Albert Marquet, the exhibition opens in Pushkin
ARTinvestment.RU   26 сентября 2016

Monographic exhibition of the famous French artist will last until the beginning of January 2017

the Pushkin Museum. A. S. Pushkin
27 of Sep 2016 — 8 Jan 2017
Gallery art in Europe and America of XIX–XX centuries
Moscow, Volkhonka, 14

In 2015, the largest museums of the world celebrated 140-летие since the birth of albert Marquet. This year, in March — August, a large exhibition "albert Marquet. The artist stopped time" was in the Paris Museum of modern art of the city. The Pushkin Museum. Of A. S. Pushkin the exhibition takes the baton, but the Moscow exposition is markedly different from Paris: made additions allow-новому look at albert Marquet and relationship with Russia.

for Example, the exhibition in the Pushkin Museum presented the President of the Marche in the USSR. Complementing the exhibition of works of the Leningrad Association "Circle of artists", graduates of VKhUTEMAS–Vhuteina 1920-х years, representatives of the Moscow group "13". These authors in the depiction of urban landscapes of Moscow and Leningrad solved plastic problems, similar to the search of a French painter.

in Total, the exhibition features 69 works, grouped by theme: "Marche and the Fauvism", "Paris Brand", "Travel artist", "Marche Russia". Among them, 49 paintings of the Marche, as well as works by his friends-фовистов — Andre Derain ("Drying the sails", 1905), Raoul Dufy ("Regatta", 1907-1908), Maurice de Vlaminck ("Barges on the Seine", 1905-1906), Henri Manga ("bathers", 1906). Finally, it is the work of Russian artists have been influenced by the marches, — Boris Rybchenkova ("the Lonely", 1932; Outskirts. Bright night", 1933), Antonina Sofronova ("the Stone bridge", 1930; "Baltschug", 1930), Nikolai Lapshin ("the Area of thieves", 1937; Sink. View of the Red bridge," 1934), Tatiana Mavrina ("the Bridge of the district railway", 1929; Promenade", beginning 1930-х) and , Alexander Vedernikov (Leningrad. Chernysheva area", 1946; "City in winter", 1936; "Malaya Nevka", 1930-е).

albert Marquet was formed as a painter in the heyday of the artistic life of Paris at the turn of XIX–XX centuries. At that time he had a friendship with Georges Rouault, Henri Matisse, Raoul Dufy and Andre Derain. Uniqueness and originality manners Marche consisted in combination of plastics dynamic, fluent stroke and harmonious palette with a range of complex color solutions ("Beach of the Seine. A suburb of Paris, 1894-1896; the Bridge de La Tournelle", 1902).

the most Important means of expressing form, volume and spatial depth has served the artist perspective and chiaroscuro. Marche often resorted to contour to the formation of the characteristic atmospherics ("Nude. Kontrazhur", 1909-1910). The painter consciously avoided premenopauznogo the world, as we have not sought to depict details of the premises or portrait features. Perhaps the logic of contour strongly correlated with the organization of space with a black outline appeared in the landscapes of Le Marche since the mid-1900-х years. In any case, this sharp fovisticheskie reception an essential part of his painting just then. The idea of the fauvists to depict light and shadow color found support for the marches, she forever changed his method of working with artistic works. While traveling with Raoul Dufy in Normandy he began to write without underpainting, colorful planes, and active use of black outline and even boost the flavor. Image volumes, the spatial correlation of color and light was formed not layer-by-layer, as in academic painting, and was conducted almost simultaneously on the entire surface of the canvas.

the marches reached "atmospheric environment, building a future not according to the laws of geometry, and intriguing difference is the lighting plans, the effect of specular reflections on the surface of the water. Of Paris, the views from the balcony and the Windows of his Studio, was never tired of the artist in the Paris apartment he sought in home port. The first address in the Marche in Paris was the street Monge, and then he lived on Avenue Versailles, and then consciously choose only workshops with the Seine: on the quays of the Tournelle, to the Hotel-де-Виль, Grand Augustins, Musee du Louvre, Quai des orfèvres. Image bridge of the Archeveche, the Tournelle, Sully and the most favorite — mon-Неф and Saint-Мишель dominates today ' artist and exact date of his landscapes ("Notre Dame-Дам. The sun", 1904; "view of the Pont-Неф over the Seine. The fog, 1906-1907; Winter view of Paris with the Pont St-Мишель", 1908-1909; Pont St-Мишель in Paris", 1908).

Marche passionately loved to travel. The first creative trip he did with friends, then traveled a lot and willingly alone. But after his marriage with Madame Marche by car crossing France, Spain, North Africa, Germany, Romania ("Port in Honfleur", 1911; "Port of Rotterdam", 1914@the semicolon Swan island. Herblay", 1919; "Palm tree", 1921; Views Sit-Бу-Саид", 1923).

Landscapes of the marches are difficult to fit into the context of the era. Neither the policy nor the course of events did not cause the response and is not directly influenced his art. It is these circumstances that established the "timelessness" of creativity Marches, testified to the integrity and identity of his artistic nature. It perfectly conveyed the atmosphere and the lighting, sense of space, rapid prospects noble harmony of the grey tones. In the wizard's precision in the depiction of the landscape is combined with synthesis and conciseness and lack of detail.

the curator of the exhibition —-head of the Department of art of Europe and America XIX–XX centuries Irina Nikiforova.

Source: arts-museum.ru