press kit Pinacothèque 1 Eugène Grasset, Af che pour le Salon des Cent, 1894. Pochoir, 64,2 x 50,2 cm (détail). Arwas Archives. Photo Pierluigi Siena Conception et création graphique : Gilles Guinamard print and display R.C.S. Créteil B 499 796 233 L ART NOUVEAU la Révolution décorative TAMARA DE LEMPICKA la Reine de l Art déco Pinacothèque 2 Tamara de Lempicka, L Écharpe bleue, 1930. Huile sur bois, 56,5 x 48 cm (détail). 2013 Tamara Art Heritage Licensed by Museum Masters International NYC. / ADAGP, Paris. 18 avril - 8 septembre 2013
On Cover: Eugène Grasset, Poster for the Salon des Cent 1894, stencil, 64,2 x 50,2 cm Private Collection Arwas Archives / Photo Pierluigi Siena Tamara de Lempicka, The Blue Scarf May 1930, oil on panel, 56,5 x 48 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Conception and Graphic Creation: Gilles Guinamard
contents Art Nouveau, the Decorative Revolution 4 Tamara de Lempicka, Queen of Art Deco Prefaces by Marc Restellini Extracts from the Catalogues 8 Visuals Available for the Media 13 List of Exhibited Works 19 Publications and Books Selection 28 Cultural offers 30 Commercial Offers for the Professionals 32 Useful Information 33 La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 3
prefaces marc restellini Art Nouveau and Art Deco were two consecutive and mutually antagonistic movements. Art Nouveau came into being as a reaction against academicism and against a society in the throes of industrialization, whereas Art Deco was built up as a reaction and as opposition to Art Nouveau. From 1895 onwards, Art Nouveau during two decades, played a dynamic and controversial part on the Parisian art scene. Its arabesque shapes and its curves finally calmed down and then vanished before World War One to make way for the Art Deco movement, of which Tamara de Lempicka is the acknowledged iconic figure. A socialite, free and theatrical, she built up during the Roaring Twenties a daring style, that provided her with an unequalled position in Modern Art. Art Nouveau, the Decorative Revolution Theorized very early on, the need to set out a new art form, in the meaning of a new artistic endeavour, appeared at the end of the 18 th century and preoccupied a number of artists and of art theoreticians throughout the 19 th century. Charles Garnier and Claude Nicolas Ledoux were part of those forerunners. Füssli was the first to introduce new forms, premises of that intensive use of curved lines, of arabesques and of everything that was swiftly dubbed the noodle style. However, that movement wished to be seen as coming from the 19th century s romantic theories of Total Art (Gesamtkunstwerk, of which Richard Wagner was to be the most prestigious representative) that implied that art is everywhere, present in each of life s moments and in the whole of the elements that make it up. Swiftly regarded as an international movement, Art Nouveau was based on the breaking away from classicism and as a reaction to an industrialized society. Tiffany in the USA, Jugendstil in Germany, Sezessionist in Austria, Nieuwe Kunst in the Netherlands, Stile Liberty in Italy, Modernismo in Spain, the expression Art Nouveau swiftly imposed itself in England where the movement became theory and came to France, which was fascinated by England at that time, under that label. However, it was in Brussels that was created the first authentic application of Art Nouveau with the Hôtel Tassel designed by Victor Horta in 1893. Siegfried Bing (whom we had already met with the previous exhibition Van Gogh, Dreaming of Japan) was the very first to give his gallery the name Maison de l Art nouveau. As a reaction to classicism, Art Nouveau did not impose any obligation on the artist. Deemed to be the art of freedom, it threw off the conventions that had hitherto restrained creativity. The codified forms, characteristic of academicism flew apart as though to make of Art Nouveau a transgressive art form within whose core eroticism became an unavoidable ingredient. Freedom must be absolute. To enjoy oneself was no longer taboo. Games and derision became possible. No more rules should be a hindrance to most of those artists who joined up together internationally around this notion, with the arabesque form and the reference to sensuality and eroticism. Designed as a total art form, Art Nouveau was everywhere. It covered every aspect of life. It had to be a music, a sound, a game, it was could also cover painting as well as furnishings, jewellery, architecture and glassworks, a reference to nature, to women, to plants: the interpenetration of everything within everything, provided it chased away austerity and rules. La Pinacothèque de Paris, deux sites, deux expositions, une collection 4
The best-known names in Art Nouveau are among the most famous at the turn of the 19th to the 20th centuries. They are Gallé, Daum, Mucha, Majorelle, Horta, Van de Velde, Gaudí, Guimard, Lalique, Grasset, Steinlein, Ruskin, Klimt or Bugatti. They exercised their art in Paris, Nancy, Brussels, London, Barcelona, Vienna, Prague or Tunis. Imbued with an international spirit, they worked equally on the classical supports as on the most varied techniques: wood, precious stones, iron and glass, painting, lithography, painting in glue, book covers, magazine illustrations, advertising posters, enamel, opals, diamonds They overturned life s patterns and transformed its aesthetics to make it more agreeable and decorative. Art Nouveau was at its peak between 1890 and 1905. Having soon become a fashionable movement, its creators were overwhelmed by the infatuation it caused. It rapidly became the basis for an abundant production that triumphed after the Exposition Universelle in 1900 and that became the basis for a denunciation from the inventors of the movement. Bing and Van de Velde rapidly distanced themselves from the uncontrollable development of what they had created. Art Nouveau had, on the other hand, many detractors. Caught up between the partisans of classical orthodoxy and those who wanted to go even beyond what it had brought about. There swiftly sprang up denunciations of its arabesque shapes. Contemptuously qualifying Art Nouveau as a noodle or taenia style, its opponents suggested a notion of limpness within the strictly ornamental and decorative images it wished to impose. It was regarded as unbearable by the reactionary movements, as well as by the Marxists. The nationalist milieus, nourished within an anti-semitic and xenophobic climate, attacked it violently. Hector Guimard was the one who suffered from the most virulent reactions for his Metro station entrances that had put Paris at the heart of the Art Nouveau. All these condemnations as well as the immense popularity of the movement, were to end up by sticking-on a negative image, enhanced the contempt shown it by art critics and historians. Just before World War One, these criticisms finally led to an evolution of Art Nouveau towards a definitely less sophisticated style. It was weakened to the extent of becoming more geometrical and it finally made way for Art Deco, which took over from 1920 onward. Totally denigrated for more than ten years, it was finally the Surrealists who worked toward a rehabilitation of Art Nouveau during the 1930s. An article by Dalí in the magazine Minotaure was the best homage paid to that art that was, without a doubt, the first international experiment in modernity in the history of art. The exhibition we are putting on today is the first French Art Nouveau retrospective in Paris since 1960. A genuine event, it shows over two hundred objects that, in all areas of life and of the arts, overwhelmed the aesthetics and the cultural mind-set of the planet that up till then had lived within the canons of classicism and academicism for over three centuries. This exhibition has focused on the founders of that movement and on its main creators, summoning in a very exhaustive manner the best of their production, except for architecture. I thank Paul Greenhalgh, world-renowned specialist of Art Nouveau and director of the Sainsbury Centre for Visual Arts at the University of East Anglia, Norwich, who has agreed to bring all his expertise to this project as curator. My gratitude also extends to M rs, wife of M r Victor Arwas, great collector and specialized author on Art Nouveau, as well as to M r Robert Zehil and M rs Mucha who, thanks to their generous participation have made this exhibition possible. La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 5
Tamara de Lempicka, the Queen of Art Deco While Art Nouveau was drying up and saw its shapes evolving towards an abandonment of the arabesque, to return towards a form of geometric aspect and transforming itself little by little into what is known as Art Deco, the representation of the female figure was also to undergo a major evolution. From sensuality and eroticism, we were to head towards a much more advanced, transgressive sexuality. The image of the tomboy as a defining characteristic of Art Deco was to provide Tamara de Lempicka with an overweening position in that movement, going so far as to make of her its icon. Tamara s assumed sexuality although she married twice, she openly proclaimed her taste for women and freely expressed her homosexuality was to correspond to the women s taste for emancipation at that time. Like Louise Brooks or Josephine Baker, Tamara de Lempicka was to embody that image of a woman whose status was the equivalent of a man s. Like the Art Nouveau it was replacing, Art Deco was to enjoy a brief international lifespan and to cover many realms in the decorative arts (mainly in architecture, design, fashion and costume), without nevertheless having the scope of areas that Art Nouveau had covered. It nonetheless had a worldwide renown and was chiefly seen in France, Belgium, as well as all the Anglo-Saxon countries, including India and China. Tamara was a contemporary of Art Deco. She created her most beautiful works between 1925 and 1935. Her career and her life were totally interlinked with that movement, of which she is the most famous representative. As an illustration of the Roaring Twenties, of a life style, of a specific kind of social scene and of creative and intellectual freedoms, she adopted a very specific style that ensured her holding a totally separate place in modern art. Unclassifiable, she nonetheless signed the finest masterpieces of Art Deco: the movement enjoyed its utmost flourishing throughout the 1920s, concomitant with the apex of Tamara s career, and its decline throughout the 1930s, precisely at the time when the artist s production was on the wane. The Pinacothèque de Paris has today chosen to exhibit Tamara s works and to illustrate the way in which this artist, through her work but also through her personality: unclassifiable and ambiguous, was to perfectly embody the period she illustrated. Her very social and theatrical lifestyle was made up of a succession of displays that awarded the major role to modernity and to luxury. That relationship with modernity and transgression probably makes of her the most ambiguous character of the start of the 20th century. Playing without compunction on women s erotic attitudes or at the very least, on their sensuality, she nonetheless situated them within a neo-cubist universe, profoundly Art Deco. Representational of the Roaring Twenties, Tamara was worldly, theatrical and superficial. She greedily took part in the reconstruction period post-world War One and the exit from economic crises, during which the few fortunes that had survived launched again the economy in a flamboyant manner. Cities were rebuilt even as the craziest scientific discoveries were being undertaken. It was the period in which Lindberg, Einstein and Sigmund Freud flourished. The world was in total transformation. The art world saw the emergence of Surrealism, Picasso and all the avant-garde movements, the cinema was breaking out, modernism was born and concrete replaced bricks: the entire planet was undergoing its mutation towards a new age. La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 6
For this exhibition, Gioia Mori, the leading specialist on Tamara de Lempicka, has provided us here with an exemplary and touching overview of the artist. She explains, in her own words, how Tamara de Lempicka is the uncontested icon of Art Deco, for her language contains all the characteristics of the artistic movement that was growing at the start of the 1920s: it is decorative, because it is eye-catching and immediately recognizable, it is international, by its origin, its development and its distribution, it is modern because it is inspired by the most innovative languages of the 20th century: photography, graphics, cinema and fashion. For Gioia Mori, Tamara de Lempicka herself incarnated those three aspects, with a successful combination between art and life, and that was one of the reasons of her success. Her career was a successful interpretation of the socalled decade of illusion, the vital and crazy years of World War One, then of the «crisis decade», the dark years in the 1930s, and finally of the war decade, lived between Hollywood and New York, between socializing and civic commitment, within a succession of parts going from the artist-diva to that of European exile: Tamara was decorative, paying attention to the spreading of a more cinematographic rather than artistic image. Thus she became an icon of elegance and was represented by the most influential fashion photographers of her time such as D Ora, Joffé, then Maywald. Tamara was international, a stateless woman, as she defined herself, a cosmopolitan polyglot, of Polish origin, living in Russia until the early months of 1918, emigrating to Paris, artistically active in Germany, Italy, the USA and finally in Poland. In exile from 1939 onwards, she became an American citizen. She died in Mexico. International was also the recognition provided by the critics during the 1920s when her works were presented as an example of modernity, not only in the French, Italian, Polish, Spanish and Czech press, but also in the American and Cuban media. She is modern, creating an autonomous artistic language that combines studies of classical art forms with the new vocabulary born of modern life, within a rhythm made up of scathing electricity, cinema, steel and speed, integrating the new forms of the media : the sophisticated world of fashion as illustrated within the magazines Femina, L Illustration des modes and L Officiel de la Couture et de la Mode de Paris; the black and white worlds of photographers such as Kertész, Laure Albin-Guillot, Berenice Abbott, Tina Modotti and Dora Maar; the world of advertising graphics that showcased the woman of the future, a modern goddess who smoked, took part in automobile races, handled business, acted unscrupulously; the world of cinema made up of silent and over-emphatic gestures, the wide eyes turned heavenwards of Maria Falconetti and of celebrities such as Marlene Dietrich, Greta Garbo and Louise Brooks, platinum blond hairstyles or boyishly cut, and the first images of lesbian scenes. Tamara touched upon all these worlds and definitively imposed her presence as the queen of Art Deco. I wish to thank Gioia Mori, curator of the exhibition and renowned specialist of Tamara de Lempicka, for her work and her expertise. My gratitude also extends to all the private and institutional collectors throughout the world, who thanks to their generosity, enabled us to bring this event before the public. La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 7
extracts from the catalogues Art Nouveau, the Decorative Revolution Paul GREENHALGH, Le style de l amour et de la colère : l Art nouveau hier et aujourd hui, in L Art nouveau, la révolution décorative, Skira, Milan, 2013, p.9-29. (extracts) The Art Nouveau style still needs explaining. In some respects it still needs defending. One of the most interesting features of its history, from the first moment its characteristic swirling, tensile lines appeared in London, Brussels and Paris, to the present day, is how it has been perceived and received. In its own time it provoked passionate support and opposition in equal measure, and has done so more-or-less continually ever since. [ ] So here we are, a century on from its demise around 1911-1912, and even after all this time, it still most typically provokes a sense of ambivalence in the intellectual community, of admiration underscored by a sense of threat. It has the ambiance of respect, tinged with scandal: a grand old uncle hiding a lascivious past. In 2000 one newspaper critic expressed this succinctly: I love it and hate it, all at once. Another felt that Art Nouveau is difficult to look at much of it is pig ugly... which was a pity he thought, as this can prevent you from registering its more engaging qualities its originality, its radicalism Perhaps only the afterlife of the Rococo, or possibly the High Victorian style (and both relate to Art Nouveau) [ ]. While ambivalence and hatred were far from exclusive to Art Nouveau within the Modernist canon, what was different in this case, was that through the twentieth century it was attacked by conservatives and radicals alike. Its enemies lived along the full length of the unfolding ideological spectrum, from far left to extreme right: among idealist Utopianists and traditional historicists, it found few friends. Partly because of this (until the last several decades and with notable exceptions) it enjoyed little institutional support: city planners demolished it, museum curators failed to collect it, or de-accessioned it where they discovered it in their collections; art historians wrote it out of the history of art, or described its unstable irrationality; professors of practice explained its aesthetic ignorance; and philosophers described it as symptomatic of the collapse of civilization. Staples of the cultural curriculum like Adolf Loos, Le Corbusier, Walter Benjamin, J.M. Richards, and Nikolas Pevsner variously explained it as the reactionary product of morbidly decadent, psychologically-damaged outcasts. One eminent historian, writing in the 1970 s, was not untypical in describing the style as a contagion that was simultaneously a comment on, and reflection of, the confused and decadent condition of the Western world. [ ] this delight in curves, spirals, meanders, these effects of trailing vines, of serpents, of coiled springs supple and tense at once do not such pleasures signal the decline, if in fact not the end, of the civilization for which the First World War tolled the knell? [ ] Art Nouveau enjoyed several moments of revival and rescue during the twentieth century, and during each of these, while the intellectual community remained steadfastly unsure, the wider public (however we wish to define them) celebrated the style. For them, it has remained consistently and enduringly popular. In these periodic comebacks, notably in the 1960 s, the 1980 s, and the early 2000 s, mass appeal was a core component. The key moment in all this was the 1960 s, when a new generation of dealers and collectors began to excavate the style and present it to the world. [ ] The style acquired its name, and a powerbase in the city that ran the art world, in 1895, when entrepreneur dealer Siegfried Bing opened his Galerie L Art Nouveau. [ ] Victor Arwas, credits two key figures with the initiation of the style in Paris: Siegfried Bing and Hector Guimard. And it would be fair to say that between the two of them, they provided the style with its name, a physical centre of operations, much publicity, and a powerful architectural presence. [ ] European and American cities were growing exponentially, and with wholly unprecedented speed. Communications and transport systems changed human relations inside a single generation: the telegraph, motorcar, telephone, skyscraper, mass newspapers and magazines, department stores, liners and aircraft. The radical development of technologies surrounding production, retail, and communications meant that this was a style premised on movement and speed. [ ]Through the first decade of the new century, it achieved international ubiquity, appearing on every conceivable type of product, before dramatically leaving the stage even more speedily than it first appeared. [ ] By 1900 nature had provided progressive artists and a good number of reactionary ones with their visual stimulus for several centuries. Nature was not new as an inspiration for modernity. [ ] La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 8
In the wake of the development of the theory of evolution, the implications of which impacted every area of life after the publication of Charles Darwin s Origin of the Species in 1859, nature no longer existed in the popular imagination exclusively as a passive garden inhabited by humanity. [ ] Perhaps more important than the Origin of the Species in this context, was the publication of his The Descent of Man in 1871. This led to the rapid rise of what became known as Social Darwinism, which affected every area of fin de siècle life. [ ] The aesthetic implications are reasonably obvious: if humankind was no longer separate from nature, natural form and human form were not separate, and the latter had no privileged position in the scheme of things. The whims, desires, shapes and forms that defined humanity were no different from those one might encounter in the wider world of flora and fauna. Thus, the forms and lines of Art Nouveau might blend human, animal and plant form, in recognition of the new synonymy. [ ] As with nature itself, Art Nouveau is not always optimistic and refreshing: its naturalism could be aggressive, dark, frightening, erotic, or melancholic. Natural selection is at once sexual and cruel. [ ] More than any other design idiom Art Nouveau sat close to literature. [ ] Narrative is vital to the style, and the stories of Art Nouveau allude to the world around us and the world inside the mind of the designer. Another way of saying this, is that Art Nouveau is to do with poesie. More than any other visual expression in the modernist canon except Surrealism, which was in many respects its heir, Art Nouveau came out of a literary, poetic milieu that inflected everything its adherents and apologists produced. Pioneer historian Maurice Rheims, going as far as to say that Art Nouveau arose out of Symbolism, and its sources are as diverse and bewildering as those of the parent stream. [ ] Art Nouveau was evident all over the site [of the 1900 Exposition universelle]. There were a number of private pavilions, including Bing s gallery, the Loïe Fuller Theatre by Henri Sauvage the Pavillon Bleu restaurant by Gustave Serrurier Bovy, and Guimard s Metro stations. Inside many of the buildings, including foreign pavilions, the style presented itself as the new modernism. From that point, to use the appropriate imagery, Art Nouveau spread like fast growing vegetation in the sun and rain. [ ] Nevertheless, if the notion of a national school of Art Nouveau is dubious, it is still unsurprising that the name of the style is expressed in French. From 1895 the style was widely identified with France, and would remain so until its demise. As everywhere else, French Art Nouveau was concentrated in a few urban centres. There were buildings in the style in Lille, Marseilles, Nice, and other cities, and production plants in more, but there were two French cities that are central to the story of Art Nouveau, without which, the style would be fatally impoverished: Paris and Nancy. Paris is not difficult to explain, and has dominated much of what has been said so far. By 1895, the city ran the art world, and the luxury goods industries connected to it. Artists in all media trained there; all forms of fine and decorative art were made there; the greatest salons, galleries, dealers, and department stores were there; and as a consequence, the market was there. If a style succeeded in Paris, it would in due course succeed everywhere. To be established in Paris was to be established at the heart of the world arts industries. So it was quite logical that Siegfried Bing opened his Galerie L Art Nouveau there in 1895, and that artists and designers from all over Europe and North America sought to showcase themselves with him, and later in other private galleries, in the seasonal salons, and in the fabulously appointed department stores. The majority of French Art Nouveau designers inevitably ran their businesses out of Paris. In historical terms, Nancy is more interesting in that it is far less expected. The regional capital of Lorraine, in eastern France, the city had a strong industrial base and a fiercely proud cultural identity, made all the more sharp by its proximity and tension with Germany. There were many French cities with thriving production industries in 1890, few of which ventured beyond the comfort-zone of the Louis in design terms. The key to the rise of Nancy was the presence of a number of ambitious, progressive entrepreneurs. [ ] Art Nouveau is not easy to sum up. A design idiom that engaged with the forces of science, literature, exoticism, spiritualism, and economics in the quest to create an appropriate visual environment for the modern age, its apologists had a willingness to absorb anything and everything that could contribute to the energy of the new vision. But perhaps the key to the style is in the recognition that the age it was born into was not only that of Edison and Einstein, but also that of Poe and Bram Stoker: that inside the motorcars, elevators, and factories of the city of 1900, more than ever before, people pondered on what it was to be a thinking being. Perhaps more than anything, the vision of nature that was articulated attempted to redefine and reposition humanity, while celebrating the poetry of the modern world. And the designers that created all this considered what they were doing was no different from any other branch of art, that design was an idiom capable of engaging the whole range of emotions. Perhaps it is these things that have kept it perennially interesting for a mass audience, and in the forefront of controversy: the first real modern style in design. In its exuberance and vitality, it is surely the style of love and anger. La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 9
Tamara de Lempicka, the Queen of Art Deco Gioia MORI, Tamara de Lempicka, Internationale, moderne, décorative, in Tamara de Lempicka, la reine de l Art déco, Skira, Milan, 2013, p. 13-91. (extracts). Monsieur Lempitzky, Russian At the start of the 1920s, in Paris one came across two Monsieur Lempitzky. One of them, Tadeusz, was a distinguished lawyer descended from Polish aristocrats, coming from Russia, freed by the revolutionaries after having spent several months in the St Petersburg prisons. We do not know why he benefitted from such clemency, especially as the charges brought against him were very serious, since he was suspected of being a spy for the Tsar s police. He was certainly linked to some of the best known aristocratic families in Nicolas II s court. We do not know what he underwent in prison, in any case, it is clear that the lively and fascinating Tadeusz Junosza Lempitzky left behind him the nonchalant behavior that was the basis of his reputation, as well as some of his taste for life. He exiled himself to Paris within the misty décor of emigration, maintaining his inborn elegance and drowning his unquenchable nostalghia in encounters and meetings with the new Russian community. He had no precise activity, but the catalogue of an auction organized in London in November 1924 suggest that he traded in those little treasures that many Russians managed to carry off with them: indeed, he put up for sale a series of Beauvais and Gobelins tapestries that had belonged to Baron Stefan Ropp or to Russian generals and princes. The other Monsieur Lempitzky embodies a misunderstanding: he arrived in Paris in 1918, having fled Russia by way of the northern countries, and he repeated that he was born in Warsaw or in Saint-Petersburg. In fact, it was a woman, the wife of Tadeusz Lempitzky, the future Tamara de Lempicka. Unlike her husband she was not a Gogolian dead soul, and she regarded her difficult fate as an exile as an opportunity to be seized. Watercolors, dated from the years 1907-1915, conserved like a secret figurative journal, testify to an adolescent talent that led her to see in art a potential path to freedom, an opportunity to escape from the status of expatriate that made her just like hundreds of thousands of individuals condemned to a melancholy and painful existence. [ ] Pani Łempicka, Polish At first, Tamara de Lempicka s situation was unusual: if she left behind her a vanished and torn apart world, her Polish origins projected her into an effervescent world, as citizen of a nation that once more found its existence on the world s maps after having seen, for more than a century, its territory divided between Prussia, Russia and the Austro-Hungarian empire. In a few years, the artist re-appropriated her Polish identity and was often asked to represent the reconstituted Poland, in large international exhibitions. The narrow links between France and Poland, the importance of the Polish colony in Paris, the privileged diplomatic links, the opening of numerous Polish cultural spaces in Paris, including, in 1925, the bookstore Gebethner & Wolff that published and distributed a great many Polish publications books and magazines, led to the frequent organization of French art exhibitions in Warsaw and of Polish art in Paris. From the end of the year 1918 and until 1922, three large exhibitions were devoted to Polish art : the first one, under the patronage of President Poincaré, was held in Prince Potocki s palace, on Avenue de Friedland ; in 1921, the Exposition d Art polonais, very favorably received by the Parisian critics, was held in the Grand Palais ; and in 1922, the Musée Carillon hosted the exhibition of La Jeune Pologne movement, whose name referred less to the youthful participants than to the youth of the Polish nation. Certain figures, notably implicated in the promotion of Polish culture in Paris, were very close to Tamara de Lempicka, such as Edward Woroniecki and Maryla Lednicka-Szczytt. [ ] The D Annunzio affair : an advertising staging It was in the Futurist milieu that the D Annunzio affair broke out, certainly the best known episode in Tamara de Lempicka s life, who exploited it in a masterly fashion. Everything happened or rather nothing happened in the Vittoriale, in the villa in Gardone where the poetsoldier had gone for a rest. [ ] Thus it was that on March 5, 1929, an article was published in the Corriere Adriatico in Ancôna, entitled A Tamara, il filibustiere dell Adriatico ( To Tamara, filibuster of the Adriatic ), i.e. the dedication written on September 6, 1926 by d Annunzio on a photograph of him that he had given to Lempicka. The article was signed by Francesco Monarchi, an intellectual who had various activities in Paris. Editorin-chief of the publication La Nouvelle Italie, Monarchi was the translator of the dialogues in the film Miss Europe (Prix de Beauté), carried out in 1929, in France, by Augusto Genina, based on a scenario by René Clair and Georg Wilhelm Pabst, and played by Louise Brooks ; in 1933, he was one of the signatories of the Manifeste futuriste du chapeau italien alongside Marinetti, Prampolini and Somenzi. Monarchi then related his meeting with Tamara de Lempicka, that occurred in her studio in the presence of Enrico Prampolini. He starts with a description of the place, a profusion of grays on the walls, the fabrics, the fabrics, the furniture, the backgrounds of the paintings placed all over the place, that led La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 10
Monarchi to comment : If I had to describe Tamara Lempitzka as an artist, I would say : the painter of the violent poetry of gray. He then goes on to provide a detailed description made by Tamara of her meeting with d Annunzio : that masterly declaration could evidently not leave the two Italian Futurists indifferent, who had a genuine veneration for the poet. With a studied nonchalance, Tamara placed on a table a series of works that caught their attention : the French translations of D Annunzio s books, all adorned with passionate dedications to the great artist. Tamara de Lempicka was perfectly aware of the potential value of what had occurred on the banks of the Garda lake and, like a cunning advertiser, she made use of the old poet s name with an elegant cynicism, creating a marketing operation ahead of her time, that was to follow her throughout her whole life. [ ] A Futurist syndrome, modernolatry In Paris, the school of the world, Tamara de Lempicka made an impact thanks to a modernolatry, of a Boccionian inspiration that became characteristic of her art and of her whole life. The expression came back into fashion in 1924, when Marinetti used it to define Prampolini s personality, who, along with Pannaggi and Paladini, had signed the previous year, the manifesto L art mécanique ( Mechanical art ), distributed via the Bulletin de la vie artistique. Marinetti praised its modernist value, in the Bulletin de l Effort moderne, regarding it as a reply to the question that haunted Parisian debates at that time: Where is modern painting leading?. Without modernolatry, there can be no salvation, replied Marinetti, taking up the great word invented by Boccioni. However, the problem of Tamara de Lempicka s artistic language is complex, because her worship of modernity was in fact, grafted onto an ongoing study of ancient art forms, from classical statuary to Ingres, that was in fact emphasized and underlined by Lempicka herself during her American period. The coexistence of those inspirations gave birth to what Marguerite Dayot defined in 1935, as a curious mixture of extreme modernism and of classical purity. But what makes Tamara de Lempicka representative of her period, was her capacity for transposing the spirit of her times in her paintings: it sometimes happened by simply loading a face with a cinematic anxiety, by freezing a fashion model s expression within it, by metalizing a fabric, by cementing a background, by internationalizing her quotations, by borrowing and by embodying elements taken from a broad range of references, combining above and below, based on an art history worthy of refined specialists and going onto the look of ads in the newspapers. Everything is intermingled in Tamara kaleidoscopic universe, in that creative frenzy answering pressing entreaties: fashion s sophisticated world, such as it appears in Femina, L Illustration des modes and L Officiel de la Couture et de la Mode de Paris; the black and white photographic worlds of Kertész, Brassaï, Lartigue, Laure Albin-Guillot, Berenice Abbott, Tina Modotti and Dora Maar; the graphic advertising world in France and in Germany, showcasing the image of the woman of the future, a modern goddess who smokes, takes part in car races, handles her business and is liberated from every complex or prejudice; the world of the seventh art form, the silent cinema with its exasperated gestures eyes raised heavenwards like Maria Falconetti, or the sophisticated cinema of Marlene Dietrich, Greta Garbo and Louise Brooks, platinum blondes or brunettes with boyish haircuts, the first interpreters of lesbian scenes ; the world of the town of the future, that of the American towers of Babel and of the French modernists. Lempicka entered into all those areas of culture and of modern society and left her imprint everywhere. [ ] A tomboy The automobile, the cigarette, the short hair contributed to the image of those tomboys, transposed by Lartigue and Brassaï s portraits, who did not hide their homosexual tendencies. Tamara de Lempicka, without however hiding her bisexuality, did not adhere to the masculinised model adopted by Marlene Dietrich in the 1930s, when the actress liked to dress up as a man, and which is found in a 1924 painting, The Double 47. On the other hand, Tamara gave of herself an image as a femme fatale, even as she carried out some paintings that are among the most famous Sapphic emblems of the century. [ ] Ira, who posed for Tamara from 1922 onward, is the heroine of one of the most intense paintings of all of the artist s production : Sa tristesse, in 1923. That work that Tamara de Lempicka kept until the 1940s appeared in the magazine Arlequin on January 15, simultaneously with two texts: a poem entitled L Idole and a short prose text, Eux!, signed Ira Verte, a pseudonym for Ira Perrot, which provide an indication of the model s literary aspirations. [ ] In Sa tristesse, Ira, her face serious and a bit darkened by the made-up eyes, the cherry red lips, sends the viewer a penetrating look ; her hands in her pockets, shrouded in a black coat enlivened by a scarf with dove gray tonalities, she is slightly bent over herself. The figure is as masterly as the background, an urban landscape made up of spikes and of triangles that cut across each other and draw a craggy town, reaching up to a leaden sky criss-crossed by clouds, in a symphony of grays. From the right, there stretch out the dark and twisted branches of a tree, stripped bare by winter. This specific layout suggests the possibility that the composition might have been inspired La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 11
after studying Japanese etchings of the 18 th and 19 th centuries or at least by the knowledge of some Art Nouveau transpositions, like the plate Le Verger shown in the album Modes et Manières d aujourd hui by Lepape, in 1912. Tamara remained close to Ira until the latter s death, in 1975, and portrayed her in many paintings over the decades: in 1930, Ira lent her face for the portrait in blue also known as Femme à la mandoline, then, still in the same year, she appeared, dressed in white, with a large bunch of arum lilies, in an almost bridal work, where the fabric adheres to the model like a second skin, with metallic and shimmering reflections, an effect obtained by drawing the naked body, then covering it up with colors, as can be seen in some of the preparatory drawings [ ]. In Hollywood, like Garbo In Paris, Tamara had instigated a narrative in which art and life were intermingled with the spirit of the times and in which the signals were multiplied: her story followed the thread of current events, reflecting the splendor, the cosmopolitism, the wealth, then the spirituality, the poverty, these last two allegories being interpreted via an inadequate stage costume. She applied the same system in the USA, superposing onto her own artistic identity the image of a noble femme fatale. Henceforth she is now Polish, married to a Hungarian baron fleeing Europe, and the biography she distributed was filled with false information: she claimed to have been born in Warsaw, studied in Lausanne and indicated that her family had left Switzerland to settle in France, omitting her passage in Russia. Two years after her arrival, the couple still did not have American citizenship ; in March 1941 there appeared many articles in which the artist declared herself ready to give up her title of nobility in order to obtain it, without failing to underline that, in Europe barons are wealthy landlords, a somewhat inelegant remark but aimed at proving the financial independence of the couple, during a period when the rules of acceptance of Europeans were toughening up. During the first part of their stay in America, Tamara confirmed her excellent mastery of methods of communication, and gave battle with methods of a disconcerting modernity, the very same ones as those used by the films stars: thus she made an implicit promotion for her artistic activity, even as she posed as a model of elegance and of beauty. In 1940, she built up her press campaign of presentation around the painting Suzanne au bain, carried out in Paris. That seductive and flirtatious work had already been used on the cover of the exhibition brochure held in the Reinhardt galleries in New York in 1939. The communication operation consisted in a small successful bluff that filled the pages of magazines and daily papers: Tamara displayed her search for a model looking like the one who, in Paris, had lent her face to Suzanne, the improbable biblical heroine with artificially curled hair. It was far from her working clothes that the artist was photographed beside her painting or in the garden of her villa, that she had not chosen by accident either. [ ] International Jet Set [ ] Far from any artistic debate, either in Europe or in the US, Tamara de Lempicka s modernity, associated to a world brimful of explosive new ideas in the Roaring Twenties, had vanished when she fled Paris. In 1961, when the baroness, in her luxurious apartment in Manhattan, recalled the distant memory of her unconsummated love story with Gabriele d Annunzio which may not have awoken a great deal of interest in the Americans, a young painter was starting to make a name for himself in New York by talking, as Tamara had done forty years earlier, of a different modernity, by working for Vogue and Glamour, by drawing models of shoes. By an unusual veiled reference from fate, Warhol, whose parents were immigrants from a village close to the Polish frontier, reproduced the experiences of the Polish artist, who had anticipated a number of thematic and attitudes of the god of Pop art : he also began his career as an illustrator, liked to represent the V.I.Ps of the international jet set, as well as the painful events of his times, imposed a transgressive image as a dandy, intertwined the low and the high : publicity for Campbell s soups and Leonardo da Vinci s Last Supper ; he also liked that volcano, the Vesuvius, that Tamara de Lempicka used to go to see in the 1950s. It is perhaps not an accident that one of Warhol s favorite paintings was À l Opéra, painted by Tamara in 1941 an excessive image, on the edge of kitsch, a cinematographic interlude within a classical context which he did not manage to possess. The new period had found in him its new icon. As for Tamara, she was waiting to be re-discovered. La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 12
visuals available for the media Art Nouveau, the Decorative Revolution Hector Guimard Vase c.1900 Stoneware h. 27,5 cm Robert Zehil, Daum Frères Hawthorn in blossom c. 1905 Vase Glass h. 28,8 cm Robert Zehil Collection, Robert Zehil, René Lalique Belt Buckle Silver, gold and enamel Robert Zehil Collection, Robert Zehil, ADAGP, Paris 2013 Ernest Léveillé Bamboo Vase Glass with silver setting h. 20 x diam. 7,8 cm Victor and Collection Arwas Archives Photo Pierluigi Siena Daum Frères Slender Vase on a plint c. 1905 Glass h. 33 cm Robert Zehil Collection, Monte Carlo, Monaco Robert Zehil, Émile Gallé Wall Cabinet c. 1890 Carved wood and marquetry 89 x 67 x 26 cm Victor and Collection Arwas Archives Photo Pierluigi Siena La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 13
Hector Lemaire / Manufacture nationale de Sèvres The Crying Rock Biscuit de Sèvres (porcelain) 42 x 33 x 24 cm Victor and Collection Arwas Archives Emmanuel Villanis Dalila Gilded with brown patina and ivory on a marble setting 21 x 11,5 x 10,5 cm Victor and Collection Arwas Archives Photo Pierluigi Siena Eugène Grasset The Fan 1897 Coloured Lithograph 126 x 82 cm Private Collection, London Arwas Archives Eugène Grasset Poster for the Salon des Cent 1894 Stencil 64,2 x 50,2 cm Private Collection Arwas Archives Photo Pierluigi Siena Louis Majorelle Chair 1903 Carved Wood 105 x 74 x 64 cm Private Collection, London Arwas Archives Émile Gallé Dragonfly Table Wood 75 x 81 x 57,8 cm Robert Zehil Collection, Robert Zehil, La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 14
Paul Berthon Mandore 1898 Coloured Lithograph 48,9 x 64,1 cm Private Collection, London Arwas Archives René Paul-Hermann Poster for the Salon des Cent 1895 Coloured lithograph 64,7 x 47,7 cm Victor and Gretha Arwas Collection Arwas Archives Photo Pierluigi Siena Georges Clairin Sarah Bernhardt on her sofa 1876 Etching and aquatint 46,6 x 38 cm Private Collection Arwas Archives Photo Pierluigi Siena Bernard Hoetger Loïe Fuller 1901 Bronze with brown patina 27 x 34 x 27 cm Private Collection, London Arwas Archives Photo Pierluigi Siena ADAGP, Paris 2013 Lucien Hirtz, pour Frédéric Boucheron Large bowl with three portraits after Lucien Lévy-Dhurmer c. 1895 Enamelled wrought silver 12,5 x 24 x 23 cm 12,5 x 24 x 23 cm Private collection Arwas Archives La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 15
Tamara de Lemicka, Queen of Art Deco Tamara de Lempicka The Double «47» c. 1924 Oil on panel 46 x 37 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka Two Friends c. 1924 Watercolour on paper 10,50 x 9,8 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka Portrait of Bianca Belinsioni Milan, December 8, 1925 22 x 11,5 cm Suzanne Selvi Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka The Bohemian c. 1923 Oil on canvas 73 x 60 cm M r et M rs Nezhet Tayeb Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka Portrait of M rs P. or Her Sadness 1923 Oil on canvas 116 x 73 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka Two Young Girls with Ribbons 1925 Oil on canvas 100 x 73 cm Dr George et Vivian Dean Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 16
Tamara de Lempicka Arlette Boucard with Arim Lilies 1931 Oil on panel 91 x 55,5 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka Nude with buildings 1930 Oil on canvas 92 x 73 cm Signée Property of the collector Caroline Hirsch Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka The Blue Scarf May 1930 Oil on panel 56,5 x 48 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka The Beautiful Rafaëla May 1927 Oil on canvas, 77,5 x 105,4 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka The Pink Tunic April 1927 Oil on canvas, 73 x 116 cm Property of the collector Caroline Hirsch Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 Tamara de Lempicka Portrait of Arlette Boucard April 1928 Oil on canvas, 70 x 130 cm Private Collection Tamara Art Heritage / Licensed by Museum Masters International NYC / ADAGP, Paris 2013 La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 17
CONDITIONS FOR USE MANDATORY MENTIONS The following mentions must be set out legibly in the press release: For works subject to ADAGP right All or part of the works featured in this press release are protected by copyright. The works from ADAGP (www.adagp.fr) can be published under the following conditions: - For press publications having signed an agreement with the ADAGP: refer to the latter s stipulations - For the other publications: exoneration for the first two reproductions illustrating an article devoted to a current event and of a maximum size of ¼ page; beyond that number or that size the reproductions shall be subject to copyright; any reproduction on the cover or on the front page must make the object of a request for permission from the Press Service of the ADAGP; the copyright to be mentioned with each reproduction shall be: author s name, title and date of the work followed by ADAGP, Paris 2013, and that no matter what the provenance of the image or the place of conservation of the work. for the works by Tamara de Lempicka, mandatory mention of the following copyright: Tamara Art Heritage/Licensed by Museum Masters International NYC/ADAGP, Paris 2013 These conditions are good for the internet sites with an online press status it being understood that for the online press publications, the file s definition is limited to 400 x 400 pixels and the resolution must not be greater than 72 DPI. For the works not subjected to the ADAGP rights The enclosed reproductions are exonerated from all reproductions rights solely within the context of the promotion of the exhibition Art nouveau from April 18, 2013 through September 8, 2013 Every reproduction on the cover or on the front page is subjected to a request for authorization from the Press Service of the Pinacothèque de Paris (KALIMA - Madame Tygénia Saustier / tsaustier@kalima-rp.fr) The works must be represented in its entirety: any manipulation or alteration of the work is forbidden (including the interdiction of reproducing the details, the over-impressions, etc.) ; the complete notice of the work must be reproduced (author s name, title, date, technique of the work and ). La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 18
list of exhibited works Art Nouveau, the Decorative Revolution Le Rôle de la nature 1. Alphonse Mucha Affiche pour La Dame aux camélias 1896 207,3 x 76,2 cm Mucha Trust 2. Hector Guimard Jardinière Fer 51,5 x 70,5 x 46,5 cm 3. Hector Guimard Vase Grès h. 27,5 cm 4. Hector Guimard Vase c. 1910 Bronze patiné h. 26 cm 5. Hector Guimard Pendule c. 1910 Bronze 44,5 x 24 x 16,5 cm 6. Jean Carriès Faune c. 1890 Plâtre 36,5 x 32 x 24 cm 7. Atelier de Glatigny Vases Coquillages 1900 Porcelaine, socle d argent 23 x 12 x 13 cm 8. Eugène Grasset Calendrier 1894 Céramique 46 x 18 x 2,50 cm, Londres 9. Eugène Grasset Pendule 1894 Céramique 46 x 18 x 2,5 cm, Londres 10. Charles Vital-Cornu Sommeil Vase Bronze à patine sombre 40 x diam. 24 cm 11. Eugène Gaillard Sellette avec quatre plateaux articulés Bois sculpté 110 x 41 x 41 cm 12. Daum Frères Lampe en verre-camée au paysage rouge Verre h. 47 cm 13. Muller Frères Lampe aux coquelicots Verre h. 67 cm x diam. 29,5 cm 14. Louis Majorelle Table à thé à plateaux 1900 Marqueterie de bois et bronze doré 82 x 90 x 56 cm 15. Paul Berthoud Femme-papillon Vase Bronze doré et patiné 59 x 32 x 37 cm 16. Léon Benouville Table à plateaux Marqueterie de bois et monture en bronze doré 74 x 68 x 46 cm 17. Rupert Carabin Miroir 1898 Bronze à patine brune 44,5 x 59,3 cm 18. Georges de Feure Paire de bougeoirs 1900 Bronze h. 34 cm 19. Edward Colonna Pour L Art nouveau Bing Lampe de table 1902 Bronze h. 48 cm 20. René Lalique Appliques, modèle Blés 1907 Bronze doré, verre moulé et satiné 101,5 x 60 cm 21. Jules Brateau Six gobelets décorés 1907 Étain Dimensions variées 22. Georges de Feure Vase 1902 Porcelaine h. 32 cm 23. Maurice Dufrene / Louis Lourioux Tête-à-tête comprenant une théière, un sucrier, un pot à lait, deux tasses et deux soustasses c. 1902 Porcelaine 24. Émile Gallé Nénuphar jaune 1890 Céramique h. 24 x diam. 12,5 cm, Londres 25. Émile Gallé Coquelicots et pommes de pin Jardinière 1890 Porcelaine h. 27 x diam. 39,5 cm, Londres 26. Piel Frères Boucles de ceinture Métal argenté et peint Dimensions variées 27. Georges Auriol Lys c. 1895 Gravure sur bois 47,5 x 34,2 cm, Londres 28. Georges Auriol La Forêt Gravure sur bois 42,2 x 32,1 cm 29. François-Eugène Rousseau Vase Désert Verre 13 x diam. 9,2 cm, Londres 30. Ernest Léveillé Vase Verre h. 37 cm 31. Muller Frères Bergère Verre décoré d émail vitrifié 18 x 16,5 x 13 cm 32. Muller Frères Pichet Verre h. 20 cm 33. Désiré Jean-Baptiste Christian Vase pansu à ouverture débordante Verre h. 17 cm 34. Eugène Michel Vase balustre sur piédouche Verre h. 17 cm 35. Daum Frères Aubépines en fleur c. 1905 Vase Verre h. 28,8 cm 36. Émile Gallé Vase de tristesse Verre 8,3 x 7 x 5,8 cm Archives Arwas 37. Ernest Léveillé Vase Bambou Verre et monture d argent 20 x diam. 7,8 cm La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 19
38. Lucien Hirtz, pour Frédéric Boucheron Large bol avec trois portraits d après Lucien Lévy-Dhurmer c. 1895 Argent forgé et émaillé 12,5 x 24 x 23 cm 39. Daum Frères Vase en verre-camée Verre et monture d argent h. 22,5 x diam. 12 cm, Londres 40. Daum Frères Vase en verre-camée à décor floral Verre et monture d argent 14,7 x 11,3 x 6,9 cm 41. Georges de Feure pour G.D.A, Limoges Pot à couvercle 1903 Porcelaine h. totale 12,5 x diam. 7,8 cm 42. Georges de Feure Petit vase avec deux personnages 1903 Porcelaine 13,7 x 8,7 x 4,5 cm 43. Daum Frères Mince vase sur pied c. 1905 Verre h. 33 cm 44. Émile Gallé Vase aux oiseaux 1895-1900 Verre gravé rehaussé d émail 44,8 x diam. 15,2 cm 45. Burgun Schverer et Cie Pour la Verrerie d Art de Lorraine Chardons c. 1895 Verre h. 23,5 cm 46. E. Malfeyt La Lettre 46,1 x 26,3 cm Gretha Arwas 47. Eugène Grasset Méditation 1897 Impression sur soie 78 x 43 cm 48. Gisbert Combaz Affiche pour le salon annuel de La Libre Esthétique 74,3 x 43,5 (image) 79,7 x 54,3 cm (carton) 49. Maurice Pillard Verneuil Couverture de La Plante et ses applications ornementales 1895 Gravure sur bois 54,5 x 41 cm 50. Maurice Pillard Verneuil Couverture pour Le Monde moderne 64,2 x 43,5 cm (image), 64,8 x 49,3 cm (feuille), Londres 51. Paul Follot Pour La Maison Moderne Lampe de table 1902 Bronze patiné h. 45 cm 52. René Lalique Boucle de ceinture Argent, or et émail 53. Achille Dorville, Lucien Griveau et Louis Chalon Boucle de ceinture Or et argent patinés 54. Lucien Bonvallet Tête-à-tête comprenant une théière, un sucrier et un pot à lait 1899 Argent et bois 55. Manufacture nationale de Sèvres Vase de Montchanin C. 1898 Pâte dure, socle en cuivre martelé h. 81 cm. 56. Émile Gallé Vase de forme diabolo sur piédouche Verre h. 32 cm 57. Émile Gallé Vase-cornet Verre h. 30 cm 58. François-Eugène Rousseau Vase méplat sur talon c. 1890 Verre h. 26 cm 59. Rupert Carabin Boucle de ceinture Chats 1901 Vermeil 5,3 x 9,2 cm 60. Lucien Gaillard Pour Henri Vever Boucle de ceinture triangulaire Argent et chrysoprases h. 5,5 cm 61. Edward Colonna Boucle de ceinture 1900 Vermeil et nacre 8,5 x 6 cm 62. Lucien Gautrait Paon faisant la roue Pendentif-broche Or, plique-à-jour, émail translucide, diamants, diamants roses, opales, émeraudes et perle baroque 8 x 6,5 cm Exaltation des sens et sensualité 63. Joseph Blanc Pour la manufacture nationale de Sèvres Junon et le paon 1897 Porcelaine et pâtes colorées diam. 46,5 cm 64. Hector Lemaire Pour la manufacture nationale de Sèvres La Roche qui pleure Biscuit de Sèvres 42 x 33 x 24 cm Gretha Arwas 65. Louis-Auguste Théodore- Rivière Adam et Ève ou Étreinte ou Paradis perdu 1903 Bronze à patine verte h. 33 cm 66. Louis-Auguste Théodore- Rivière Pour la manufacture nationale de Sèvres Phryné Biscuit de Sèvres 18 x 5 x 6,5 cm Gretha Arwas 67. Auguste Seysses Nu debout Bronze à patine brune 29 x 13 x 13 cm, Londres 68. Bernard Hoetger Loïe Fuller 1901 Bronze à patine brune 27 x 34 x 27 cm, Londres 69. Ernst Barrias La Nature se dévoilant à la Science c. 1895 Bronze à patine argentée et ivoire sur socle de marbre 25 x 10 x 6 cm, Londres 70. Mougin Frères Saucière c. 1898 Céramique 16,5 x 26 x 16,5 cm 71. Raoul Larche Lampe Loïe Fuller Bronze doré 44,5 x 13,5 x 15 cm 72. Edgard Maxence La Fumeuse 57,5 x 44,5 cm 73. Louise Lavrut La Fille de Montmartre Huile et aquarelle sur toile 80 x 108 cm, Londres 74. Arthur Foache La Garonne 1898 72 x 53,5 cm 75. Paul Berthon Sarah Bernhardt 1901 64 x 50,2 cm 76. Rupert Carabin Femme à la coloquinte Grès et métal 14 x 15 x 10,5 cm 77. Maurice Bouval Femme au pavot Encrier Bronze doré à patine brune 12 x 27 x 13,7 cm 78. René Lalique Grand nu debout aux longs cheveux c. 1912 Verre patiné sur socle de bois 41,5 x diam. 12,3 cm La Pinacothèque de Paris, Two Sites, Two Exhibitions, One Collection 20