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Pierre Matisse

Pierre Matisse, né en 1900 et mort en 1989, fut un célèbre marchand d'art installé au Fuller Building de New York. Il était le fils du peintre français Henri Matisse.

Il créa sa galerie à New York, au carrefour de la 57e Rue et la Madison Avenue, et se consacra à faire connaître les œuvres des artistes de l'Art moderne, son père Henri Matisse et ses nombreux amis : Georges Rouault, André Derain, Alexander Calder, Balthus, Joan Miró, Yves Tanguy, Jean Dubuffet, Augusto Giacometti, Roberto Matta, Wifredo Lam jusqu'à Zao Wou-Ki et François Rouan. Dans sa profession de foi, il dit au peintre Jean-Paul Riopelle : « Je suis fils de peintre, je ne connais pas d'autre métier que celui de marchand. Si vous coulez, je coulerai avec vous. » Son père fit de lui quelques portraits et Joan Miró lui dédicaça une peinture : « À Pierre Matisse, passeur passionné. » Balthus fit de lui un portrait en pied en 1938 (New York, The Metropolitan Museum of Art). Il eut avec Teeny un fils, Paul Matisse, qui devint sculpteur. En seconde noce, Teeny épousa Marcel Duchamp.

Soumaya Museum / LAR + Fernando Romero

he Soumaya Museum, slated for completion in 2010, will house a diverse collection of international painting, sculpture, and object art from the 14th century to the present, including the world’s second largest collection of Rodin sculptures.  Conceived as a sculpture, the museum’s amorphous form will be a contemporary icon for Mexico City that is also a functional curatorial space.

Its “avant garde form” is a drastic break from art museums that typically become standard volumetric boxes.  The distinct form will allow every user to perceive it in a different way upon entering the museum.  The façade is made from translucent concrete that filters light, making the spaces feel light and open, without sacrificing the material’s structural integrity.  Once inside, the “intermediate levels are open to each other in a continuous volume, but partially separated by enclosed areas, making all spaces unique in their shape and form.”

22 June 2010 the Prado will inaugurate the major exhibition Turner and the Masters, from London (Tate Britain, 23 September 2009 to 31 January 2010), and Paris (Grand Palais, 22 February to 24 May). The exhibition looks at the way that Turner produced his work in full awareness of the art of the great Old Masters, whom he studied in depth, while simultaneously paying attention to the artistic activity of a number of his contemporaries. For the first time, the exhibition establishes a dialogue between Turner’s most important paintings, works by masters of other periods and those contemporary with his own time. The version of the exhibition to be seen at the Museo del Prado, which will comprise 80 paintings loaned from European and American institutions and collections, will include various works not shown in London and Paris. These include Shade and Darkness. The Eve of the Flood, Light and Colour. The Morning after the Flood, and Peace. Burial at Sea, three masterpieces from the end of Turner’s career. Turner and the Masters aims to offer a complete overview of the artist’s oeuvre in order to reveal his connections with other painters of the stature of Rembrandt, Rubens and Claude Lorraine, among others, as well as the profoundly original way in which he absorbed their influence from the outset of his career to his final compositions.

Une occasion unique de voir à Québec les maîtres espagnols anciens et modernes, dont Le Greco, Murillo, Goya, Picasso, Miró et Dalí.

une sélection de 75 œuvres issues de la collection du Mexicain Juan Antonio Pérez Simón.

Aztec codices are books written by pre-Columbian and colonial-era Aztecs. These codices provide some of the best primary sources for Aztec culture. The pre-Columbian codices differ from European codices in that they are largely pictorial; they were not meant to symbolize spoken or written narratives.[1] The colonial era codices not only contain Aztec pictograms, but also Classical Nahuatl (in the Latin alphabet), Spanish, and occasionally Latin. Although there are very few surviving pre-conquest codices, the tlacuilo (codex painter) tradition endured the transition to colonial culture; scholars now have access to a body of around 500 colonial-era codices.

1 Codex Borbonicus 2 Boturini Codex 3 Codex Mendoza 4 Florentine Codex 5 Codex Osuna 6 Aubin Codex 7 Codex Magliabechiano 8 Codex Cozcatzin 9 Codex Ixtlilxochitl 10 Libellus de Medicinalibus Indorum Herbis 11 Other codices