Paris-delhi-bombay De Visu

Paris-delhi-bombay De Visu

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The Centre Pompidou is presenting an exhibition on the theme of India who had the ambition to position itself in the way that had drawn Pontus Hulten (1921-2006) the Commissioner General of the legendary Paris-New York in 1977, Paris-Berlin in 1978, Paris-Moscow-Paris 1979 and Paris in 1981.



"Paris-Bombay-Delhi" gives show a very heterogeneous to translate the energy that deploys the new giant of the international art scene and the need for a capital of old Europe to shake his hand, and to show that 'she, too, still some hope of staying in the race. Sophie Duplaix, curator at the Pompidou Centre and Fabrice Bousteau, editor in chief of Beaux Arts Magazine and has long been fascinated by the creation of India, are the curators of this event. About the exhibition catalog, they say: " this is the first time a scientific work of this magnitude has been conducted on the scene. It will be a reference book. For the magic of these works operates, we must look closely, to be drawn into their vortex of faded colors, and try to decipher the hieroglyphics placed a trembling hand in charcoal or simple ballpoint pen. Even for a layman, gives each of these paintings, but we understand why (but is it necessary?), A sense of balance and serenity, the limit of Zen, a little like the frescoes composed by the great primitive of the Italian Renaissance. It is probably no coincidence that Twombly has decided to spend most of his life in their country.

As is often the case with painters, old age is a call to a peak of light. In 2007, the Foundation Lambert of Avignon, Twombly had written a series of giant canvases, blinding as fields of peonies crushed sun. In 2010 the Louvre, Twombly , secret and discreet man, was present (almost incognito) at the opening of the ceiling he had made room for the bronzes. A work of 400 m2, a little blue duck in his way, decorated with ball-shaped cartridges, containing the names of the seven greatest sculptors of ancient Greece. This brilliant work is high enough to spare the onslaught of fans, as was the case three years ago in Avignon, where a performer had been a loving kiss indelible lipstick on one of his paintings, almost entirely white . And resulted in passing a scandal and debate, in fact quite rich, status, sacred or not, a work of contemporary art.

If recognition was late, it was no less triumphant: it starts with a retrospective at the Whitney Museum in 1979, continues with a series of exhibitions in European museums in 1987-1988 (including the Centre Pompidou) and a new and very consistent retrospective at MOMA in 1995, in Houston before the opening of a museum dedicated to it, designed by architect Renzo Piano . Finally, in 2001 he received the Golden Lion at the Venice Biennale, for a set painting of the Battle of Lepanto.

This reputation has obviously a consequence of carrying on the market. Two months ago, one of his untitled 1967 painting was being sold by Christie's New York: it was 15.2 million.

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