Dr. Alexis von Wrangel has granted N&C - Nature & Cultures the great honor of sending us this critical review of the exceptional exhibit being held in the Bois de Boulogne in the West of Paris at the recently inaugurated Vuiton Foundation cultural center
he Morozov Brothers - Icons of Modern Art Paris exhibition had been preceded in the spring and summer of 2019 by another exhibit called "Morozov Brothers – Great Russian collectors" at the Hermitage Museum in St. Petersburg (physically located in the General Staff building, opposite the Winter Palace). It was the first time that tribute was paid to these two collectors, who were figures of the Silver Age of Russian culture. The Louis Vuitton Foundation had already paid tribute to the Shchukin collection in 2016, then to its British alter ego, the Courtauld Institute of Arts in 2019 (all, as well as the Morozovs, textile industrialists). The two Morozov exhibitions were organized with the partnership of the Hermitage Museum (St. Petersburg), the Pushkin Museum of Fine Arts and the Tretyakov Gallery (Moscow).
An exhibition is guided by its curator, both by the museography (the hanging) and by the choice of the exhibited works, the latter being conditioned by the availability of the works, that is to say interstate cultural agreements, between institutions (or not), the cost of loans (including shipping and insurance), etc ... |
The Vuiton Foundation - photo by Daniel Rodet et Frank Gehry
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The Hermitage exhibition is focused on Western painting only, mainly on the background of the Hermitage and the only Russian paintings loaned by the Tretyakov Gallery having been the two portraits of the brothers by Valentin Sérov. But this exhibition made it possible to introduce the public to painters who had fallen into oblivion such as Dupuis, Seyssaud, Guérin, Laprade, Lempereur, Maurer, Minartz, Morrice, Tealdi, Thaulow (and through the catalogue Carrière, Cottet, Dethomas, Lebasque, Legrand and others). Conversely, the Fondation Louis Vuitton exhibition presents sculptures (Claudel, Konënkov, Maillol, Rodin – all from Moscow), some Russian paintings (for some, this is the first time they Gauguin and van Gogh, Derain, Marquet and Valtat, and of course Matisse and Picasso. That is why these two exhibitions, with the exception of the "heavyweights" are complementary and, certainly, the one planned for next year in Moscow will be even different.
While the Hermitage Museum followed a historicist hanging, by schools (Impressionists, Post-Impressionists, Fauves, Matisse and Picasso), the "staging" of the Fondation Louis Vuitton is thematic, sometimes with "catch-all" rooms (such as the room Les amateurs d'orage,after the eponymous painting by the symbolist Utkin). The Foundation also presents an evocation of the music room of Ivan Morozov's mansion with the panels of Denis and the 4 statues of Maillol while the Hermitage has reconstituted the salon itself, reconstitution financed by the Louis Vuitton Foundation (which had already reconstituted it for the Maurice Denis retrospective at the Grand-Palais in 1993), but presenting the salon in its first state, before the arrival of the Maillol, with denis' 4 vases (fig. 1). On the other hand, the Foundation showed the competition between the two brothers by juxtaposing the two nudes of Degas (TheToilet or Woman Wiping after the bath of 1884 at Mikhail's; After the bath of 1895 at Ivan's; both at the Hermitage), the two portraits of the actress Jeanne Samary by Renoir (on foot at Mikhail/Hermitage; in bust at Ivan/Pushkin) and the two views of Anthéor by Valtat (LesFalaises violettes of 1900 at Mikhail/Ermitage and La Mer à Anthéor# by Ivan/Pushkin).
What neither exhibition shows is the originality of the collections.
Morozov: many works by poster artists, illustrators, press cartoonists, works considered minor, and various sketches are present. If Toulouse-Lautrec, Vallotton or Steinlen already had some notoriety (the last absent from the collections), AbelTruchet, Dethomas, Forain, Guiguet, Legrand and Roll were much less known. What "serious" collector at the time would have acquired Je suis prêt, docteur ou L'Education nationale (L'Instituteur),caricatures by Jean-Louis Forain? The same goes for Russian art in the two brothers where, next to the 7 studies of Vassily Surikov for his large canvases, a sketch by Mikhail Nestérov for his Vision to the adolescent Bartholomew at Mikhail, many studies of Isaac Levitan at Ivan, many are in the two brothers the sketches of opera sets, ballets, plays by Golovin, Korovina, Kustodiev, Sapunov... Finally, it is a little less surprising when we know that the Silver Age is best known for illustrators such as Benois, Somov, Vrubel (many illustrations for Lermontov's Demon), Bakst and Bilibine (the latter two unfortunately absent from both collections).
The best of Western painting at the Fondation Louis Vuitton
All that follows, is obviously subjective, but I believe that this anthology deserves the trip, from the province or even abroad.
Among the missing paintings, but today in Western collections, there is the
Albert Besnard's intimate féérie (1901), the only painting mentioned by name in The Obituary of Mikhail Morozov by Serge Diaghilev (published in Le Monde de l'Art,n° 9, 1903). Shortly after her husband's death, Margarita Kirillovna Morozova sent it back for sale in Paris, where it is still in a private collection today. I do not explain how the
Fondation Louis Vuitton could not get it loaned. The other is Van Gogh's Night Coffee (1888), a painting that once belonged to Ivan, then sold by the Soviet state to Steven Clark and now to Yale. For this one, I can understand that Yale University did not want to lend it (or the Foundation borrow it) for obscure legal reasons on which I will not dwell. But the Foundation could at least have obtained permission to display a photo next to Gauguin's Café à Arles which is its counterpart, both paintings having been painted at the same time and representing the same café.
Russian painting at the Fondation Louis VuittonNotably, the Fondation Louis Vuitton presents some Russian paintings, absent from the exhibition at the Hermitage but numerous in the collections of the two brothers. In addition to various portraits, discussed below, the exhibition presents some of the most interesting Russian works from both collections, including:
The Morozov dynasty and other portraitsObviously, the exhibition presents in the first room the portraits of the Morozov dynasty:
While the portraits of Alexander Golovin (self-portrait of 1912), Fyodor Shalyapin (by Korovina, 1905) and Constantin Korovin (by Serov, 1891) were indeed part of Ivan's collection, the exhibition also presents the portraits of Pavel Tretiakov by Repin, Sergei Shchukin by Melnikov, Savva Mamontov (extraordinary), Valery Briousov and Nadiejda Zabéla-Vrubel by Vrubel. Well, Tretyakov, Shchukin, Mamontov, Bryusov are prominent figures of theSilver Age. But what do portraits by Pyotr Konchalovsky (4, including 3 self-portraits), by Ilya Mashkov (3) and Kazimir Malevich (1) come here? Especially since the first is represented in Ivan's collection by only one painting, Cinerariae,whose current location is unknown, the second only by two still lifes, one of which is exhibited here, and that no Malevich has ever entered the collection of Ivan Morozov (nor for that matter in that of Sergei Shchukin). I must admit that I was delighted to contemplate ilya Machkov's painting Self-portrait and portrait of Pyotr Konchalovsky which, in my opinion, is the most fascinating and emblematic of the expressionist movement of the Valet de Carreau. Mrs. Anne Baldassari, the curator of the exhibition, is not at her first attempt, the exhibition on the Shchukin collection having already presented works of the Russian avantgarde, to which the collector has never been interested. Rather than these last paintings, having no relation to the Morozov brothers, it would have been desirable to present more masterpieces from these collections.
What is missing from the exhibition In addition to this exhibition, here is what could also have been included, this selection being obviously subjective:
Western painting
Russian painting
# Tableau non exposé à l’Ermitage mais à la Fondation Louis Vuitton.
Illustrations
Fig. 1
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Fig. 2
Anglada
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Fig. 3
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Besnard
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Carrière
Fig. 5
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Cross
Fig. 6
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G
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* Tableau non exposé à la Fondation Louis Vuitton mais à l’Ermitage.
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Fig. 10 : Signac
Fig. 11 : Vallotton
Fig. 12 : van Gogh,
Café de nuit
Fig. 13
van Gogh,
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Vignobles rouges
Fig. 14 :
van Gogh,
Chaumières
Fig. 15 : Benois,
Fantaisie versaillaise
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Fig. 7 : Helleu Fig. 8 : Legrand Fig. 9 : Minartz Fig. 17 : Chagall
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Fig. 29 : Vroubel
Alexis de Wrangel
La Chapelle-sur-Erdre le 1er octobre 2021
While the Hermitage Museum followed a historicist hanging, by schools (Impressionists, Post-Impressionists, Fauves, Matisse and Picasso), the "staging" of the Fondation Louis Vuitton is thematic, sometimes with "catch-all" rooms (such as the room Les amateurs d'orage,after the eponymous painting by the symbolist Utkin). The Foundation also presents an evocation of the music room of Ivan Morozov's mansion with the panels of Denis and the 4 statues of Maillol while the Hermitage has reconstituted the salon itself, reconstitution financed by the Louis Vuitton Foundation (which had already reconstituted it for the Maurice Denis retrospective at the Grand-Palais in 1993), but presenting the salon in its first state, before the arrival of the Maillol, with denis' 4 vases (fig. 1). On the other hand, the Foundation showed the competition between the two brothers by juxtaposing the two nudes of Degas (TheToilet or Woman Wiping after the bath of 1884 at Mikhail's; After the bath of 1895 at Ivan's; both at the Hermitage), the two portraits of the actress Jeanne Samary by Renoir (on foot at Mikhail/Hermitage; in bust at Ivan/Pushkin) and the two views of Anthéor by Valtat (LesFalaises violettes of 1900 at Mikhail/Ermitage and La Mer à Anthéor# by Ivan/Pushkin).
What neither exhibition shows is the originality of the collections.
Morozov: many works by poster artists, illustrators, press cartoonists, works considered minor, and various sketches are present. If Toulouse-Lautrec, Vallotton or Steinlen already had some notoriety (the last absent from the collections), AbelTruchet, Dethomas, Forain, Guiguet, Legrand and Roll were much less known. What "serious" collector at the time would have acquired Je suis prêt, docteur ou L'Education nationale (L'Instituteur),caricatures by Jean-Louis Forain? The same goes for Russian art in the two brothers where, next to the 7 studies of Vassily Surikov for his large canvases, a sketch by Mikhail Nestérov for his Vision to the adolescent Bartholomew at Mikhail, many studies of Isaac Levitan at Ivan, many are in the two brothers the sketches of opera sets, ballets, plays by Golovin, Korovina, Kustodiev, Sapunov... Finally, it is a little less surprising when we know that the Silver Age is best known for illustrators such as Benois, Somov, Vrubel (many illustrations for Lermontov's Demon), Bakst and Bilibine (the latter two unfortunately absent from both collections).
The best of Western painting at the Fondation Louis Vuitton
All that follows, is obviously subjective, but I believe that this anthology deserves the trip, from the province or even abroad.
- Pierre Bonnard: Mikhail had only one(Behind the grid*, 1895, Hermitage), Seguéï Shchoukine none, but Ivan 13 of which 12 are exhibited at the Foundation (missing the Landscape in Dauphiné* of 1899, Hermitage).
- Paul Cézanne: Ivan's favorite painter, all those of the Russian museums are exhibited (including The Man with the Pipe and two beautiful views of the Sainte-Victoire mountain); all that is missing is the Portrait of Mrs. Cézanne in the Orangery (1891), now at the MET because sold by the Soviet state to Steven Clark in 1933.
- Camille Corot: L'Etang à Ville-d'Avray# (circa 1871-74), the only representative of the Barbizon school at the exhibition. Mikhail also had from him the Madonna of Verneuil and Sergei Shchukin a Fantin-Latour.
- Maurice Denis: the whole cycle of theHistory of Psyche for ivan Morozov's music salon. Neither of the two paintings belonged to Mikhail.
- Paul Gauguin: of the 13 of the two collections, ten are exhibited at the Foundation (including . Missing are the Tahitian Pastorals* (1892, at Ivan/Ermitage), Te vaa (LaPirogue*, 1896, at Mikhaïl/Ermitage) and Trois Tahitiennes sur fond jaune*(1899, chez Ivan/Ermitage).
- Edouard Manet: Le Bouchon (~1878, at Mikhail/Pushkin), a study for the Reichshoffen Cabaret, ofwhich only twofragments remain (at the National Gallery and in Winterthur) and the only Manet of the three collections (taking that of Shchukin into account).
- Georges Manzana-Pissarro: Camille's eldest son and whom I find very interesting, the two gouaches on paper from Ivan's collection are present at the foundation (only Zebras at the trough was at the Hermitage).
- Henri Matisse: the 11 paintings that belonged to Ivan are exhibited at the Foundation, including the still life Fruits et bronze painted by Valentin Sérov in the background of his portrait of Ivan as well as the extraordinary Moroccan Triptych.
- Claude Monet: all the paintings from both collections are on display, including The Poppy Field (1890-91, the only one that belonged to Mikhail and the Hermitage today) and Waterloo Bridge – Fog Effect (1903, Ivan/Hermitage). Spring. Trees in Bloom,now in Johannesburg, had been resold by Ivan in 1907.
- Edvard Munch: Nuit blanche (Young Women on a Bridge),1902-03, third version of the original canvas from Oslo (two other versions exist in Hamburg and Cologne). Only Munch in Russia to my knowledge.
- Pablo Picasso: the three Picassos from Ivan's collection are present. Obviously far from the Shchukin collection where it is the most represented artist (100 studies or paintings).
- Auguste Renoir: all of Renoir's paintings are on display. All that is missing is Mikhail's Girl in a Hat, a chalk and sepia on paper at the Pushkin Museum.
- Henri de Toulouse-Lautrec: of the three collections, only three works are present, only one at Shchukin and two at Mikhaïl: the famous portrait of Yvette Guilbert and a drawing entitled LePetit-déjeuner (Bonjour) not presented in the two exhibitions.
- Vincent van Gogh: unfortunately only two van Goghs are on display: the first to have entered Russia through Mikhail(The Sea of Saintes-Maries,1888, Pushkin Museum) and Ivan's Prisoners' Round (1890, Pushkin Museum). This last canvas, one of the last of the artist, was painted after an engravingby Gustave Doré(Pilgrimage, by Gustave Doré, and Blanchard Jerrold,Grant, London 1872) and was hung the first time in the burning chapel organized for van Gogh at the Ravoux inn in Auvers-sur-Oise (letter from Emile Bernard to Gabriel-Albert Aurier, written in Auvers and dated July 31, 1890).
Among the missing paintings, but today in Western collections, there is the
Albert Besnard's intimate féérie (1901), the only painting mentioned by name in The Obituary of Mikhail Morozov by Serge Diaghilev (published in Le Monde de l'Art,n° 9, 1903). Shortly after her husband's death, Margarita Kirillovna Morozova sent it back for sale in Paris, where it is still in a private collection today. I do not explain how the
Fondation Louis Vuitton could not get it loaned. The other is Van Gogh's Night Coffee (1888), a painting that once belonged to Ivan, then sold by the Soviet state to Steven Clark and now to Yale. For this one, I can understand that Yale University did not want to lend it (or the Foundation borrow it) for obscure legal reasons on which I will not dwell. But the Foundation could at least have obtained permission to display a photo next to Gauguin's Café à Arles which is its counterpart, both paintings having been painted at the same time and representing the same café.
Russian painting at the Fondation Louis VuittonNotably, the Fondation Louis Vuitton presents some Russian paintings, absent from the exhibition at the Hermitage but numerous in the collections of the two brothers. In addition to various portraits, discussed below, the exhibition presents some of the most interesting Russian works from both collections, including:
- Nathalie Gontcharoff: Orchard in autumn#,having belonged to Ivan.
- Constantin Korovine : En barque#,a painting of youth (1888) by the artist, from the former collection of Mikhail.
- Michel Larionov: The window. Tiraspol#,from Ivan's old collection.
- Pyotr Utkin: Storm Lovers#, coll. of Ivan, one of the most beautiful works of Russian symbolism.
- Martiros Saryan: two of the threepaintings # from Ivan's collection.
- Mikhail Vrubel: the extraordinary (also by its size) Lilac# from Ivan's collection.
The Morozov dynasty and other portraitsObviously, the exhibition presents in the first room the portraits of the Morozov dynasty:
- Varvara Alexevna Morozova, mother of the two collectors, by Konstantin Makovsky (1884).
- Mikhail Abramovich Morozov by Valentin Sérov (1902). This painting will be reproduced in the magazine Le Monde de l'Art as an illustration of Mikhail's obituary by Serge Diaghilev. - Margarita Kirillovna Morozova,wife of Mikhail, by Valentin Sérov (1910). This painting will remain unfinished, because Sérov says "that it was not possible to grasp the face of Margarita Kirillovna as her expressions were constantly changing". The painting has been in the Dnipro Museum (Dnipropetrovsk, Ukraine) since 1928.
- Mika Morozov (Mikhail Mikhailovich), son of the previous two. It is one of the best-known paintings by Valentin Sérov (1901). Mikhail Mikhailovich became one of Shakespeare's leading scholars in the Soviet Union and, together with Boris Pasternak, both published a translation of several plays by the English playwright.
- Ivan Abramovich Morozov by Konstantin Korovin (1903) and Valentin Sérov (1910). This last portrait was painted depicting Ivan in front of Matisse's Bronze Still Life, painted and acquired the same year (portrait presented in another room).
- Evdokiya Sergeevna Morozova,wife of Ivan, by Valentin Sérov (1908).
- And also:
- Alexei Vikulovich Morozov by Valentin Sérov (1909). Or, this work is very beautiful, Alexei is a cousin of the two brothers, but that it is his relevance here if we do not exhibit one or two of his porcelain (had the most important collection of porcelain in Russia) or at least one of the panels of the cycle of Faust by Vrubel that he had commissioned for his Gothic cabinet (architect Franz Schechtel)?
- Timofei Savvitch Morozov (1891) and Maria Fyodorovna Morozova (1897) by Valentin Sérov. Both relatives of Sergei and Savva Timofeievich Morozov, who was one of the founders, with Stanislavsky, of the Moscow Art Theatre. What relevance, here too, if we do not recall who their son was?
While the portraits of Alexander Golovin (self-portrait of 1912), Fyodor Shalyapin (by Korovina, 1905) and Constantin Korovin (by Serov, 1891) were indeed part of Ivan's collection, the exhibition also presents the portraits of Pavel Tretiakov by Repin, Sergei Shchukin by Melnikov, Savva Mamontov (extraordinary), Valery Briousov and Nadiejda Zabéla-Vrubel by Vrubel. Well, Tretyakov, Shchukin, Mamontov, Bryusov are prominent figures of theSilver Age. But what do portraits by Pyotr Konchalovsky (4, including 3 self-portraits), by Ilya Mashkov (3) and Kazimir Malevich (1) come here? Especially since the first is represented in Ivan's collection by only one painting, Cinerariae,whose current location is unknown, the second only by two still lifes, one of which is exhibited here, and that no Malevich has ever entered the collection of Ivan Morozov (nor for that matter in that of Sergei Shchukin). I must admit that I was delighted to contemplate ilya Machkov's painting Self-portrait and portrait of Pyotr Konchalovsky which, in my opinion, is the most fascinating and emblematic of the expressionist movement of the Valet de Carreau. Mrs. Anne Baldassari, the curator of the exhibition, is not at her first attempt, the exhibition on the Shchukin collection having already presented works of the Russian avantgarde, to which the collector has never been interested. Rather than these last paintings, having no relation to the Morozov brothers, it would have been desirable to present more masterpieces from these collections.
What is missing from the exhibition In addition to this exhibition, here is what could also have been included, this selection being obviously subjective:
Western painting
- Bailo gitano* d'Hermenegildo Anglada y Camarasa (1901; coll. of Mikhail, Hermitage, fig. 2: detail).
- Féérie intime d'Albert Besnard (1901; coll. de Mikhaïl, coll. privée, Paris, fig. 3).
- Maternal kiss of Eugene Carrière (~1890; coll. of Mikhail, Pushkin Museum, fig. 4).
- Autour de ma maison by Henri-Edmond Cross (1906; coll. d'Ivan, Musée Pouchkine, fig. 5). - Te vaa. La pirogue* by Paul Gauguin (1896; coll. of Mikhaïl, Ermitage, fig. 6).
- Woman standing in the hat of Paul-César Helleu (<1904; coll. of Ivan, Pushkin Museum, fig. 7).
- Le Souper de l'apache by Louis Legrand (1901; coll. d'Ivan, Musée Pouchkine, fig. 8). - Sortie du Moulin-Rouge* by Tony Minartz (~1902; coll. de Mikhaïl, Ermitage, fig. 9).
- Sortie de port à Marseille* by Paul Signac (1906-07; coll. d'Ivan, Ermitage, fig.10). - The Port of Felix Vallotton (1901; coll. of Mikhail, Pushkin Museum, fig.11).
- Le Café de nuit by Vincent van Gogh (1888; coll. d'Ivan, Yale University Art Gallery, fig. 12). - Vignobles rouges à Arles (Montmajour) by Vincent van Gogh (1888; coll. d'Ivan, Musée Pouchkine, fig. 13).
- Les Chaumières*by Vincent van Gogh (1890; coll. d'Ivan, Ermitage, fig. 14).
Russian painting
- Fantaisie du un thème versaillais by Alexandre Benois (1906; coll. d'Ivan, Galerie Trétiakov, Fig. 15).
- Alexander Benois' sketch of an illustration for Pushkin's Brass Rider (Ivan's coll., Tretyakov Gallery, fig. 16).
- A la mandoline (Mon frère David à la mandoline)by Marc Chagall (1914; coll. d'Ivan, Galerie Trétiakov, fig. 17).
- Fjords,Alexander Golovin's sketch of a set for Ibsen's play The Lady of the Sea
- (1905; Ivan's coll., Theatre Museum, Moscow, fig. 18).
- Spanish (in colorful jacket) by Alexander Golovin (1906-07; coll. of Ivan, Novgorod Museum of Fine Arts, fig. 19).
- Portrait of the artist's wife by Jaan Koort (1916; Ivan's coll., Estonian Museum of Fine Arts, Tallinn, fig. 20).
- Hammerfest. Aurora Borealis by Constantin Korovine (1894-95; coll. of Mikhail, Tretyakov Gallery, fig. 21).
- The Fair of Boris Kustodiev (1908; Ivan's coll., Tretyakov Gallery, fig.22).
- Fresh wind. Volga by Isaac Levitan (1895; coll. of Mikhail, Tretyakov Gallery, fig.23).
- La Fille de Philippe Maliavine (1903; coll. d'Ivan, Galerie Trétiakov, fig.24).
- Echo du temps passé (title in French) by Constantin Somov (1903; coll. d'Ivan, Galerie Trétiakov, fig.25).
- Study of the head of the innocent for the painting The Boyarin Morozov by Vasily Surikov (1885; coll. of Mikhail, Tretyakov Gallery, fig.26).
- Three Princesses of the Underground Kingdom by Victor Vasnetsov (1879-81; Mikhail's coll., Tretyakov Gallery, fig.27).
- Aï-Petri de Serguéï Vinogradov (1917 ; coll. d’Ivan, Musée des Beaux-Arts de Krasnodar, fig.28).
- La Princesse-Cygne de Mikhaïl Vroubel (1900 ; coll. de Mikhaïl, Galerie Trétiakov, fig.29).
# Tableau non exposé à l’Ermitage mais à la Fondation Louis Vuitton.
Illustrations
Fig. 1
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Fig. 2
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Fig. 3
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Besnard
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Carrière
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Cross
Fig. 6
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G
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* Tableau non exposé à la Fondation Louis Vuitton mais à l’Ermitage.
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Fig. 10 : Signac
Fig. 11 : Vallotton
Fig. 12 : van Gogh,
Café de nuit
Fig. 13
van Gogh,
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Fig. 14 :
van Gogh,
Chaumières
Fig. 15 : Benois,
Fantaisie versaillaise
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Fig. 7 : Helleu Fig. 8 : Legrand Fig. 9 : Minartz Fig. 17 : Chagall
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Fig. 29 : Vroubel
Alexis de Wrangel
La Chapelle-sur-Erdre le 1er octobre 2021