With its collections of ancient, modern and contemporary art, the Musée de Grenoble offers you a chance to traverse the history of western painting from the 13th to the 20th centuries. Included are major masterpieces of classical Flemish, Dutch, Italian and Spanish painting; one of 20th century Europe’s richest collections; and all the great post-1945 contemporary art trends, right up to the most recent artworks of the 2000s.
GEORGIA O’KEEFFE and her photographer friends
7 Nov.2015 – 7 Feb. 2016
As the first solo show in France to be devoted to the American painter Georgia O’Keeffe, the exhibition scheduled this autumn at the musée de Grenoble is an outstanding event. Put on with the participation of the Georgia O’Keeffe Museum in Santa Fe (New Mexico, USA), and the backing of the French Regional American Museum Exchange [FRAME], it goes back over the career of an icon of American art, who is as famous in the United States as Jackson Pollock. From her earliest works in New York to when she settled in New Mexico in 1949, Georgia O’Keeffe was greatly influenced by modern photography. To encompass this factor, the exhibition will create a dialogue between her paintings and her photographer friends, forming a total selection of 90 works coming from fifteen prestigious international museums, as well as from major German, Spanish and French institutions.
This work was painted in 1888 during Gauguin’s second visit to Pont-Aven, where he met up again with Emile Bernard and his young sister Madeleine, aged 17; Gauguin duly fell in love with her. The young woman depicted in this canvas does not look like the angelic portraits painted by her brother. She seems older and her attitude is that of a woman daydreaming. Her hair worn up, her enigmatic gaze, her made-up eyes and the careful drawing of her lips all make her a thoroughly charming seductress.
The portrait is set in the traditional way within a very sober décor. The illustration visible in the upper part of the picture, which was long attributed to Degas, is identified as a print by Forain titled At the Opera. The presence of clogs, decorated with Breton motifs, evokes Madeleine’s attachment to Brittany. The broad swathes of colour, dominated by blue, made with a visible stroke in nuanced shades, enhance the model; as does the sinuous drawing of the face and arm, sometimes underscored by a ring, which contrasts with the rectilinear surfaces of the background. The decorative effect resulting from this interplay of lines and outlines shows the influence then being wielded on Gauguin by Japanese prints and the cloisonnism of Emile Bernard.
On the back of the portrait, Gauguin painted La Rivière blanche/The White River, a landscape in a very different style which reveals the experiments being undertaken by the artist in the early summer of 1888, which would culminate in a far-reaching change to his art.
Portrait of Madeleine Bernard, 1888
© Musée de Grenoble