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Traveling Artists (1880-1944). The Call of the Faraway.
Exhibition catalog, in collaboration with PELLENC Arielle, the Pont-Aven Museum and the Palais Lumière of the City of Evian.

Traveling Artists (1880-1944). The Call of the Faraway.

Snoeck
€35,00 €0,00
N° d'inventaire 26150
Format 20 x 26
Détails 263 p., illustrated, publisher's hardcover.
Publication Paris, 2022
Etat Nine
ISBN 9789461617613
The Pont-Aven Museum, in partnership with the Palais Lumière of the City of Evian, wishes to organize an exhibition entitled "Traveling Artists, the Call of the Faraway" (provisional title), under the scientific direction of Madame Arielle Pélenc. This exhibition brings together around forty artists and photographers, from the Belle Époque to the Second World War, whose artistic itineraries took them elsewhere, from Africa to the Himalayas. A new context, that of the first feminist movements, encouraged women to assert themselves outside the domestic space, and promoted the image of a "new woman" who was the actress of her destiny. The action of the Union of Women Painters and Sculptors, founded in 1881, took concrete form in 1900 with the opening of a painting studio reserved for women at the École des Beaux-Arts in Paris. Their academic training at the Académie Julian aux Beaux-Arts allowed female artists to acquire validated professional status and obtain travel grants, commissions, and some state purchases. While the end of the 19th century was marked by a renewed interest in Orientalism, from the 1920s onward, it was the territories of "greater France" that invited many artists to travel far from the Western world, from equatorial Africa to Madagascar, to the Indochinese peninsula and beyond. This was the case for Marcelle Ackein, Alix Aymé, Monique Cras, Marthe Flandrin, Anna Quinquaud, Jane Tercafs, and Jeanne Thil. Some ventured far from institutional networks as far as Tibet, like Alexandra David-Néel and Léa Lafugie. The development of the illustrated press and the public's taste for "adventures elsewhere" offered new professional opportunities for women authors like Ella Maillart, who took up the camera. Sometimes, it was travel that became the driving force behind a photography career for Denise Colomb and Thérèse Le Prat. The question of encountering the other and its representation unfolds throughout the exhibition through the diversity of approaches and visual media. A wealth of documentation, in different formats, allows us to understand the cultural and societal context of these travelers during this period of the Third Republic marked by both the first feminist movements and colonial expansion.
The Pont-Aven Museum, in partnership with the Palais Lumière of the City of Evian, wishes to organize an exhibition entitled "Traveling Artists, the Call of the Faraway" (provisional title), under the scientific direction of Madame Arielle Pélenc. This exhibition brings together around forty artists and photographers, from the Belle Époque to the Second World War, whose artistic itineraries took them elsewhere, from Africa to the Himalayas. A new context, that of the first feminist movements, encouraged women to assert themselves outside the domestic space, and promoted the image of a "new woman" who was the actress of her destiny. The action of the Union of Women Painters and Sculptors, founded in 1881, took concrete form in 1900 with the opening of a painting studio reserved for women at the École des Beaux-Arts in Paris. Their academic training at the Académie Julian aux Beaux-Arts allowed female artists to acquire validated professional status and obtain travel grants, commissions, and some state purchases. While the end of the 19th century was marked by a renewed interest in Orientalism, from the 1920s onward, it was the territories of "greater France" that invited many artists to travel far from the Western world, from equatorial Africa to Madagascar, to the Indochinese peninsula and beyond. This was the case for Marcelle Ackein, Alix Aymé, Monique Cras, Marthe Flandrin, Anna Quinquaud, Jane Tercafs, and Jeanne Thil. Some ventured far from institutional networks as far as Tibet, like Alexandra David-Néel and Léa Lafugie. The development of the illustrated press and the public's taste for "adventures elsewhere" offered new professional opportunities for women authors like Ella Maillart, who took up the camera. Sometimes, it was travel that became the driving force behind a photography career for Denise Colomb and Thérèse Le Prat. The question of encountering the other and its representation unfolds throughout the exhibition through the diversity of approaches and visual media. A wealth of documentation, in different formats, allows us to understand the cultural and societal context of these travelers during this period of the Third Republic marked by both the first feminist movements and colonial expansion.