Grand Spectacle! Entertainment in Belle Époque Paris

https://www.wardmoretti.art/usr/library/documents/main/press-release_grand-spectacle-at-ward-moretti-london.pdf

Ward Moretti, London 

23 September – 1 November 2024 

Ward Moretti is delighted to announce the exhibition Grand Spectacle! Entertainment in Belle Époque Paris, which will be on display at the gallery in St James’s London from 23September to 1November 2024. The so-called ‘Belle Époque’ (1871-1914) was a remarkably optimistic and fertile period for the arts, industry and global influence of Paris. With the flourishing of the French capital's theatres, cabarets, salons, music halls and circuses, Belle Époque Paris had something to tempt denizens and visitors from every level of society. La Ville Lumière oQered a seemingly endless source of inspiration and became a global centre for the arts and entertainment. This golden age of French culture was captured by the period’s greatest artists, drawn to the vibrant and innovative atmosphere. The optimism of the era, ultimately cut short by the First World War, gave rise to new and significant artistic styles: Post-Impressionism, Orphism, Fauvism and Cubism, among many others. 

The works in this exhibition by the likes of Toulouse-Lautrec, Picasso and Van Dongen provide a glimpse into the fleeting and captivating spectacles of the city at that time. In a 1904 watercolour by Picasso, Wagnerian soprano Suzanne Bloch poses dramatically in a crimson cloak. The American modern dancer and choreographer Loie Fuller, captured in her famous Serpentine Dance by Toulouse-Lautrec (c. 1892), supported newly arrived talent, such as the Japanese dancer Sada Yacco, and may even have commissioned Picasso’s drawing of her for an advertising poster (c.1900). Picasso also sketched the Can-can dancer Jane Avril, a favourite muse of Toulouse-Lautrec, for the magazine Le Frou Frou (1901), while Degas recorded the cabaret performances of singer Emilie Bécat, and society sculptor Paul Troubetskoy paid tribute to celebrated ballerina Anna Pavlova (c. 1912). 

 Among the highlights of this exhibition are two spectacular paintings of Belle Époque performers by celebrated Fauve Kees van Dongen. Shocking and stridently coloured, Danseuse Bohémienne (c. 1907) captures the zeitgeist of the era in its imagined Orientalism, inspired by a sultry dancer named Anita who performed in Montmartre’s red-light district. Even more unusual is Van Dongen’s Modjesko soprano singer (1907), which takes as its subject Claudius Modjesko, the stage name of the American born Black entertainer Edward Claude Thompson. Modjesko, known for his fine soprano voice and performances in female guise, found an enthusiastic welcome in Paris’s creative, and in many ways open-minded, artistic milieu. 

Pablo Picasso, Femme au Châle Rouge (Suzanne Bloch), 1904, pen and ink with watercolour on paper, 17.1x 11.1 cm

Kees Van Dongen, Modjesko Soprano Singer, 1907, oil on paper with gouache highlights laid down on canvas

Henri De Toulouse-Lautrec, Au music- hall: La Loïe Fuller, c. 1892, thinned oil on paper laid down on board laid down on panel, 47 x 33 cmE

 

Wayne Thiebaud: Art Comes from Art

 Legion of Honor

March 22–August 17, 2025

“I believe very much in the tradition that art comes from art and nothing else.” —Wayne Thiebaud

“You can do art history backwards or forwards; you can take your choice. Progress is not part of it. Variation, yes, and extension and all that, but progress? Phew. I don’t know how you’d beat any of that stuff, even from the cave period.” —Wayne Thiebaud

Artist Wayne Thiebaud (American, 1920–2021) was a self-described art “thief” who openly appropriated and reinterpreted old and new European and American paintings, believing that art history is a repository of ideas that connects artists of the past, present, and future. Organized by the Fine Arts Museums of San Francisco (the “Fine Arts Museums”) with generous loans by the Wayne Thiebaud Foundation, the forthcoming Wayne Thiebaud: Art Comes from Art, will be the first exhibition to spotlight the artist’s extensive engagement with art history throughout his six-decade-long career, offering crucial insights into his creative process. 

Opening on March 22, 2025, at the Legion of Honor, the exhibition will present Thiebaud’s thoughtful reinterpretations of historical and contemporary masterworks—some on public view for the first time—alongside images of the original paintings that served as source material. A series of rare works from the artist's personal art collection, by artists from the past and present who informed Thiebaud’s subjects and signature style, will also be on view. 

Wayne Thiebaud is a significant part of the Legion of Honor 100, a yearlong centennial celebration of the historic San Francisco landmark museum and its collections. By installing Wayne Thiebaud at the Legion of Honor amid the museum’s permanent collection, the exhibition highlights the history of art that served as a rich resource for Thiebaud.

“As a self-identified ‘thief,’ who mined the work of his predecessors and contemporaries, Wayne Thiebaud’s practice was deeply rooted in his study of art history, but this aspect of his work has never been explored,” said Thomas P. Campbell, Director and CEO of the Fine Arts Museums of San Francisco. “Over the course of the next year, as we reflect upon the Legion of Honor’s legacy as a center of art historical research and inspiration, Wayne Thiebaud: Art Comes from Art couldn’t be more timely.”

The exhibition will present 60 of Thiebaud’s wide-ranging reinterpretations of old and new European and American artworks, spanning from 1957 to 2020, with multiple paintings inspired by the same artist displayed together. Reference images of the original artworks, and insights provided by Thiebaud about the artists he drew inspiration from, will be presented alongside his works to provide deeper insights into his creative process.

The exhibition also will include a salon-style gallery featuring about 30 of Thiebaud’s copies after other artists, spanning from Rembrandt van Rijn to Édouard Manet to Giorgio Morandi, as well as approximately 40 original artworks spanning from Jean-Auguste-Dominique Ingres to Henri Matisse to Joan Mitchell, which he acquired for his personal collection. Thiebaud’s copies were largely made from reproductions that offered him inspiration and insights for his paintings, while his art collection enabled him to own and study original works by some of his heroes in real life.

“Wayne Thiebaud’s engagement with art history’s ‘bureau of standards’ through the practice of appropriation and reinterpretation revealed his belief that the world of art transcended limiting definitions of time and place, as well as progress,” said Timothy Anglin Burgard, exhibition curator as well as Distinguished Senior Curator and Ednah Root Curator in Charge of American Art at the Fine Arts Museums. “Viewed from this perspective, the entire global history of art, encompassing every movement and style, was as accessible, relevant, and inspiring to Thiebaud as contemporary art.”

Three significant works from Thiebaud’s personal collection were generously given to the Fine Arts Museums by the Wayne Thiebaud Foundation ahead of the exhibition. Two of these objects—Joan Mitchell’s Untitled (ca. 1957) and Jean-Auguste-Dominique Ingres’s Mrs. Fleetwood Pellew (Harriet Frances Webster) (1817), will be on public view for the first time during Wayne Thiebaud: Art Comes from Art.

About the Artist

 Wayne Thiebaud was born in Mesa, Arizona, raised in Southern California, and spent most of his career in Northern California. He first gained acclaim in 1962 with paintings depicting a colorful and quintessentially American array of bakery, cafeteria, delicatessen cases, and counters garnished with delicious—or dubious—foods. In the ensuing decades, Thiebaud tackled new subjects including figure groups and portraits, tightly arranged cityscapes, expansive landscapes, and poignant performing clowns. His abstract representations of the real world not only upended the art world’s perception of realism, but also challenged viewers to decide whether his perfectly posted subjects were worthy of admiration, criticism, or both.

Thiebaud was an influential and admired art and art history professor at Sacramento Junior College (now Sacramento City College) and later at the University of California, Davis. His legacy as an artist, teacher, and mentor significantly influenced the evolution of American art in the post-WWII decades. 

Images

Wayne Thiebaud "Betty Jean Thiebaud and Book," 1965-1969 Oil on canvas, 36 x 30 in. (91.44 x 76.2 cm) Crocker Art Museum, gift of Mr. and Mrs. Wayne Thiebaud, 1969.21 © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "35 Cent Masterworks," 1970-1972 Oil on canvas; 36 x 24 in. (91.44 x 60.96 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Buffet," 1972-1975 Oil on canvas, 48 1/8 x 60 1/8 in. (122.2 x 152.7 cm) San Francisco Museum of Modern Art, Gift of Jon and Shanna Brooks © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Photograph: Katherine Du Tiel

Wayne Thiebaud (1920 - 2021) "Three Machines," 1963 Oil on canvas, 30 x 36 1/2 in. (76.2 x 92.7 cm) Fine Arts Museums of San Francisco, Museum purchase, Walter H. and Phyllis J. Shorenstein Foundation Fund, the Roscoe and Margaret Oakes Income Fund, with additional funds from Claire E. Flagg, the Museum Society Auxiliary, Mr. and Mrs. George R. Roberts, Mr. and Mrs. John N. Rosekrans, Jr., Mr. and Mrs. Robert Bransten, Mr. and Mrs. Steven MacGregor Read, and Bobbie and Mike Wilsey, from the Morgan Flagg Collection, 1993.18 © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco.

Wayne Thiebaud "Canyon Mountains," 2011-2012 Oil on canvas; 66 1/8 x 54 1/8 in. (167.96 x 137.48 cm) San Francisco Museum of Modern Art, Purchase, by exchange, through fractional gifts of Gretchen and John Berggruen and Madeleine Haas Russell, and gift of the Thiebaud family © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Katherine Du Tiel

Wayne Thiebaud "Tapestry Skirt," 1976, reworked 1982, 2003 Oil on canvas; 42 x 42 in. (106.68 x 106.68 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "The Art Historian (G.C.)," 1971 Oil on board; 25 1/4 x 37 1/8 in. (64.135 x 94.298 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Five Seated Figures," 1965 Oil on canvas; 60 x 72 in. (152.4 x 182.88 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Confections," 1962 Oil on canvas; 16 x 20 in. (40.64 x 50.8 cm) San Francisco Museum of Modern Art, Gift of Byron R. Meyer © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Katherine Du Tiel

Wayne Thiebaud "Display Cakes," 1963 Oil on canvas; 28 x 38 in. (71.12 x 96.52 cm) San Francisco Museum of Modern Art, Mrs. Manfred Bransten Special Fund purchase © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Don Ross, Katherine Du Tiel

Wayne Thiebaud "Girl with Pink Hat," 1973 Oil on canvas; 36 x 29 1/2 in. (91.44 x 74.93 cm) San Francisco Museum of Modern Art, Gift of Jeannette Powell

© Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Katherine Du Tiel

Wayne Thiebaud "A Sunday on La Grande Jatte" (after Georges Seurat), 2000 Oil on board, 6 11/16 x 11 3/8 in. (16.986 x 28.893 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Model for the Bar at the Folies Bergère," (after Edouard Manet) Oil on masonite Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Supper at Emmaus," (after Rembrandt van Rijn) Oil on masonite; 15 13/16 x 14 3/16 in. (40.164 x 36.036 cm) Wayne Thiebaud Foundation

© Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Willem de Kooning "Woman," ca. 1962-1963 Oil on paper mounted on board; 24 1/2 x 13 in. (62.23 x 33.02 cm) Wayne Thiebaud Foundation

Wayne Thiebaud "Bar-B-Qued Chickens," 1961 Oil on canvas; 19 x 24 in. (48.26 x 60.96 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY © The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

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