Juliette Roche. The unusual.
Snoeck| N° d'inventaire | 23402 |
| Format | 19 x 27 |
| Détails | 255 p. |
| Publication | Gent, 2021 |
| Etat | Nine |
| ISBN | 9789461617446 |
This first retrospective of Juliette Roche aims to raise awareness of this little-known figure of the artistic avant-garde, whose work encapsulates the aesthetic developments of the early 20th century. The exhibition focuses on the aesthetic evolution, context, and personality of a figure involved in the artistic communities of the time. Juliette Roche's artistic trajectory will be illuminated by the unprecedented presentation of her personal archives.
The project is accompanied by a scientific catalog directed by Christian Briend, curator and head of the Modern Collections Department at the Musée national d'art moderne / Centre Georges Pompidou. The edition is intended to be a reference work on Juliette Roche's work. Lavishly illustrated with reproductions of the artist's works and personal archives, it is structured by four articles reporting on research on the subject and the testimony of curator Pierre Georgel. The iconographic notebook is punctuated with notes devoted to the major typologies of her production. An illustrated biography, a bibliography, and a list of exhibitions in which the artist participated complete the collection.
Little exhibited during the artist's lifetime, overshadowed by the recognition of her husband, the Cubist Albert Gleizes, Juliette Roche's work blends styles. A student of the painter Maurice Denis at the Académie Ranson, she inherited the simple forms, decorative character, and symbolist universe of the Nabis group. Her association with the Cubists of Puteaux led her to punctuate her constructions with geometric lines. In New York during the First World War, she participated in the Dada group with Marcel Duchamp and Francis Picabia. These encounters introduced the unusual and ironic into her vision. She thus renewed traditional genres of painting with great freedom of tone. Portraits, self-portraits, landscapes of Ardèche, Spanish street scenes, Parisian and New York music halls, as well as still lifes, reflect her unique view of modernity. The large oil on canvas American Picnic (1918), restored for the occasion, constitutes one of the first examples of American influence on a French artist and, as such, benefits from a double page in the catalogue.
This first retrospective of Juliette Roche aims to raise awareness of this little-known figure of the artistic avant-garde, whose work encapsulates the aesthetic developments of the early 20th century. The exhibition focuses on the aesthetic evolution, context, and personality of a figure involved in the artistic communities of the time. Juliette Roche's artistic trajectory will be illuminated by the unprecedented presentation of her personal archives.
The project is accompanied by a scientific catalog directed by Christian Briend, curator and head of the Modern Collections Department at the Musée national d'art moderne / Centre Georges Pompidou. The edition is intended to be a reference work on Juliette Roche's work. Lavishly illustrated with reproductions of the artist's works and personal archives, it is structured by four articles reporting on research on the subject and the testimony of curator Pierre Georgel. The iconographic notebook is punctuated with notes devoted to the major typologies of her production. An illustrated biography, a bibliography, and a list of exhibitions in which the artist participated complete the collection.
Little exhibited during the artist's lifetime, overshadowed by the recognition of her husband, the Cubist Albert Gleizes, Juliette Roche's work blends styles. A student of the painter Maurice Denis at the Académie Ranson, she inherited the simple forms, decorative character, and symbolist universe of the Nabis group. Her association with the Cubists of Puteaux led her to punctuate her constructions with geometric lines. In New York during the First World War, she participated in the Dada group with Marcel Duchamp and Francis Picabia. These encounters introduced the unusual and ironic into her vision. She thus renewed traditional genres of painting with great freedom of tone. Portraits, self-portraits, landscapes of Ardèche, Spanish street scenes, Parisian and New York music halls, as well as still lifes, reflect her unique view of modernity. The large oil on canvas American Picnic (1918), restored for the occasion, constitutes one of the first examples of American influence on a French artist and, as such, benefits from a double page in the catalogue.