THURNAUER Agnes.
Dear Henri, Correspondence with Matisse.
Bernard Chauveau
Regular price
€25,00
| N° d'inventaire | 25941 |
| Format | 21.5 x 28 |
| Détails | 144 p., numerous graphics in the text, paperback. |
| Publication | Paris, 2022 |
| Etat | Nine |
| ISBN | 9782363063205 |
This book brings together fifty letters written by Agnès Thurnauer between April 2021 and January 2022 and addressed to Henri Matisse, after a first visit to the museum. In these writings, Agnès Thurnauer questions several fundamental notions for her, in particular the question of the "states" of painting that Matisse recorded by having his paintings photographed throughout their creation.
In the work of Agnès Thurnauer, the relationship between writing and painting, between language and forms, often leads to an echo between the horizontal and vertical planes. Practicing writing daily, the artist is also a great reader, and books are often, for her, the first place for paintings. This attachment resonates particularly with the work of Henri Matisse and his conception of the book as an architectural space breaking down hierarchies and artistic genres. It is no coincidence that, in the early 1930s, he undertook the creation of his first illustrated book, Poésies de Mallarmé, at the same time as the gigantic project of La Danse, a mural decoration for the Barnes Foundation, for which he deployed, on a real scale, preparatory cut-out gouaches on the wall of a garage rented for the occasion. It is with the same impetus that he invests the blank page, its modest format not preventing him from thinking of the book as an architectonic. For the man who said he "did not make a difference between the construction of a book and that of a painting", it was never a question of accompanying the texts with illustrations but of creating a plastic equivalent to writing.
In the work of Agnès Thurnauer, the relationship between writing and painting, between language and forms, often leads to an echo between the horizontal and vertical planes. Practicing writing daily, the artist is also a great reader, and books are often, for her, the first place for paintings. This attachment resonates particularly with the work of Henri Matisse and his conception of the book as an architectural space breaking down hierarchies and artistic genres. It is no coincidence that, in the early 1930s, he undertook the creation of his first illustrated book, Poésies de Mallarmé, at the same time as the gigantic project of La Danse, a mural decoration for the Barnes Foundation, for which he deployed, on a real scale, preparatory cut-out gouaches on the wall of a garage rented for the occasion. It is with the same impetus that he invests the blank page, its modest format not preventing him from thinking of the book as an architectonic. For the man who said he "did not make a difference between the construction of a book and that of a painting", it was never a question of accompanying the texts with illustrations but of creating a plastic equivalent to writing.
In the work of Agnès Thurnauer, the relationship between writing and painting, between language and forms, often leads to an echo between the horizontal and vertical planes. Practicing writing daily, the artist is also a great reader, and books are often, for her, the first place for paintings. This attachment resonates particularly with the work of Henri Matisse and his conception of the book as an architectural space breaking down hierarchies and artistic genres. It is no coincidence that, in the early 1930s, he undertook the creation of his first illustrated book, Poésies de Mallarmé, at the same time as the gigantic project of La Danse, a mural decoration for the Barnes Foundation, for which he deployed, on a real scale, preparatory cut-out gouaches on the wall of a garage rented for the occasion. It is with the same impetus that he invests the blank page, its modest format not preventing him from thinking of the book as an architectonic. For the man who said he "did not make a difference between the construction of a book and that of a painting", it was never a question of accompanying the texts with illustrations but of creating a plastic equivalent to writing.