Next stop, Louis Vuitton

After Paris, Tokyo and Seoul, it had to make a stop in New York City.

Curated by Olivier Saillard and designed by artistic director and set designer Robert Carsen, the exhibition ”retraces the adventure of the House of Louis Vuitton from 1854 to the present” in ten chapters (previously they were nine but for New York a tenth one has been added, entirely devoted to America and the City).

So, let’s pack our bags and Fly, Sail, Travel for a few days, together with LV. Adventure and grand style guaranteed. What say you? We’ll start with a cruise…

Bed trunk in damier canvas once belonging to Gaston-Louis Vuitton, 1892
Speed bag in monogram miroir vinyl, F/W ’06-’07
Sylvie Fleury Vuitton bag, 2001
Azzedine Alaïa, Panthère Alma bag, 1996
Alzer suitcase in nomade natural leather, created for Wes Anderson’s film ”The Darjeeling Limited”, 2006


Back to front:
Steamer trunk in zinc once belonging to the Count de Pimodan, 1895
Special trunk in zinc, 1899
Suitcase in coated canvas, custom-made for the Yellow Journey, 1930
Louis Vuitton by Nicolas Ghesquière, Boîte Promenade Croisière in canvas, F/W ’15-’16
Jean Luce for the Manufacture de Sèvres china tea set bearing the Croissant d’Argent Imprint, emblem of Louis Audoin-Dubreuil, ca. 1920-1930
It sits on a Yellow Journey bed trunk in duralumin, 1930


Special car trunk in coated canvas, custom-made for the Black Journey, 1924
Special photographer’s trunk in vuittonite canvas once belonging to Albert Kahn, 1929
Special trunk in vuittonite canvas, 1906


Steamer  bag in cotton canvas once belonging to Gaston-Louis Vuitton, ca. 1901
Louis Vuitton by Nicolas Ghesquière City Steamer bag in leather, Cruise 2016
Steamer trunk in vuittonite canvas once belonging to Lili Damita, 1928
Lucien Lelong evening gown, 1937


Tennis shorts once-piece, ca. 1930
Beach shorts once-piece, ca. 1930
Old England coat with belt, ca. 1930
Summer dress with belt, ca. 1930-32
Steamer bag in leather, 1938


Ensemble in crêpe de chine with a black and ivory pattern, ca. 1935
Steamer bags in cotton canvas, 1901
Callot Soeurs evening gown in rust-coloured silk velvet, ca. 1935


Volez
Voguez
Voyager

at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

A Madman Distilling his Brains

The Robert Lehman Wing was built not only to showcase the vast Lehman Collection – donated to the museum by the family – but parts of it were made to look like rooms recreating the Lehman family residence. 

El Greco (Domenikos Theotokopoulos)
Saint Jerome as Scholar, 
ca. 1610

Oil on canvas


Goya (Francisco de Goya y Lucientes) 
Condesa de Altamira and Her Daughter, María Agustina – 1787–88
Oil on canvas


Jean Auguste Dominique Ingres  
Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie
Oil on canvas

Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it.


The collection also comprises some extravagant, utterly amusing objects:Inkstand with Apollo and the Muses
Workshop of the Patanazzi family (Italian, active ca. 1580–1620)
Probably after Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520 Rome)
Date: 1584
Medium: Maiolica (tin-glazed earthenware)

This extravagant desk set celebrates the art of poetry while providing a writer with storage for the tools of his craft. The exterior decorations evoke ancient Roman art and honor the divine sources of creativity. Gods and muses perch beside famous poets atop an elaborate confection of drawers and removable containers, including inkwells and a sand-shaker (for drying fresh text). Inside, the compartments are decorated with images denoting their contents, such as scissors and quills.


Among which my personal favourite:
Inkstand with A Madman Distilling His Brains, ca. 1600
Maiolica (tin-glazed earthenware)

In this whimsical maiolica sculpture, a well-dressed man leans forward in his seat with his head in a covered pot set above a fiery hearth. The vessel beside the hearth almost certainly held ink. The man’s actions are explained by an inscription on the chair: “I distill my brain and am totally happy.” Thus the task of the writer is equated with distillation—the process through which a liquid is purified by heating and cooling, extracting its essence.


The Metropolitan Museum of Art
March 19th, 2017

Maria in the wings

Her black velvet eyes, captivating. More than the nude bodies of her friends. Or the chubby cheeks of Madame Roulin’s baby. I wonder if Madame would have approved. Maria, 1907-10
Kees van Dongen
Oil on canvas


Tahitian Women Bathing, 1892
Paul Gauguin
Oil on paper laid down on canvas


Madame Roulin and Her Baby, 1888
Vincent van Gogh
Oil on canvas


Reclining Nude, 1928
Suzanne Valadon
Oil on canvas (lined)

Suzanne Valadon posed as a model for Auguste Renoir, Edgar Degas and Henri de Toulouse-Lautrec before she began painting herself in 1893. While she favoured still lifes and portraits, Valadon is best known for her paintings of female nudes – a subject rarely chosen by women artists at the time. 


The Robert Lehman Wing,
Metropolitan Museum of Art

March 19th, 2017