These and a lot more from ”the engraver of curiosity par excellence” can be viewed at the Stephen A. Schwarzman Building until February 26th, 2017.
Don’t go in a rush, the exhibition is more extensive than one might expect; although this was supposed to be an added bonus to my visit, it quickly became apparent that it merits a lot more attention than a mere skimming through.
[Beginning in the 1870s, Guérard assisted Édouard Manet with biting and pulling his prints, and their working relationship eventually blossomed into a friendship. In 1879, Guérard married Eva Gonzalès, Manet’s favourite pupil, who died in childbirth in 1883 shortly after Manet’s own death. Manet was not only a friend and colleague of Guérard’s but also an important source of inspiration.]
[The image, which shows a troop of tiny Japanese men climbing energetically over a woman’s shoe of Western style, captures the droll and occasionally baffling behaviour of the figures in Hokusai manga. Women’s feet and, especially, their shoes have long been fetishized in both the West and the East, and the conduct of the ”assailants”, which includes a figure clambering on the slipper’s ruffled pompom, is suggestive. The impression shown here reveal Guérard experimenting with jaunty colours, one hot pink, the other bright yellow.]
[Guérard designed these multipurpose sheets for menus or notecards. They exhibit a whimsical mashup of Western and Japanese art and include a number of his favourite motifs, including the monkey spilling ink, the marionette, Japanese masks, and even his dog, Azor. References to cooking, including the buffoonish figure in an apron and the men wearing chef’s hats, make the connection to menus.]
All notes are from the accompanying captions and brochure (available also on-line).
New York, NY, 10018
November 27th, 2016
The Humble Fabulist 