Photo of the Week


Left to right: Eiffel Tower, Louvre Pyramid, Arc de Triomphe du Carrousel and Ferris Wheel. © Paris Update


Paris Update This Week’s Events

For full details about an event, click on the title to visit the official Web site (in English when available).

Drawing through the ages

"Apples" (1944), by Henri Matisse. Eric Coatalem Gallery.

> Salon du Dessin: 39 galleries showing works on paper, from Old Masters to contemporary. Palais Brogniart, Paris, March 22-27.

Contemporary drawing fair
> Drawing Now: 73 galleries, Carreau du Temple, Paris, March 23-26.

More contemporary drawings
>Ddessin: 20 galleries. Atelier Richelieu, Paris, March 24-26.

Art and design fair
> PAD (Paris Art + Design),
67 galleries, Tuileries Garden, Paris, March 22-26.

African culture festival
> The 100% Afriques festival showcases dance, theater, music, fashion, design, art, food and more from all over the continent. La Villette, Paris, March 23-May 28.

French film with English subtitles
> Lost in Frenchlation shows Audrey Dana's Si j'Étais un Homme, preceded by a themed cocktail party (€4.50). Studio 28, Paris, Feb. 24.

Documentary film festival
> Cinéma du Réel showcases documentaries from around the world. Various venues, Paris, March 24-April 2.

Suburban blues
> The Banlieues Bleues festival brings major French and international jazz acts to the Paris suburbs. Various venues, through March 31.

Before and after ecological disaster
> The Chic Planète festival presents two types of films, those celebrating the bounty of the earth and science-fiction views of what will happen after an ecopalypse. Forum des Images, Paris, through April 13.




Art - Temporary Exhibitions


George Desvallières: La Peinture Corps et Âme

Painter of Body and Soul,
Forgotten but Not Gone

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“Christ à la Colonne” (1910). Photo © RMN-Grand Palais (Musée d’Orsay)/Martine Beck-Coppola © Adagp, Paris 2016 © droits réservés

George Desvallières (1861-1950) is one of those bygone French painters blessed with a long, successful career but whose work has been more or less forgotten. The reason may be that, although he was a highly talented painter who absorbed many of the trends of his day, he never really found a style of his own that stood out from the rest. There is much to enjoy, however, in the retrospective of his work, “George Desvallières: La Peinture Corps et Âme,” currently on show at the Petit Palais in Paris.

The exhibition gets off to a strong start with the painting used on the poster: “La Grèce (Childe Harold)” (1910), in which a rather massive female nude representing Greece and

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“La Grèce (Childe Harold)” (1910). © Suzanne Nagy © Adagp, Paris 2016 © droits réservés

inspired by Lord Byron’s poem “Childe Harold’s Pilgrimage” fills the canvas, posing pensively against the backdrop of a Mediterranean landscape. Its jewel-like colors and clearly defined shapes immediately bring stained glass to mind. More on that later.

The exhibition then reverts to a chronological presentation. The early works show great talent, notably a powerful self-portrait, “Autoportrait Bleu au Foulard Rouge” (c. 1880) of the intense young artist, the dark tones of the work set off by the scarlet scarf he wears. Touches of red – the flowers on the hat she holds – also accent a lovely full-length Sargent-like portrait of the artist’s sister Georgina standing in a forest. Another is the mysterious “Un Coin de Salon” (1891), which reminded me of certain works by Edgar Degas with its unusual point of view: we see only the top half of the head of the baldheaded man who is playing an upright piano and the head and shoulders of the woman standing next to him singing. Another woman stands in front of the piano, her back to us and one knee posed on a red chair. The faces of all three are lit from below by an unseen source of light. The models for this work were the artist’s wife Marguerite, his father, Émile Desvallières, and Claire Lefebvre. The two women were students of composer César Franck.

The next stage of Desvallières’ work shows the influence of his mentor Gustave Moreau and is touched by the muddy colors and classical themes of the master of Symbolism. By the beginning of the 20th century, however, the artist was already moving away from Moreau’s influence. The next room, full of nudes, sparkles with the jewel-like colors we saw in “La Grèce.” In one of them, “Hercule au Jardin des Hespérides” (1913), the mythical hero reaches up to pluck a fruit from a tree, his arms and legs looking like extra roots and branches. Although it was painted earlier, the masterful large-scale “Les Tireurs d’Arc” (1895), which appeared in the Musée d’Orsay’s exhibition on

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“Les Tireurs d’Arc” (1895). © RMN-Grand Palais (Musée d’Orsay)/Hervé Lewandowski © Adagp, Paris 2016 © droits réservés

male nudes in 2013, could have been shown in this section. It is a symphony of naked men and birds in movement, linked by the arcs of the men’s blue bows.

After a series of delightful portraits, including ladies in their salons and Lautrec-ian ladies of the evening, as well as a Whistler-like a portrait of his mother in profile, we reach the major turning point in Desvallières’ life, World War I, during which he served as a captain and lost one of his sons. He had already returned to the Catholic faith in 1904 and painted many religious subjects – his “Christ à la Colonne” (1910; pictured above), with its Caravagesque lighting, painted after a visit to Spain and showing the striking influence of the Spanish masters, is one of the strongest in this show – but after this tragic period, he devoted himself exclusively to paintings and stained glass with religious themes, many of them expressing the pain of his loss.

Until the war came, Desvallières seems to have led a charmed life: he came from a cultured milieu – his grandfather and great-grandfather were both members of the French Academy – and was taught by and associated with some of the leading artists of his day. Happily married with six children, he successfully exhibited his work throughout his life and held a number of prestigious positions in the art world, including president of the Academy of Fine Arts and president of the Salon d’Automne. He used these positions to fight for the rights of Jews and “degenerate artists” (among them Georges Braque) to exhibit in the Salon d’Automne under the Occupation, and to campaign for peace. From what I can tell, he was quite a mensch. He deserves better treatment by posterity and may now get it thanks to this exhibition.

Heidi Ellison

Petit Palais: Avenue Winston Churchill, 75008 Paris. Métro: Champs-Elysées Clémenceau. Tel: 01 53 43 40 00. Open Tuesday-Sunday, 10am-6pm (until 9pm on Friday). Closed Monday and public holidays. Admission: €10. Through July 17, 2016.

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