Temps, Geneve, Switzerland Simon Patrich Gallery, Vancouver, Canada Galerie Raphael, Frankfort, Germany Galerie Sundermann, Wurzburg, Germany 1996 Salon International d’Art Contemporain, Strasbourg, France Franklin Bowles Gallery, New York, NY, USA Salon de Mars, Paris, France Chapelle des Capucins, Aigues-Mortes, France Galerie La Cour des Arts, Belfort, France Bowles Yarger Gallery, Los Angeles, CA, USA Galerie Thierry Spira, Paris, France 1995 Bowles/Sorokko Galleries, New York, NY, USA Bowles/Sorokko/Yarger Fine Art, Beverly Hills, CA, USA Galerie Thierry Spira, Paris, France Galerie Raphael, Frankfurt, Germany Galerie Lacan, Strasbourg, France International Biennial of Graphic Art, Ljubjana, Slovenia Galerie Horizon, Marseille, France Galerie Lucette Herzog, Paris, France SIAC: Galerie Thierry Spira, Strasbourg, France Galerie die Welle, Iserlohn, Germany Galerie Petra Pfeiffer, Würzburg, Germany
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1994 Bowles/Sorokko Galleries, New York, NY, USA Bowles/Sorokko Galleries, San Francisco, CA, USA Galerie Thierry Spira, Paris, France SAGA, Grand Palais, Paris, France Raphael Gallery, Frankfurt, Germany International d’Art, Düsseldorf, Germany Frankfurt Book Fair, Frankfurt, Germany Galerie Médicis, Besançon, France 1993 Bowles/Sorokko Galleries, New York, NY, USA Bowles/Sorokko Galleries, San Francisco, CA, USA Bowles/Sorokko Galleries, Beverly Hills, CA, USA Simon Patrich Gallery, Vancouver, Canada Galerie de Hesdin: (group exhibition), Paris, France Galerie Manent Pérouse, Aubenas, France ART/LA: William Turner Gallery, Los Angeles, CA, USA SAGA Grand Palais Atelier Pasnic, Galerie Lucette Herzog, Paris, France Hyatt Hotel, Tokyo, Japan British International Hotel, Kyoto, Japan
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GRAPHIC EDITIONS AND LIVRE D’ARTISTE 1998 Supplément, three etchings with an unpublished text by Roland Barthes 1992 Etat d’Ame, three etchings with an accompanying poem by the artist, Bowles/Sorokko Galleries, San Francisco.
COLLECTIONS Publics Collections :
George Pages Museum, Los Angeles, USA Museum de Gaillac, France Museum Faure, Aix les Bains, France Art and History Museum, Belfort, France Bibliothèque Nationale, Paris, France Städtisches Museum, Gelsenkirchen, Germany Museum of Art, Fort Lauderdale, USA Achenbach Foundation, Fine Arts Museums of San Francisco, USA Georges Pages Museum, Los Angeles, USA French Consulate, New York, USA Jewish Museum, New York, USA Private Collections
Carré Noir, Paris, France Société Générale, Paris, France Lecoanet Hermant Haute Couture, Paris, France Groupe Cartier, Paris, France Zurich Insurances, Paris, France Novotel collection, Group Accor Medical Center, Vanderbilt University, Nashville, USA University of San Francisco, USA The private collection of Mr Pier Luigi Loro Piana, Milan, Italie Mrs Amalia Fortabat, Buenos Aires, Brésil, Argentina
1984 Un jour inhabitué, four etchings with unpublished poems by Jean-Jacques Scherrer, Lucette Herzog Gallery. 1981 Toute présence tue, two etchings with an unpublished poem by Jean-Jacques Scherrer. 1980 Le Rien du dit, two etchings with an original poem by Jean-Jacques Scherrer. Group photos: Space Dominique Bouchet, Japan
1992 Chicago International Art Fair: Turner/Thompson Galléries, Chicago, CA, USA Bowles/Sorokko Galleries, New York, NY, USA Bowles/Sorokko Galleries, San Francisco, CA, USA Bowles/Sorokko Galleries, Beverly Hills, CA, USA Simon Patrich Gallery, Vancouver, Canada Platform, Beirut, Lebanon Galerie Lucette Herzog, Paris, France ART/LA: William Turner Gallery, Los Angeles, CA, USA William Turner Gallery, Vénice, CA, USA
1991 Bowles/Sorokko Galleries, San Francisco, CA, USA Bowles/Sorokko Galleries, Beverly Hills, CA, USA Galerie de Hesdin, Paris, France Galerie de Menthon, Paris, France Galerie Domus, Antibes, France SAGA: Grand Palais Galerie Lucette Herzog, Paris, France Simon Patrich Gallery, Vancouver, Canada Opera de Rouen (The Year of Mozart), Rouen, France Vision Nouvelle Gallery, Tokyo, Japan 1990 Bowles/Sorokko Galleries, Beverly Hills, CA, USA Galerie Lucette Herzog, Paris, France Simon Patrich Gallery, Vancouver, Canada Exhibition tour: Tokyo, Japan
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INDEX Oils on Canvas
16 20 11 12 18 19 25 24 40 40 24 15 46 22 21 29 30 17 17 10 49 14 28 28 28 31 31 31 26 27 36 36 45 45 27 38
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Apporté par le vent I Apporté par le vent II Apporté par le vent IV Belle III Blue ballerina I Blue ballerina III Blue ballerina IV Blue shadow I Blue shadow II Blue shadow III Blue shadow IV Bonheur Carmen C’est la vie Dans tous les sens Dynamique bleue I Dynamique bleue II Empreinte bleue Empreinte jaune Entre les eaux I Entre les eaux II Espace Fantomette I Fantomette II Fantomette VI Fantomette VII Fantomette VIII Fantomette IX Florilège I Florilège II Florilège III Florilège IV Florilège V Florilège VI Florilège VII Génèse
50 13 39 42 53 37 44 23 51 41 54 48 55 47 43 34 32 52 33 35 35
Herbe rouge Homage à Degas II Homage à Degas III Homage à Degas IV I am happy Jardin jaune Jardin rouge La belle heure La danse rouge L’échange Les acanthes Les belles profondeurs Les bons amis Lucia Monde nocturne Mouvement #3 Simplement I Simplement II Simplement III Simplement IV Simplement V
Spring 2014 project managers:
Stacey Bellis, Emilee Enders art photography: Pierre Schwartz artist portraits:
Jean Audigier and Marc Audigier works on paper
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Composition I Composition II Composition III Composition IV Projet Révélation White dress I White dress II White dress III
catalog design:
Susan Tsuchiya front cover:
La danse rouge Dans tous les sens inside back cover: Les acanthes (detail) page 1: Apporté par le vent II (detail), Les bons amis (detail) page 8-9: Simplement IV (detail) page 56-57: Révélation (detail) page 66: Simplement IV (detail) page 68-69: Composition III (detail) page 70: Entre les eaux I (detail) catalog envelope: Les bons amis (detail) back cover:
BRISSON FRANKLIN BOWLES GALLERIES San Francisco • New York
The DANCE of LIFE
Franklin Bowles Galleries
San Francisco 765/799 Beach Street San Francisco CA 94109 415.441.8008 / 800.926.9535 New York 431 West Broadway New York NY 10012 212.226.1616 / 800.926.9537 www.franklinbowlesgallery.com
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