ET LE CHAMANISME - Pinacothèque de Paris
Transcription
ET LE CHAMANISME - Pinacothèque de Paris
Jackson Pollock, Composition with oval forms, c 1934-1938. Huile sur masonite, 26,7 x 42,5 cm. Collection Jose Mestre. Masque mortuaire de chamane (esprit-oiseau faucon), env. 1840-1870. Bois sculpté et peint, à dents en coquille d’ormeau. Hauteur : 20,5 cm. Collection Steven Michaan. © ADAGP Paris 2008. Conception et création graphique : Gilles Guinamard Pinacothèque de Paris 15 octobre 2008 - 15 février 2009 ET LE CHAMANISME CONTENTS PAGE 1- JACKSON POLLOCK AND SHAMANISM, A NEW INTERPRETATION Introduction, Marc Restellini 2 2- “JACKSON POLLOCK ET LE CHAMANISME” Extracts of the catalog, Stephen Polcari 4 3- ROUTE OF THE EXHIBITION 6 4- AVAILABLE PICTURES FOR THE PRESS 13 5- LIST OF WORKS ON SHOW 19 6- CATALOG AND PUBLICATIONS 24 7- THE PINACOTHÈQUE DE PARIS 25 8- THE CHILDREN’S WORKSHOPS 26 9- THE PINACOTHÈQUE BOUTIQUE 27 10- USEFUL INFORMATION 28 1 JACKSON POLLOCK AND SHAMANISM, A NEW INTERPRETATION Introduction, Marc RESTELLINI It has been noted that for creative minds, bridges between various cultures provide a newly exhilarating approach, with a return to a founding culture, sometimes giving artists the only possibility to look at their mundane world. These bridges between cultures also allow an escape from the daily round whenever political and economic climates prove especially difficult. And, finally, they provide the artists with a means of broaching worlds unknown to the majority of mere mortals.The artist, to his intense satisfaction, thereby sets himself apart from most people by setting foot on unexplored territories. And so it was for Pollock who, early in his career, took an interest in Shamanism.The exhibition presented to-day in the Pinacothèque de Paris is an illustration of this revolutionary re-reading of his body of work. Like Gauguin, Picasso or Modigliani, Pollock was interested in Primitivism, more specifically in Amerindian art forms. That is a proven fact. But tradition has it that the passage to the “dripping” period – a.k.a American Abstract Expressionism – marks a setting aside of that interest, opening up a new period in his art, from which every Amerindian reference had vanished. When Stephen Polcari first mentioned to me the idea that Pollock had been, quite apart from the artist’s interest in American Indians, very attracted by Shamanism and that it had had an unimaginable impact on his art, I at first deemed this theory to be foolhardy, even far-fetched. But my own personal interest in the influence of Primitivism on modern art led me to examine his theory with interest.The confrontation with the work itself seemed to bear out his notion. The demonstration became perfectly obvious to me in a completely fascinating manner: quite clearly, for Pollock Shamanism represented the finality of a thought process, as well as a passageway through mystical portals, allowing him to reach out to worlds that most people can never attain. As the demonstration became ever more evident, connections with Surrealism began to impinge and more specifically with André Masson, who was one of Pollock’s foremost references along with Amerindian art. That is how, little by little, the “drippings” seemed to me quite obviously not just purely abstract works, but also symbolic works containing references to Shamanism or to Shamanic rituals. That demonstration naturally led me to a complete re-reading of Pollock’s œuvre. Henceforth, the abstract logic vanished to leave place for the artist’s deliberate desire to have us believe in the object’s disappearance in order to, as initiatory Shamanic rituals, let us accede to mystical portals that everyone cannot behold, but which was reserved for some “chosen few”. Pollock was a child of Jungian analysis. For him the concept of the unconscious and of initiation or initiatory rituals was very powerful. 2 The concept of reaching other worlds was very clear, as can be seen in the knowledge of the Indian world that Pollock had at that time, as well as through the exhibition on Amerindian art organized by the MoMA in 1941. The confrontation with Masson and with Surrealism in general, sensitive to the same preoccupations when faced with an America in total recession, undergoing one of the worst crises in its history, must have given Pollock an urge to bring forth a new man, to re-model “the common man”, in Polcari’s words, the one who put up with his life without being able to provide it with meaning, so as to finally accede to a means of re-awakening. That way of thinking seemed all the more interesting since it linked up with that of Gauguin, Picasso, Modigliani, Brancusi, Derain, and Matisse, all of whom sought in Primitivism solutions to their period’s problems by going back to the sources and to nature. Quite certainly, the path taken by Pollock was one of the most ambitious, intellectually speaking, as the psychoanalytical and primitive concepts are reached. This exhibition “Pollock and Shamanism” whose subject is totally in keeping with my own approach as an art historian, could only take place in the Pinacothèque de Paris. I feel it is really important to offer the largest possible public this new view on one of the major American artists on the 20th century. It is shown at the same time as the exhibition devoted to Georges Rouault, an example of the bridge between civilizations and mysticism. The juxtaposition of these exhibitions demonstrates that all over the planet, the great artists’ preoccupations are finally very similar. Demonstrative, clear-sighted, scientifically organized by Stephen Polcari who guided me and accompanied me in the choice of the works on view, this exhibition is, it must be admitted, outstanding. A masterly demonstration of his theory, Stephen Polcari’s text provides a remarkable reading of Pollock’s works, never before attempted. There is no doubt about it, the viewer’s look at Pollock’s body of work will be transformed. The “Drippings” are seen in a new light. Pollock is no longer simply the brilliant abstract artist throwing his paint at the canvas placed on the floor according to movements dictated by abstract aesthetical choices. Pollock’s wish was quite other: that gesture had as its finality to present a subject even as it gave the illusion of abstraction and of an absence of subject (that is the very definition of abstraction, when the work has no subject matter). Pollock set aside abstraction to enter into a sphere of “nonobjectivity”. Should the very existence of abstraction itself not be subject to revision? Marc RESTELLINI Director of the Pinacothèque de Paris Translated in English by Ann Cremin 3 “JACKSON POLLOCK ET LE CHAMANISME” Extracts of the catalog, Stephen POLCARI Jackson Pollock’s entire development partakes of the assumptions, culture, and values of his time. His is an art devoted to inwardness in the form of psychologized, ritual transformation of himself and his world. His is an art created in response to the epic conflicts and destruction of both in the 1930s and 1940s and to the socio-cultural personality that was thought to have generated them: the wasteland of mass society and mass, if not fascist, man thought to be evident to the world at Nuremberg.To represent the dangerous vacuity of that society and to point the way to change, Pollock drew on what many in his generation understood to be the powers and images of the unconscious and its alleged contents, the personal and cultural possibilities of the world, ancient and modern.These pathways would recall new sources of spiritual strength and transformation, necessary for himself but forgotten in a society of urban, industrial modernity and its incessant wars. [...] Thus in Pollock’s view, it was necessary to create the future by renewing the past, a traditional idea that was newly emphasized in 1930s America. At that time, for many from Mexican and American artists and Carl G. Jung, his metaphysical inspiration, constructing something new meant digging out, reconstructing, and revivifying the successful pathway of other generations. [...] For Pollock, it meant unearthing the traditions and powers of other peoples, particularly Native Americans, whose imagery was that of the non-industrial, anti-modern societies, which represented the exemplary past according to his illusions of “primitivism”. [...] In the early 1940s, Pollock cycled his emergent themes in and through mostly the thought and forms of Native American peoples. He expressed his obsessions through this so-called primitivism as well as myth, European modernism, and indeed, the entire culture of his period, believing that he was articulating his unconscious. Of course, it was these sources that told him what was to be “found” in that unconscious.[...] It has long been recognized that Pollock was interested in Native American art. Besides having spent part of his youth in the American Southwest where he was surrounded by Indian ruins, pottery, pictographs, peoples and rituals. [...], Pollock knew the cultures and arts of the first Americans through travel, museums, reading and demonstrations. [...] Pollock purchased twelve copies of the Annual Reports [of the Smithsonian Institution’s Bureau of Ethnography] in the 1930s. [...]The fist-thick annuals consisted of the American government and the Smithsonian Institution’s attempts to document culture, art and ritual in the late nineteenth and early twentieth century.They made up perhaps the most informative sources of Native American life, discussing and copiously illustrating all aspects of life, arts and cultures. [...] The scholar W. Jackson Rushing is most responsible for revealing Pollock’s interest in shamanism. In interviews with Pollock’s friend, the artist Fritz Bultman, Rushing learned of Pollock’s commitment of shamanism and of his knowledge of its ideology and many of its particulars. Bultman noted that Pollock was well acquainted with the “whole shamanistic dream culture of Indians” and talked of it. Further, Pollock’s good friend the Russian John Graham also knew about Russian shamanism, probably as Wassily Kandinsky did, for it was part of the living culture of Russia even in the twentieth century. And, of course, 4 the Smithsonian Annual Reports often mentioned shamanism in their articles and the American Museum of Natural History published studies in the 1930s on Native American life. In this famous grand hall, the museum, also described shamanic ritual, particularly of the Norhtwest Coast, as the basis of the artefacts and art on display. [...] The emergence of Pollock’s “primitivism” points the way toward shamanism, not the mere drawing from the personal unconscious of someone who is psychologically disturbed and then renders his subjective fantasies and personal melodramas. [...] Pollock’s style and form give coherence to symbols interpreted as magical, totemistic, shamanist, and fecund or sexual. These images become a story of birth, spring or “coming into life” again, a major theme in the work of other Asbtract Expresionists… [...] It was [...] in the mid-1940s that an event took place that altered Pollock’s work and, eventually, the history of art. After some transitional works – Eyes in the Heat, Shimmering Substance and others of 1946 - Pollock developed his overall poured and dripped paintings.Their contrast to his past of alternating between static and dynamic compositions seems decisive. What led to this change? Some thing or event both reaffirmed for Pollock the appropriateness of an image of dynamic flow as a formal and expressive means to render his themes of magical ecstasy, fecundity, chaos and new birth. Something also perhaps inspired the further development of that image. In 1946, the Museum of Modern Art presented an exhibition, “The Art of the South Seas”. It was one of the first major shows of Oceanic material in America, and it is still admired today as a fine combination of anthropological information and ritual objects that the West considers to be art as well as artefacts. As the first major postwar exhibit of non-Western art, it attracted a great deal of attention. [...] As noted above, Pollock had drawn considerable inspiration from the Indian Art show of 1941. [...] That show had been crucial to the development of his goal of an art of ritual, generative force, and altered consciousness, and significantly, as a result of seeing it, he adopted forms from several different Native American cultures [...]. By the time the Oceanic show arrived, Pollock’s direction toward the expression of dynamic, magic, shamanic power had grown, even if he could not settle on one imagistic means.[...] In 1946 Pollock absorbed and worked through the ideas and stylistic alternatives suggested by [a] Sepik River painted wood carving. In 1947 he developed full control of this new mode and as his skill and understanding of the potential of movement itself as the image grew, his famous style emerged. That meant, seemingly, that he eliminated the transitional animal imagery and any suggestion of human form and figure.[...] Pollock’s abstractions thus fully develop his search for the apt means to express the immaterial and intangible that he had only partly succeeded in evoking with such symbols, totemic compositions, repetitions of designs from his schooling with Benton, the Mexicans and others, and with partially dynamic forms. [...] Pollock’s shamanism believed in a dynamic web of power shared by everyone and everything in their world and that informed the universe. [...] Pollock’s art, then, is a form of resistance to contemporary history and culture, to the “wasteland” of early modernity. It articulates an attack on mass psychology and its traits by founding a memory of the past with which the artist could identify and it attempts an authenticity not based on subservience to industrial order. Pollock sought a renewed, living inner self, and a capacity for feeling and intimacy. He sought a connectedness not only to the past, not only to a new kind of tradition (the “primitive”), but to animal life, to nature, and to that new place, the unconscious, that is, to all that is larger than himself. 5 ROUTE OF THE EXHIBITION THE BEGINNINGS – EARLY WORKS Jackson Pollock’s career did not get off to an auspicious start. First he was a student of the regionalist painter Thomas Hart Benton, then he became a disciple of the Mexican muralists like José Clemente Orozco; all of his mentors were anti-modernists who did not appear to place much trust in the young artist’s talent. However, despite these modest beginning, there came about the birth and flowering of the best American modern art forms. Composition with vertical stripe, c. 1934-1938 (détail) Composition with Vertical Stripe shows the modest beginnings of Pollock’s Mexican period. The painting suggests two seated women, pointing up what in Orozco, a Mexican mural painter, would be a marching army but which here is similar to a horned animal, perhaps a bull, a recurring symbol for Pollock. Statue of a cut Totem, wood, Nootka This statue, representing a seated figure, hands crossed on its knees, with an elaborate hairstyle and headwear, was one of the elements of a Nootka totem.The Nootkas are one of the North- Amerindian peoples living in British Columbia. SACRIFICE AND DEATH Although he was influenced by Orozco’s style, Pollock soon found his own favorite subjects in Shamanism – a type of religious ecstasy during which the initiated is thrust into a altered state of consciousness. The increase of his alcoholism, the threat of war, the years of Jungian therapy, and finally his interest in Amerindian art and culture led the painter to grasp at this animist religion, bearer of a promise of recovery simultaneously for himself and for society at large. Shamanism implies that the Initiate sacrifice his profane “self ” during a ritual simulating the violence of chaos and of death. Bald Woman with Skeleton, c. 1938-1941 The theme of sacrifice and death goes one step further in this major painting, setting out both a ritual sacrifice and the promise of rebirth. Around these two forms of life and death, a crowd of silhouettes apparently in a trance, celebrate the event. Behind the crowd, there appears a wall of flames, a Shamanic symbol both of creation and of destruction.Two guardians – whose skeletons are shown as though in an X-ray – as well as creatures in the shape of a sword, overshadow the composition.This Shamanic pictorial technique has as its aim to summon “chaos” or “death”. A fighting knife, Tlingit A Tlingit knife with a steel blade whose handle, in sculpted wood, is ornamented with a bird of prey's head, - an eagle more than likely – is reinforced by skin straps.The bird’s open beak shows sharp little teeth.The orbits are finely carved, the ovoid eyes are surmounted by large curved ears. Decorated with incrustations in elm bark on the nostrils, pupils and the ears, the head is covered in a heavy brown patina. 6 THE FUSION OF MAN AND THE ANIMAL If he wants to be re-born after the sacrifice, the aspiring Shaman must fuse with the animals, in other words, come back to nature.The bird, the wild beast, the serpent, allows the “self ” to grow and to increase his capacities during the ritual known as “incorporation”. Man then ceases to be limited to his sole function as a rational thinker, he is endowed with new physical and spiritual connections with the universe. Man, Bull, Bird, c. 1938-1941 A bull, a horse, an eagle’s skeleton, a bird’s fetus, serpents, in Man, Bull, Bird, Pollock displays a whole range of Shamanic symbols, related to the concept of “incorporation”. Sometimes he fuses them, sometimes he scatters them in the manner of “soul catchers” engraved with human or animal effigies. They also suggest a search for balance between different constitutional elements in man, a recurring theme for Pollock.The animal representation is there to remind us that man must get closer to nature and to the animal realm to which he belongs. Untitled, c. 1939-1940 Colored pencils and crayons, 36,2x27,9 cm Collection Mandy and Jonathan O’Hara, New York The upper motif of the work shows a human being and an angular animal’s head that might belong to a horse or, more likely, to a bird.The lower half shows a kneeling man, also assimilated to a horse.The drawing suggests the man dozing, or in a trance, gives birth to a totemic figure, and is thus subjected to a transformation, allowing him to attain a superior level of elevation. Amulet, Soul catcher A “soul catcher” Shamanic Tlingit amulet, carved in a whale’s tooth.The Shaman is shown with his hands crossed between two figures of supernatural spirits: at one end, a salmon or more probably, a humpbacked whale, at the other a bird.The Shaman’s head is placed on the whale’s breathing apparatus. Along the sides, we can make out fins, as well as the whale’s spine, recurring symbols in the totem-spirit.The eyes are incrusted with elm bark. THE FUSION OF MAN AND WOMAN So as to achieve this alteration of being, the man and the woman must be symbolically coupled. Coupling is another form of fusion.The Shamanic ritual of fusing the masculine and feminine principles allows life to be engendered, i.e. the recovery and renewal of the human being. Composition on paper 1, c. 1946 This painting, unusual in the artist’s output, nonetheless retains a familiar composition. In the centre, the horizontal shape penetrating the large silhouette suggests copulation – a frequent theme in Pollock’s œuvre. However, it is not the Freudian sensual symbolism that is broached here, but rather the 7 “primitive” ritual of fertility, called “birth” by Pollock. A “proto-plasmic” shape seems to emerge from the female form.The “masculine” form in erection stands out against a silhouette made up of intertwed shapes, suggesting vital energy. Like the Shamanic figures in the Lascaux caverns, the figure in erection appears to be in ecstasy. On the opposite side, and facing the female and male figures, a little shape turned in upon itself appears to celebrate the ritual act of copulation, as a prelude to the renewal of life. Fertility mask in painted wood British Columbia The Arts Manual by Jackson Pollock, 1951 (detail) GERMINATION – BIRTH The result of fusion is renewal. For Pollock, like for the between the wars philosopher Henri Bergson, procreation and creation were synonymous. To death and to sacrifice, Pollock and his mentor, André Masson, preferred the renewal of life. Shamanic ritual art, such as it interpreted by Pollock suggest a positive transformation Birth, c. 1938-41 Tate, London A major painting among the early works, Birth quite obviously reflects the process of Shamanic spiritual transformation that Pollock had appropriated. Here the painter has created one of the key images of his primitivism, a fictional figure, an assembly of forms, of functions, and of expression, creating the illusion of an “Indian Totem”. A totemic house mast Hïda or Nootka British Columbia 8 André Masson, Germination, 1942 Nature is not only a place of confrontation, a source of threatening instincts, or a beneficial place, the necessary counter-balance to triumphant rationalism, it is also the incarnation of creativity that characterizes mankind and the world. If, for Pollock it was symbolized by procreation, for Masson it wore natural forms – fish, birds, and seed – in other words, the luxuriant colors of tropical fauna and flora of the Caribbean where he had lived, and that are found in his Germination. For Masson, like for Pollock, to recreate the world, it was necessary to impregnate it. Fish box, Eskimo An Eskimo box in the shape of a fish, probably a halibut.The head, the body and the tail are encrusted with mother of pearl, the fin has a turquoise mother of pearl, and the remains of a fiber thread with which to open it.This box might have contained ritual objects as well as more everyday things. It probably belonged to a member of an important family, because it is of extremely delicate and refined workmanship. GRAPHIC PAINTING – PICTOGRAMS Transformation is not a pictorial subject, it is also a style. Pollock sought to develop a pictographic style, unusual and concrete, enabling him to reproduce as closely as possible, even allowing him to relive the Shamanic ecstasy and the vital renewal. Untitled 1074, 1078, 1082, 1944-1945, etching and dry-point Adding to the fashionable graphic language of the times, Pollock’s line became more dynamic. Around the mid-forties, the painter learnt printing in Stanley Hayter’s workshop, who had left Paris for New York, bringing along with him a goodly number of artists and particularly the Surrealists. As can be seen in Untitled 1074, 1078, 1082, and other unfinished works from 1944-45, Pollock was not very gifted for etching. As has already been said, these works were not printed during his lifetime. However, it is nonetheless clear that handling the chisel helped the artist to strengthen his strokes; the outlines became more fluid, the shapes intermingled.The subjects of the etchings and of the dry-points are on the whole 9 indecipherable.They may be variations on studies of classical masters, apart from one work, the most fragmentary of all, N°1082 that recalls body parts as though carried away by a whirlwind, and that seems like an echo to the etchings and drawings that Pollock called his war works. During the forties, his line was no longer simply brief, graphic and vigorous, it became definitively expressive.. THE ABSTRACTIONS By means of these graphic simplifications, Pollock was trying to summon up directly on the canvas the universe’s vital forces and not only to represent them in symbolic form. In the Shamanic ritual, dance and trance allowed one to attain ecstasy. Untitled vertical IV, 1949 Number 21, 1950 Pollock and his contemporaries sought to attain a magical world that, like a heap of supernatural forces, would allow access to an uninterrupted flow of fecundity and transformation, to ritual accomplishments as preludes to the emergence of a new, solar being. Whereas destruction was rampant both in the outside world and in his private life, it was within an inner renewal, the quest for what Kandinsky termed “the spiritual”, that Pollock drew his energy and his art. Pollock’s “drippings” gave a visual shape to the psychic transformation of Western man towards myth and the sacred. Pollock had made his own the Shamanic belief according to which everything is alive, all the beings being linked to each other by a network of interactive forces that mould the universe.This dynamic network makes up, in a way, the boundless reservoir of spiritual forces and powers which can be transmitted to the natural world and in which the Shaman or “blessed being” can delve. In the Shamanic concept of a cosmic renewal, every object possesses an infinite potential for transformation. Nature, earth, and sky are not dead substances, but on the contrary are entities endowed with a magical vital power. THE DANCE Shortly before killing himself in a driving accident, Pollock had painted canvases in which he once again took up his favorite themes – proof that he had never abandoned them even if at times they vanished under a turmoil of strokes; His last works are an echo of the early ones, suggesting that his quest was never over. Triad, 1948 In the so-called drippings period, (1947-1950), he mostly used the new technique of the cutout, to summon up the single silhouette of the celebrant and that of the human crowd. Triad, shows three dynamic “silhouettes” cut out on a dark background.The two torsos that can be seen on the right seem to be enjoying a mating ritual in homage to the isolated silhouette on the left. It must be pointed out that these figures are among the most representative of the cutout technique, which Pollock regularly used throughout his career. Here again, the “figurative” fragments are suggested through colored planes that let us see one or more silhouettes, evocative of the vital forces animating the body and soul of the Shamanic figures. 10 SEEKING THE MAGICAL TRANSFORMATION – THE ECSTASY Pollock’s men and women are born again thanks to the magic of the shamanic ritual.They set out to seek the symbol that will embody the new “me” presented in the guise of ritual primitive Amerindian masks. André Masson, Constellation, Nébuleuse, 1949 Constellation owes a lot to Miro and to his colored landscapes from the 1920s, which summon up the cosmic presence and the quest for the universe’s supernatural powers, two recurring themes in Pollock’s paintings. Even if the shapes and the space surrounding them are biomorphic, in both painters’ works, we note that nature is never reduced to itself, but is used as a metaphor for the broader reality in which are inscribed the determinants of the human condition. Masson also altered the scale of natural creatures and of the space surrounding them to represent a new world that would be designed no longer by politics but by metaphysics. Projection of anthropological movies on Amerindian populations To discover the Amerindians’ way of life including the Shamanic ritual ceremonies. Extract of the movies presented: The Kwakiutl of British Columbia by F. Boas and B. Holm, 16mm, N&B, 55’, 1930. Aspects of the Kwakiutl Indians’ traditional culture. The Land of the war canoes by Eduard Curtis. 16 mm, N&B, 50’, 1914-1972. A romantic saga with the Kwakiutls on the Pacific North-western coast. The Spirit of Navajos by T. Maxine & Mary J. Benally Susi, 20’32. The film illustrates a Navajo therapy session thanks, among others, to sand paintings. Like in several other films in the series, this one starts with the gathering of plants that will then be used to make pigments used to carry out the painting. These differing views allow, apart from the discovery of this population, to understand Jackson Pollock’s work, who was influenced throughout his entire artistic career by the Shamanic world. These films are extracted from the catalog of the SFAV (Société Française d’Anthropologie Visuelle). 11 Simplistic representation of the route of the exhibition Artistic director Marc RESTELLINI assisted by Hélène DESMAZIÈRES Scientific commissioner Stephen POLCARI Scientific Committee Samuel SACHS II, President of the Pollock-Krasner Foundation Susan DAVIDSON, curator of the Solomon R. Guggenheim Museum Joan WASHBURN, Pollock Estate Encounters and debates around the exhibition: Conference “Jackson Pollock and Shamanism”,Tuesday February 4, 2009, in partnership with Connaissances des arts, in the Pinacothèque de Paris. 12 AVAILABLE PICTURES FOR THE PRESS Jackson Pollock Composition with cubic forms, c. 1934-1938 Oil on canvas; 57,1 x 77,4 cm Private collection Jackson Pollock Man, Bull, Bird, c. 1938-1941 Oil on canvas; 60,9 x 91,4 cm Berry-Hill Galleries, New York Jackson Pollock Composition with oval forms, c. 1934-1938 Oil on masonite; 26,7x42,5 cm José Mestre Collection Dance Hatchet, Haïda Wood, pigment; L. : 25,5 cm Under the wings is inscribed: made by the Indians of Queen Charlotte Island, British Columbia:Victoria Vancouver Island, April 25th, 18959 (probably the place and date of the object’s purchase). Provenance Franklin D.Austin, born in 1918, president of the New York mining Company (gold mines) Private collection © Pinacothèque de Paris - Fabrice Gousset Shaman’s death mask, bird-falcon spirit, c. 1840-1870 Sculpted and painted wood, with teeth in elm bark; 20,5 cm Steven Michaan Collection © Steven Tucker 13 Jackson Pollock Untitled (composition with ritual scene), c. 1938-1941 Oil on canvas mounted on masonite; 45.7 x 120 cm. Sheldon Museum of Art, University of NebraskaLincoln NAA-Nebraska Art Association Collection, through the gifts of Mrs Henry C. Woods, Sr., Mr and Mrs Frank Woods, Mr and Mrs Thomas C.Woods, and Mr and Mrs Frank Woods, Jr. By exchange: Woods Charitable Fund in memory of Thomas c. (Chip) Woods, III, and other generous donors. Soul catcher Amulet,Tlingit (probably Tantakwan,Tlingits from the south), c. 1850-1870 Bear’s femur, hollowed out and sculpted in relief, set with decorations in sea urchins’ shells. Leather strap; 17,2 cm Steven Michaan Collection Jackson Pollock Figure kneeling before arch with skulls, c. 1934-1938 Oil on canvas; 68,58 x 53,66 cm Courtesy Washburn Gallery New York and the Pollock-Krasner Foundation Inc. © Steven Tucker Jackson Pollock Composition with Horse at Center, c. 1934-1938 Oil on panel; 26,4 x 52,7 cm Gerald and Kathleen Peters Collection 14 Jackson Pollock Untitled, c. 1939-1942 Front; pen, ink and pencil on paper 45,7 x 35,2 cm Courtesy Washburn Gallery, New York and the Pollock- Krasner Foundation Inc. Jackson Pollock Untitled (Number 25), c. 1939-1940 Colored pencils and crayons; 36,2 x 27,9 cm Collection Mandy and Jonathan O’Hara, New York Soul Catcher Amulet in ivory,Tlingit Whales’ tooth pierced and sculpted, set with decorations in elm’s bark Steven Michaan Collection © Steven Tucker Jackson Pollock Birth, c. 1938-1941 Oil on canvas; 116,4 x 55,1 cm Tate, London © Pollock-Krasner Foundation Inc. Photo © Tate, London 2008 15 Frontal with a falcon’s head, Covarubias Painted wood and elm’s bark; 21,5 cm Steven Michaan Collection © Steven Tucker Ritual Shamanic rattle in carved wood and stag's hoof,Tlingit, c. 1850-1880 Carved and painted wood. Black stag's hoof and spur sewn with natural fiber threads; H. 23 cm Steven Michaan Collection © Steven Tucker Jackon Pollock Equine - series IV, c. 1944 Oil on canvas; 50.8 x 61 cm. Jan Ghisalberti Collection Face Mask,Tlingit, North-Western coast Blue-green polychrome highlighted in red, black and white pigments.The head’s outline set with hairs made from horsehair; H. : 24 cm Steven Michaan Collection © Pinacothèque de Paris 16 Jackson Pollock Composition on Paper I, 1946 Oil on paper mounted on canvas; 40,6 x 32,4 cm Private collection, Courtesy Guggenhein Asher Associates Jackson Pollock Number 21, 1950 Oil on masonite; 56.5 x 56.5 cm Private collection New York, Courtesy Ikkan Art International, Inc., New York Jackson Pollock Untitled,1949 Oil and enamel on canvas mounted on masonite; 45,7 x 58,4 cm Private collection, Courtesy Knoedler & Compagny, New York Totem Mast (detail) Wood. Steven Michaan Collection © Steven Tucker 17 André Masson Le fifill d’Ariane, 1938 Sand, gouache, tempera on wood; 22 x 27 cm Private collection, Paris André Masson Germination, 1942 Oil and sand on canvas; 43,5 x 48 cm Private collection, Courtesy Galerie Cazeau-Béraudière, Paris MANDATORY MENTIONS FOR THE MEDIA (JACKSON POLLOCK AND ANDRÉ MASSON WORKS) : All or part of the works mentioned in the press kit is protected by the authors’ copyright.Works from ADAGP (www.adagp.fr) may be published on the following conditions: • For the press publications who have signed an agreement with ADAGP: refer to the latter’s stipulations. • For the other press publications: - Exoneration of the first two reproductions illustrating an article devoted to a current event and with a maximum size of 1/4 page; - Beyond that number or format the reproductions will be subject to reproduction rights. Any reproduction on a cover or on the front page must be requested from the Presse Service at ADAGP; - The copyright to be mentioned alongside every reproduction will be: author’s name, title and date of the work followed by © ADAGP, Paris 200... (date of publication), and that notwithstanding the image’s provenance or place of conservation of the work. 18 LIST OF WORKS ON SHOW PAINTINGS BY JACKSON POLLOCK Seascape, 1934 Oil on canvas; 30,4 x 40,6 cm Santa Fe Art Foundation Composition with cubic forms, c. 1934-1938 Oil on canvas; 57,1 x 77,4 cm Private collection Untitled (Bald Woman with Skeleton), c. 1938-1941 Oil on masonite placed on a support; 50,8 x 60,9 cm Hood Museum Of Art Dartmouth College Hanover, New Hampshire Purchased through the Miriam and Sidney Stoneman Acquisitions Fund Composition with Vertical Stripe, c. 1934-1938 Oil on canvas; 57,1 x 76,2 cm Gerald Peters Gallery Untitled (panel A), c. 1934-1938 Oil on masonite; 18,2 x 13,4 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Figure kneeling before arch with skulls, c. 1934-1938 Oil on canvas; 68,58 x 53,66 cm Courtesy Washburn Gallery New York and the Pollock-Krasner Foundation Inc. Untitled (panel B), c. 1934-1938 Oil on masonite; 18,2 x 13 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Composition with horse at right, c. 1934-1938 Oil on masonite; 15,8 x 46,3 cm Courtesy Washburn Gallery New York and the Pollock-Krasner Foundation Inc. Composition with Horse at Center, c. 1934-1938 Oil on panel; 26,4 x 52,7 cm Collection Gerald and Kathleen Peters Coomposition with oval forms, c. 1934-1938 Oil on masonite; 26,7 x 42,5 cm Collection José Mestre Man, Bull, Bird, c. 1938-1941 Oil on canvas; 60,9 x 91,4 cm Berry-Hill Galleries, New York Untitled (composition with ritual scene), c. 1938-1941 Oil on canvas mounted on masonite; 45.7 x 120 cm. Sheldon Museum of Art, University of NebraskaLincoln NAA-Nebraska Art Association Collection, through the gifts of Mrs Henry C. Woods, Sr., Mr and Mrs Frank Woods, Mr and Mrs Thomas C.Woods, and Mr and Mrs Frank Woods, Jr. By exchange: Woods Charitable Fund in memory of Thomas c. (chip) Woods,III, and other generous donors. Untitled (panel C), c. 1934-1938 Oil on masonite; 18,2 x 13,4 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled (panel D), c. 1934-1938 Oil on masonite; 18,4 x 12,3 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled (panel G), c. 1934-1938 Oil on masonite; 10,9 x 18,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled, c. 1934-1941 Gouache on gray cardboard; 28 x 49 cm Gerald Peters Gallery Untitled (Number 25), c. 1939-1940 Pencil and orange crayon on paper; 35,5 x 27,9 cm. Collection Mandy and Jonathan O’Hara, New York Untitled (number 37), c. 1939-1940 Pen, ink, black pencil and colored pencil on coated paper; 35,6 x 27,9 cm Hood Museum of Art, Dartmouth College, Hanover, New Hampshire Purchased through a gift from Olivia H. and John O. Parker, class of 1958, the Guernsey Center Moore 1904 Memorial Fund, and the Hood Museum of Art Acquisitions Fund. 19 Untitled, c. 1939-1942 Front: pen, ink and pencil on paper Back: pen, ink and color wash on paper 45,7 x 35,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Mosaic on concrete, c. 1938-1941 Frame in brass; 137,2 x 61 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Birth, c. 1938-1941 Oil on canvas; 116,4 x 55,1 cm Tate, London © Pollock-Krasner Foundation Inc. Photo © Tate, London 2008 Male and Female in Search of a symbol, 1943 Oil on canvas; 109,2 x 170,1 cm Private collection Untitled, c. 1943 Ink, gouache, and watercolor on collage mounted on blue paper; 40,6 x 30,5 cm Kasser Art Foundation, Montclair, New Jersey Untitled, c. 1943 Pen, ink and colored pencil on paper; 30,4 x 22,2 cm Private collection, Munich Equine - series IV, c. 1944 Oil on canvas; 50.8 x 61 cm. Collection Jan Ghisalberti Composition on Paper I, 1946 Oil on paper mounted on canvas; 40,6 x 32,4 cm Private collection, Courtesy Guggenhein Asher Associates Composition on Paper II, 1946 Oil on paper mounted on canvas; 41,9 x 33 cm Private collection, Courtesy Guggenhein Asher Associates Triad, 1948 Oil and enamel on paper mounted on cardboard; 52,1 x 65,4 cm Art Enterprises, Ltd, Chicago, Illinois Untitled (vertical #4), 1949 Oil on canvas; 69,3 x 30,4 cm Private collection, Miami, FL Number 21, 1950 Oil on masonite; 56.5 x 56.5 cm Private collection New York, Courtesy Ikkan Art International, Inc., New York Untitled, Drawing (795), c. 1950 Black ink on paper; 52 x 66 cm Private collection,Toronto, Canada The Arts Manual by Jackson Pollock, 1951 Ink and color wash on Howell paper; 45,1 x 54,6 cm Private collection, New York, Courtesy Jason Mc Coy Inc., New York Untitled,1949 Oil and enamel on canvas mounted on masonite; 45,7 x 58,4 cm Private collection, Courtesy Knoedler & Compagny, New York Untitled 1082, c. 1944-1945 (Posthumous edition by Emiliano Sorini in 1967) Etching and dry-point on Italian paper n° 11/50; 21,2 x 28,6 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled 1078, c. 1944-1945 (Posthumous edition by Emiliano Sorini in 1967) Etching and dry-point on Italian paper n° 11/50; 36,2 x 43,9 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled 1074, c. 1944 (Posthumous edition by Emiliano Sorini in 1967) Etching and dry-point on Italian paper n° 11/50; 28,9 x 25,4 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled, 1951 (Posthumous edition 1964) Silkscreen; 73,6 x 58,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. 20 Untitled, 1951 (Posthumous edition 1964) Silkscreen; 73,6 x 58,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled, 1951 (Posthumous edition 1964) Silkscreen;73,6 x 58,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled, 1951 (Posthumous edition 1964) Silkscreen; 73,6 x 58,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Untitled, 1951 (Posthumous edition 1964) Silkscreen; 73,6 x 58,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. Paysage en forme de poisson, 1941 Oil on canvas; 36 x 46 cm Private collection, Paris Le fifill d’Ariane, 1938 Sand, gouache, tempera on wood; 22 x 27 cm Private collection, Paris Figure Personnage Animal, 1927 Sand and tempera on canvas ; 41 x 16 cm Private collection Rapt, c. 1942 Dry point; 30,5 x 40,5 cm Private collection, Paris Massacre, 1931 Oil on canvas; 32,5 x 41,2 cm Private collection, Paris Germination, 1942 Oil and sand on canvas; 43,5 x 48 cm Private collection, Courtesy Galerie Cazeau-Béraudière, Paris Untitled, 1951 (Posthumous edition 1964) Silkscreen; 73,6 x 58,2 cm Courtesy Washburn Gallery, New York and the Pollock-Krasner Foundation Inc. OBJECTS PAINTINGS BY ANDRÉ MASSON Fish club Wood; 55 cm Steven Michaan Collection Coptic Miror, 1942 Tempera and sand on canvas; 50,7 x 63,5 cm Private collection Shaman’s Atlatl Wood; 36 cm Steven Michaan Collection La sorcière, 1942 Oil and tempera on canvas; 72 x 51 cm Private collection, Paris Constellation nébuleuse, 1942 Sand and tempera on cardboard; 31 x 24,5 cm Private collection Soul catcher Amulet,Tlingit (probably Tantakwan, southern Tlingits), c 1850-1870 Bear’s femur, emptied and carved in relief, set with decorations in sea-urchin’s shells. Leather band ; 17,2 cm Steven Michaan Collection Chantier d’oiseaux, 1941 Oil on canvas; 36,5 x 45,5 cm Private collection, Courtesy Galerie Philippe Cazeau, Paris Soul catcher Amulet in ivory,Tlingit Whale’s tooth pierced and carved , set with decorations in elm bark Steven Michaan Collection 21 Sheishoo, little rattle figuring a crow, Amerindians from the North-Western coast, c. 1780-1800. Painted hard wood, band in deerskin; 26 cm Steven Michaan Collection Fighting knife,Tlingit, c. 1820 Steel blade, handle decorated with incrustations in elm bark, tied by leather straps; 38,5 cm Steven Michaan Collection Bowl shaped like a sea otter, Kwakwaka’wakw, Gwats’Inuxw tribe, 1750-1800 Wood (probably pine), the sea otter’s head in this Kwakiutl bowl has little teeth in mother of pearl and the body is incrusted with glass beads. Steven Michaan Collection Amulet Wood; 9 cm Steven Michaan Collection Shaman’s ritual rattle in carved wood and deer’s hoof. Tlingit, circa 1850-1880 Carved and painted wood . Black deer’s hoof and claws sewn with natural fiber threads; H. 23 cm Steven Michaan Collection Killer whale rattle, Haïda, c. 1880 Carved hard wood; 23,5 cm Steven Michaan Collection Shaman’s death mask, hawk bird spirit, c. 1840-1870. Carved and painted wood, with teeth in elm bark; 20,5 cm Steven Michaan Collection Make-up bowl Wood; 10,2 cm Steven Michaan Collection « War » Helmet Wood; 25,7 x 22,5 cm Steven Michaan Collection Frontal with a hawk’s head, Covarubias Painted wood and elm bark; 21,5 cm Steven Michaan Collection Soapberry spoon Wood; 39,5 cm Steven Michaan Collection Little head, Eskimo Wood; 3,5 cm Steven Michaan Collection Fish box, Eskimo Wood and pearl; 16,5 cm Steven Michaan Collection Ivory sea-otter, c. 1850 Carved walrus ivory showing little perforations as well as inscriptions; 11,5 cm Steven Michaan Collection Comb Wood; 15,3 x 5,6 cm Steven Michaan Collection Mask with a human face, Eskimo Inupiak, (Uncertain provenance : Pt Hope or Pt Barrow), c 1830-1870 Wood; 21,5 cm Steven Michaan Collection Mask, c. 1880 Wood with incrustations walrus teeth; H. : 21,5 cm Steven Michaan Collection Little mask, Eskimo 11,5 cm Steven Michaan Collection Mask, Eskimo 23 cm Steven Michaan Collection Small head, Eskimo, c. 1850 Wood incrusted with ivory; 8,4 cm Steven Michaan Collection Mask, Eskimo Wood; 23,5 cm Steven Michaan Collection 22 Mask, c. 1850 Carved wood; 7,5 cm Steven Michaan Collection Dance rattle Wood and pigments; L. : 30 cm Private collection Totem mast Wood. Steven Michaan Collection Shaman’s blanket, Chilkat,Tlingit L. : 161 cm Private collection Cut totem statue, Nootka Wood. Steven Michaan Collection Spoon, Haïda Goat’s horn; 26,5 cm Alain Schoffel Collection Facial mask ,Tlingit, North-Western coast Blue-green polychrome highlighted with red, black and white pigments.The head is surrounded with hair made of horsehair; H. : 24 cm Steven Michaan Collection Spoon, Haïda Goat’s horn; 22,5 cm Alain Schoffel Collection Totemic figure, British Colombia Private collection, Paris Fertility mask, British Colombia Painted wood. Private collection, Paris Household totem mast, Haïda or Nootka, British Colombia Private collection, Paris Dance rattle, Haïda Wood, pigments; L. : 25,5 cm Under the wings is written: made by the indians of Queen Charlotte Island, British Columbia and : Victoria, Vancouver Island, April 25th 1859 (probably the place and date of purchase of the object) Provenance : Franklin D. Austin, born in 1918, President of the New York mining Company (gold mines). Private collection Small totem in clay Private collection Spoon, Haïda Goat’s horn; 26 cm Alain Schoffel Collection Spoon, Haïda Goat’s horn; 31,5 cm Alain Schoffel Collection Spoon, Haïda Goat’s horn; 25 cm Alain Schoffel Collection Box, Inuit Wood with decorations in ivory or bone; 44,5 cm Alain Schoffel Collection Animal, Inuit Ivory; 11,8 cm Alain Schoffel Collection Little box, Inuit Ivory, wood, copper, ornamented with a figure and a crow’s head; H. : 10 cm Alain Schoffel Collection Statuette of a woman carrying a child on her back Thule Culture (1000-1700), Alaska Ivory; H. : 10 cm Private collection 23 CATALOG AND PUBLICATIONS On the occasion of the exhibition «Jackson Pollock and Shamanism», the Éditions Pinacothèque de Paris have published an illustrated book and a portfolio. Jackson Pollock et le chamanisme By Stephen Polcari, professor of art history at Chapman University, author of the major essay « Abstract Expressionism and the Modern Experience ». Adaptation of Stephen Polcari’s texts by Maïca Sanconie and Martine Desoille. « Jackson Pollock’s evolution is totally in tune within the hypotheses, culture and the values of his time. His art comes from a group of ritual and psychological transformations, which occurred as a reaction to the destructive conflicts between 1930 and 1940, and to the socio-cultural context deemed to have produced them. Jackson Pollock denounced the society that had engendered a mass mankind, even before the creation of the totalitarian system that led to Nuremberg. Anxious to represent the dangerous emptiness of that society and to point to the possible means of transforming it, Pollock was inspired by the powers and the images of the subconscious, and he sought it out in the world’s cultural wealth, in its past as well as in its modernity. He called upon new sources of transformation, ignored by the urban industrial society. » Stephen POLCARI In this fascinating essay Stephen Polcari casts a new look on the body of work of one of the major artists of the 20th century. Contents: - Contexts, influences, references - Jackson Pollock’s «Idea of Shamanism» - The impact of World War Two - The search: Pollock and man’s re-awakening - The final result: dripping or the invisible image - « I am nature » Number of pages: 260 Format: 28 x 23,5 cm Number of illustrations: 160 Price: 40 euros ISBN : 9782953054675 Publisher: Pinacothèque de Paris The portfolio « Jackson Pollock et le chamanisme » offers in a large format a selection of the most beautiful paintings and Shamanic objects. The portfolio is accompanied by a documentary on Jackson Pollock in the collection « Portrait d’artiste » The portfolio « Jackson Pollock et le chamanisme » Number of pages: 36 Format: 23,8 x 32 cm Number of illustrations: 40 DVD: 50 mn (zone2). Editions AKAVIDEO Price: 12,50 euros ISBN: 9782953054682 Publisher: Pinacothèque de Paris 24 THE PINACOTHÈQUE THE ADDRESS Place de la Madeleine... one of the most famous squares in the world. History and prestige made an appointment around the pillars of the Madeleine : cross-roads where the international trends in fashion, and gastronomy, references of a certain French way of life. Art, leaving the well-trodden paths, is shown in a new place, unusual, and generous, contemporary and happening, lending itself as much to discovery as to re-discovery. THE PLACE An extravagant gamble in the heartland of luxury where the price per square meter is calculated in terms of trade, where every closure of a « Parisian » space is followed by the apparition of a fashion boutique or of a fine caterer. Going against all possible bargaining, the choice of the Crédit Agricole, owners of the site, to welcome the Pinacothèque de Paris, is part of a new approach to the cultural spaces and of their aims. 28 place de la Madeleine provides the public about two thousand square meters spread out over three levels: - A basement like a puzzle in the mysterious innards of the city - A ground floor at pavement level with Parisian daily life - A first floor enlivened by the unusual architecture of the runways along the 19th century store rooms. DIRECTION: Marc RESTELLINI Art historian, organizer and exhibition curator throughout the world, since the 90s (Modigliani, Renoir, Picasso...), Marc Restellini inaugurated the Pinacothèque de Paris in November 2003 with an outstanding exhibition: “Picasso Intime, la collection de Jacqueline”.The museum was given a new lease of life in June 2007, place de la Madeleine, and since its opening it has hosted major exhibitions like Roy Lichtenstein, Chaïm Soutine, Man Ray, les Soldats de l’Éternité…. OVERALL DESIGNER: Laurent GUINAMARD-CASATI, heritage architect. THE WEB SITE A permanent link with the museum: the news, the booking of tickets, the contacts... During the exhibition, the exclusive videos, podcasts, archival INA. www.pinacotheque.com http://[email protected] 25 THE CHILDREN’S WORKSHOPS Workshops for children between 5 and 12 years old « Totem » Workshop Making of a totem by taking over an animal from the Shamanic culture.This totem will be made in the very specific style from the North-Western American region. Using colored paper, collage and stained, silk… « Lucky charm » Workshop For the Shamans, many animals possessed a power, thanks to many-colored feathers, as well as various wooden objects, the child can make his own lucky charm. « Dripping » Workshop Using the same technique of pouring and dripping to paint like Jackson Pollock. . Pollock children’s program – Useful information: - « Lucky charm » Workshops, every Wednesday at 4 pm From Wednesday October 22, 2008 until Wednesday February 11, 2009 - « Totem » Workshop, every Saturday at 2 pm From Saturday October 18, 2008 until Saturday February 14, 2009 - « Dripping » Workshop, every Saturday at 4pm From Saturday October 18, 2008 until Saturday February 14, 2009 Price: 9 euros Workshops for a minimum of 5 children and maximum of 10 Length of the workshops: 1h30 (30 mn visit + 1h workshop) Mandatory bookings Information and reservations at the Service Jeunesse 28 place de la Madeleine - 75008 PARIS Véronique BESLUAU Tel. : 01 42 68 35 40 Fax : 01 42 68 02 09 [email protected] 26 THE PINACOTHÈQUE BOUTIQUE An unusual and resolutely contemporary space, measuring 80m2 emphasizing French and European creativity, little known to the French public. There you can find works on the current exhibitions, a youth space (works on art history, card games, memory, wooden games...), a luxurious paper shop, decorative objects (contemporary mobiles, original creations in origami...) and splendid jewels designed by ever more inventive creators. In the context of the exhibition “Jackson Pollock et le chamanisme”, The Pinacothèque boutique offers : Pollock Manga Rosa Roost In exclusivity and in a limited edition Raphaëlle Barbet creates genuine moving jewels, to be hung up, clipped on, to be attached... inspired by the exhibition “Jackson Pollock et le chamanisme”. Price: from 22 euros Perchoir Pollock ©réation 2008 Raphaëlle Barbet-Manga Rosa Still in connection with the exhibition, the boutique offers a fine selection of books on Jackson Pollock, an original collection of teacups and original posters. 28 place de la Madeleine - 75008 PARIS Open every day from 10h30 to 18h30 Tel. : 01 42 68 81 05 [email protected] 27 USEFUL INFORMATION OPENING HOURS The Pinacothèque de Paris is open every day from 10h30 until 18h Tuesday December 25 and January 1st, open between 14h to 18h Ticket office closes at 17h15 Late openings every first Wednesday in the month until 21h00 (ticket office closes at 20h15) Full Rate: 9 euros Reduced rates (on presentation of a document):: 7 euros From 12 to 25 year olds, students, job seekers (document less than one year old), large families, Améthyste and Emeraude cards, Maison des artistes, priority card for handicapped people, guides and lecturers, art teachers and visual art teachers Free entrance (on presentation of a document) For under 12 years, journalists, ICOM, RMI, ASS and minimum old age pensioners, Conference Guides and professors with a group reservation, invalid card holders. Group Rate: 8,50 euros Children’s workshops Mandatory reservation, workshops on Wednesdays and Saturdays. Length of time 1h30 – Rate: 9 euros RU E E D GARE SAINT-LAZARE ME CAUMARTIN O M E RUE RE L E VA R ET R RIB CAUMAR E RU T DE DO GO RUE IX LA E D LE YA E RU T IN E OR T-F L IN Place du Marché Saint-Honoré N É LI O EN E RU ES A R IG ST NU CA RU E PYRA MIDES R U E ER NI ON L L EM RI N O VO R É LI RA ES O NÉ RI H DE GÉ ILE T DU TU IN UE S EN DE A Place des Pyramides JARDIN DES TUILERIES AV ASSEMBLÉE NATIONALE P la C ont d on e cor de D ’ O R S AY UE A QUAI AI TU ILERIES R PÉR MUSÉE DE L’ORANGERIE L’ O RI VO LI DE DE D E E GALERIE NATIONALE DU JEU DE PAUME QU AV E RU O A N © G.Guinamard RO BO E RU PÉR O RU E S Place de la Concorde L’ O S H S Car park : Madeleine Tronchet Vinci / Rue Chauveau-Lagarde / Rue Caumartin NES E Place Vendôme SA IN T CONCORDE ÉE SC TIN Y ON MA DE E ON RU AN Y UE ISS IN EN C AV Velib’ U YS UCI DE P ÉL ARD A PETIT PALAIS LEV BOU E RU E HÔTEL DE LA MARINE PS ELE IN C Bus 42, 52, Madeleine and Madeleine-Vignon stop. Bus 24, 84, 94, Madeleine stop AM ZE Velib’ MAD BD DE LA OPÉRA P Place de C A l’Opéra DES S RÉ SÈ OLYMPIA E NO URO TR GL AS PLACE DE LA MADELEINE ER THÉÂTRE ÉDOUARD VII E HO D' AR M T DE B NU IN DE A E CHAUSSÉE-D’ANTIN LA FAYETTE OPÉRA GARNIER U D CH M A D EL E I N E Velib’ RU A E S E Place Diaghilev AUBER E U DE RD ANN AV E S HÔTEL CRILLON UE GA RUE O PALAIS U DE L’ÉLYSÉE R G U GALERIES LAFAYETTE SSM R EN LA ES IG B RB U NY A AU HE AV VE ES F AU VIGN AL DU E C H RUE M Métro : line 8, 12, 14, Madeleine stop, place de la Madeleine exit RU PROVENCE DE HAU CH D MINISTÈRE DE L’INTÉRIEUR RU E THÉÂTRE MOGADOR PRINTEMPS D HAVRE C AUMART IN AR PINACOTHÈQUE DE PARIS 28, Place de la Madeleine 75008 PARIS Tel. : 01 42 68 02 01 RE E R TRINI TÉ D’EST IENNE-D’O RVES HAUSSMANN SAINT-LAZARE DE E RUE D BOU Square LOUIS XVI EV L AMIROMESNIL ANN HAV SSM E DU HAU U RUE Place St. Augustin ÉTIE UL ACCESS RD R BO BO L E VA LAZA - T SAIN RUE BOU PA Square M. PAGNOL Place d’Estienne d’Orves SAINT-LAZARE RO SAINT-AUGUSTIN 28 DIRECTION Director : Marc RESTELLINI Assistant Hélène DESMAZIÈRES Tel. : 01 46 34 74 40 Fax : 01 46 34 61 62 [email protected] ADMINISTRATION Céline THOUROUDE Tel. : 01 42 68 02 01 Fax : 01 42 68 02 09 [email protected] PRESS OFFICE - KALIMA Tygénia SAUSTIER Tel. : 01 44 90 02 36 - 06 19 91 40 03 Fax : 01 45 26 20 07 [email protected] PUBLIC SERVICE Chloé GUILLEROT Tel. : 01 42 68 81 07 Fax : 01 42 68 02 09 [email protected] GROUP SERVICE Chloé GUILLEROT Raïma KOUFEIDJI Tel. : 01 42 68 35 42 Fax : 01 42 68 02 09 [email protected] YOUTH SERVICE Véronique BESLUAU Tel. : 01 42 68 35 40 Fax : 01 42 68 02 09 [email protected] EDITIONS Marc RESTELLINI Alexandre CURNIER Tel. : 01 42 68 81 10 [email protected] Assistant: Frédérique LAVIGNE Tel. : 01 42 68 35 41 Fax : 01 42 68 02 09 [email protected] INTERNET SITE Alexandre CURNIER Frédérique LAVIGNE Tel. : 01 42 68 35 41 Fax : 01 42 68 02 09 [email protected] PINACOTHÈQUE DE PARIS BOUTIQUE (Open every day between 10h30 and 18h30) Benjamine FIEVET Tel. : 01 42 68 81 05 Fax : 01 42 68 02 09 [email protected] 29