PDF - Odon Wagner Gallery
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PDF - Odon Wagner Gallery
LUCIEN CLERGUE LA LUMIÈRE TRANSCRITE Lucien Clergue and Picasso, 1969 LUCIEN CLERGUE LA LUMIÈRE TRANSCRITE 198 Davenport Rd, Toronto ON M5R 1J2 Canada I Attraction oil on canvas, 48 x 48 [email protected] 416.962.0438 or 800.551.2465 odonwagnergallery.com LA LUMIÈRE TRANSCRITE Le mot Photographie, écriture avec la lumière, a été inscrit pour la première fois en 1834, dans les carnets de note d’Hercule Florence, un français expatrié au Brésil, n’en déplaise aux historiens qui attribuent le mot à l’anglais Hershel. Comme Niepce, Daguerre ou Fox Talbot, il cherchait lui aussi le moyen de fixer une image sur une surface sensible. Son isolement a fait que ses recherches sont restées oubliées bien longtemps. Lucien Clergue naît tout juste un siècle après dans Arles, une petite ville du sud de la France. Destin tracé pour un enfant que la mère voulait artiste en lui faisant enseigner le violon, destin tracé pour un adolescent myope qui allait regarder le monde comme nul autre, destin tracé enfin pour le jeune homme qui allait oser soumettre ses premières photographies au regard acéré de Pablo Picasso. Le jeune Lucien Clergue a été particulièrement marqué par la seconde guerre mondiale durant laquelle sa maison a été détruite comme toute une partie de sa ville, et par une maman malade à laquelle il a prodigué des soins durant toute son adolescence. On trouve ici le point de départ d’une démarche que d’aucuns qualifient de morbide alors qu’il ne s’agit que de montrer un autre état de vie et de devenir. C’est à l’âge de 14 ans que Lucien Clergue reçoit en cadeau d’anniversaire un appareil photo de sa maman. Elle n’imagine pas alors que son fils puisse devenir artiste autrement que par les vibrations des cordes de son violon. Pourtant Lucien Clergue trouve avec la photo un moyen d’écrire, voire de composer. Patiemment il expérimente, il torture les films, se forge une technique que rapidement, il ne recommande à personne car elle va à l’inverse de ce qui est écrit dans les livres. La mort dans ses images côtoie l’éphémère, la fierté gitanes exulte la tristesse des saltimbanques mis en scène à l’adresse de Picasso. Ce premier véritable corpus intitulée “La grande récréation” puise ses fondements dans des peintures telles que “La Grande parade” de Fernand Leger, “Les Arlequins” de Pablo Picasso ou encore dans l’aspect figé des personnages d’André Marchand. On y voit représentée une enfance désenchantée dans des photographies sans ombres où chacun des personnages cherche à trouver un équilibre à travers un autre. La mort, le drame, omniprésents, se manifestent, lui donne des armes pour convaincre. Les séries “la ville aux ruines”, “le marais d’Arles”, “les charognes” en témoignent. Il erre, il avance vers un destin dont il ne connait ni le chemin, ni les contours mais avec un acharnement et une audace qui lui valent l’estime immédiate de Pablo Picasso et de Jean Cocteau. La confiance et le soutien affirmé de ces deux figures de proue artistique des années 50 lui donnent des ailes. Il ose, comme un exorcisme, modeler dans la lumière le corps de la femme. Il remet la mort à sa place, la laisse dans les tombeaux creusés dans le roc de Montmajour et fait face à la vie. “Clergue fût sans doute le seul témoin de la naissance d’Aphrodite, qu’on se le dise” s’exclame Jean Cocteau. Les nus apparaissent comme un sursaut, comme un espoir de revanche après une adolescence empreinte de tristesse. Lorsque le poète montre à Picasso les premiers nus de la mer photographiés par Clergue, les membres et la tête coupée telles des statues antiques drapées par la mer, leur offrant ainsi une intemporalité absolue, le peintre admiratif s’exclame : “On pourrait signer Renoir” ! Et dès lors la lumière solaire s’imposera au photographe. Il se placera toujours face à elle, à des heures où l’on enseigne qu’il ne faut pas utiliser son appareil photo, mais c’est cela qui offre à l’œuvre de Lucien Clergue d’aller bien au-delà d’une simple opposition entre vie et mort. Il écrit une dramaturgie en image tant par les thèmes qu’il décline depuis 60 ans que par la composition esthétique avec laquelle il inscrit sa vision des choses sur la pellicule. En amenant ses amis gitans chez Picasso, il souligne le drame du maitre loin de son Espagne natale. Drame aussi que celui du taureau dans l’arène dont Lucien Clergue va célébrer le sacrifice en sacralisant l’instant de sa mort pour que nul n’en oublie la bravoure. Drame toujours dans les surimpressions où les corps nus de nos femmes sont livrés aux personnages des peintres des XVIIIème et XIXème siècles. Lucien Clergue va donc utiliser la photographie comme moyen d’expression tout en prenant son bâton de pèlerin pour en faire une discipline artistique à part entière, seul moyen de voir ses images – et celle des autres photographes – reconnues en tant qu’œuvres d’art. C’est ainsi qu’il fait rentrer la photographie dans les musées français (Arles 1965), dans l’enseignement universitaire en 1979 par la soutenance d’une thèse de Doctorat puis par la création de l’Ecole Nationale Supérieure de Photographie d’Arles en 1982 et enfin, reconnaissance suprême du parcours d’un homme par son élection à l’Académie des Beaux-Arts en 2006, la photographie est placée désormais à équivalence de la peinture, la sculpture, la musique et l’architecture au sein de l’Institut de France. Si la photographie subit aujourd’hui une grande mutation grâce aux impressions numériques et à l’utilisation d’ordinateur, Lucien Clergue sans rejeter ces évolutions a décidé de rester dans le creuset originel de l’argentique. Tous les tirages sont donc réalisés dans son laboratoire par lui-même ou sous son contrôle. Seule exception les très grands formats qui sont tirés selon ses indications dans un laboratoire spécialisé à Paris. Lucien Clergue a cependant expérimenté différentes techniques de tirage afin d’offrir à ses prises de vue le meilleur rendu 1 Picasso et les Colombes “La Californie” possible. Ainsi dans les années 80, il tente l’aventure du tirage Picasso’s residence from 1955-61, Cannes au charbon direct. Il s’agit d’un procédé de tirage élaboré par 1956, vintage silver gelatin print, 12 x 10 in. Pierre Fresson au milieu du XXème siècle sur la base d’une invention de Théodore-Henri Fresson à la fin du XIXème. L’utilisation d’une poudre de charbon de bois permet d’interpréter le noir car les zones sombres de la photographie prennent un effet pictural caractéristique, le hasard et l’aléatoire intervenant lorsque les grains se déposent sur le papier. Cette technique offre une garantie de conservation remarquable. Le procédé Fresson est transmis secrètement de père en fils. Dans la même quête, Lucien Clergue a utilisé le procédé dit Platinum/Palladium. Breveté en 1875, il s’agit d’utiliser des sels de platine et de Palladium qui sont beaucoup plus résistant que les sels argentiques permettant une stabilité de conservation qui n’a pour limite que celle de son support. Les tirages platines offrent en outre une gamme de tonalité beaucoup plus étendu que l’argentique. Sal Lopez qui a réalisé les tirages de Lucien Clergue est le tireur le plus prisé avec cette technique. A la faveur d’une semaine de repos en Suisse, Lucien Clergue ne vas avoir à sa portée qu’un petit appareil photo polaroïd. C’est avec une véritable frénésie qu’il va se mettre à utiliser ce format de prise de vue et créer des compositions avec des séries parfois de plusieurs dizaines d’images. Puis, en 1985 et 1987, la société Polaroïd va lui offrir la possibilité de travailler avec une rare chambre 20 x 24. (Image 11, 12, 13). La galerie Odon Wagner pour célébrer les 80 ans de Lucien Clergue a fait le choix de présenter une sélection exceptionnelle de photographies issue de toutes ces techniques de tirage et pour ce qui concerne l’argentique de ne proposer que des tirages “vintage” ou “first print” c’est-à-dire réalisé la même année que le négatif original. Ce qui confère à cet ensemble une rareté absolue. Jean-Francois Dreuilhe Ph.D., Art Sciences, Chevalier des Arts et des Lettres, Arles, France, 2014 TRANSCRIBED LIGHT The word “photography,” writing with light, first appeared in 1834 in the notes of Hercule Florence, a French expatriate in Brazil. Some historians, however, claim that the term was coined by the Englishman Hershel. Like Niepce, Daguerre and Fox Talbot, Florence was looking for a way to capture images on a light-sensitive surface. Because of his isolation, his research long remained unknown. Lucien Clergue was born exactly one century later in Arles, a small town in the south of France. His destiny had been mapped out. It was the destiny of a boy whose mother had artistic aspirations for her son and made him learn to play the violin. The destiny of a nearsighted adolescent who saw the world as no one else before. And ultimately, the destiny of a young man who dared to show his first photographs to the sharp-eyed Pablo Picasso. Young Lucien was deeply affected by World War II. His home and an entire section of Arles were destroyed. His mother’s illness also affected him, as he cared for her throughout his adolescence. These factors caused him to embark on a new path that some describe as morbid. Yet, in reality, it was merely indicative of another stage of life and development. At the age of 14, Clergue’s mother gave him a camera for his birthday. She was convinced that the only way her son could become an artist was through the vibrato of the strings of his violin. But Clergue discovered in photography a medium for writing, and even composing. He patiently experimented, brutalizing the camera’s film, and developed a technique that he was quick to discourage others from adopting since it went counter to everything written in books. Death in his images exists alongside the ephemeral. Gypsy pride revels in the sadness of Picasso’s acrobats. His first true body of work, entitled “La Grande Récréation,” was inspired by such paintings as Fernand Léger’s “La Grande Parade,” and Pablo Picasso’s “Les Arlequins.” It was also influenced by the static aspect of figures in works by André Marchand. Clergue depicts a disenchanted childhood in shadowless photographs where each figure is seeking equilibrium through another being. Death and tragedy are omnipresent. They provide him with persuasive tools, as evidenced by the series entitled “La Ville aux Ruines,” “Le Marais d’Arles,” and “Les Charognes.” He was searching, moving toward a destiny whose twists and turns were unknown to him, but his determination and daring were such that he quickly earned the esteem of Pablo Picasso and Jean Cocteau. The trust and strong support of these two titans of the art world in the 1950s gave him wings. As a sort of exorcism, he dared to mold the female body in light. He put death back in its place, relegating it to the tombs carved in the rocky slope of Montmajour, and turned toward life. “Make no mistake: Clergue was clearly the only one who witnessed the birth of Aphrodite,” exclaimed Cocteau. Nudes burst forth as if to convey a hope of revenge for an adolescence marked by sadness. When Cocteau showed Picasso the first sea nudes photographed by Clergue, headless limbless torsos draped by waves akin to ancient statues and imbued with absolute timelessness, the admiring painter proclaimed: “They could be Renoirs!” (Arles, France, 2013) Odon and Lucien in the artist’s studio curating Clergue’s first exhibition in Canada at Odon Wager Contemporary in Toronto From that point on, sunlight became essential to Clergue. He would always position himself looking toward it at times of the day when photography students are taught never to use a camera. But that is precisely what allows Clergue’s work to transcend the mere contrast between life and death. He writes a dramatic image-based narrative, both through the themes that have held his interest for 60 years and the aesthetic composition he uses to inscribe his vision of things onto film. When he took his Gypsy friends to see Picasso, it underscored the drama of the master, far from his native Spain. The bull in the arena is another drama. Clergue celebrated its sacrifice by sanctifying the moment of its death so that no one would forget the animal’s bravery. Still another drama unfolds in the double exposures where the nude bodies of today’s women fuse with figures in the works of 18th and 19th century painters. Lucien Clergue used photography as a means of expression, but he also set out on a mission to make it a full-fledged artistic discipline. That was the only way his images – and those of other photographers – would be recognized as works of art. Owing to his efforts, photography entered France’s museums (Arles 1965). Photography became part of the university curriculum following his doctoral dissertation defence in 1979 and the creation of the École Nationale Supérieure de Photographie in Arles in 1982. The ultimate recognition of the man and his career came in 2006 with his election to the Académie des Beaux-Arts. As a result, photography is now on equal footing with painting, sculpture, music and architecture at the Institut de France. Today, photography is undergoing major transformations brought about by digital printing and computers. Although he does not reject these changes, Clergue has decided to remain true to silver gelatin photography. All prints are made in his laboratory, either by him personally or under his supervision. The only exceptions are works in very large formats, which are printed according to his specifications in a specialized laboratory in Paris. Clergue has nonetheless experimented with various print techniques in order to get the best possible results out of his shots. In the 80s, he tried his hand at the direct carbon print process developed by Pierre Fresson in the mid 20th century. The technique was based on a late 19th-century invention by Théodore-Henri Fresson. Variations of black can be created by using charcoal powder since the photograph’s dark areas take on a distinctive pictorial quality as chance and randomness come into play when the powder is applied to the paper. Prints made using this process are assured of remarkable conservation potential. The Fresson process was passed down secretly from father to son. As part of the same quest, Clergue has worked with the process known as platinum/palladium. It was patented in 1875 and involves using platinum and palladium salts, which are much more resistant than silver salts. The resulting prints are extremely stable and their length of conservation is only limited by the material on which they are printed. Platinum prints also have a far more extensive tonality range than silver prints. Sal Lopez, who did the prints for Clergue, is the most sought-after platinum printer. The only camera Clergue had at his disposal during a week-long vacation in Switzerland was a small Polaroid. He used the shoot format frantically to create compositions for series, some of which comprise scores of images. Then, in 1985 and 1987, the Polaroid Corporation provided him with an opportunity to work with a rare 20 x 24 camera. (Image 11, 12, 13). In celebration of Lucien Clergue’s 80th birthday, Odon Wagner Contemporary is presenting a unique selection of photographs originating from all these print techniques. For silver prints, only vintage works and first prints made in the same year as the original negatives will be shown. A supremely exceptional collection. Jean-Francois Dreuilhe Ph.D., Art Sciences, Chevalier des Arts et des Lettres, Arles, France, 2014 Translated by Raymond Angers, Traductions Angers Ltée “The best recognition I got was that of Picasso. That counts more than anything. It erases all the medals, all the academies, all bla-blas, all the stuff... because Picasso is Picasso!” Lucien Clergue 2 Picasso dans son atelier, Eté 1965, silver gelatin print, edition A/P, 18 x 12 in. 3 Nimeño II pose les banderilles, Feria de Nîmes 1980, silver gelatin print, edition A/P, 12 x 18 in. 4 Picasso aux arènes de Fréjus, Fréjus 1962, vintage silver gelatin print, 11 x 16 in. 5 Picasso au tambour, Notre Dame de Vie, Mougins 1967, vintage silver gelatin print, 12 x 10 in. 6 Jacqueline, L.M. Dominguin, Picasso, Cocteau, Serge Lifar, Lucia Bose, Les Baux de Provence 1959, silver gelatin print, edition E/A, 13 x 13 in. 7 Jean Cocteau (Le Poète) et son autoportrait, Studios de la Victorine, Nice 1959, silver gelatin print, edition A/P, 17 x 14 in. 8 Picasso et l’homme au mouton, Notre Dame de Vie, Mougins 1965, vintage silver gelatin print, edition E/A, 11 x 8 in. 9 Picasso sur la plage de l’hotel Gonnet, Cannes 1965, silver gelatin print, edition E/A, 13 x 18 in. 10 Picasso et Cathy (Fille de Jacqueline), Plage de Cannes 1965, vintage silver gelatin print, edition E/A, 12 x 16 in. 11 Untitled, Boston 1985, unique polaroid print, 20 x 24 in. 12 Untitled, New York 1986, unique polaroid print, 20 x 24 in. 13 Untitled, New York 1986, unique polaroid print, 20 x 24 in. ‘Clergue was clearly the only one who witnessed the birth of Aphrodite.’ Jean Cocteau 14 Nu de la mer, Camargue 1966, silver gelatin print, edition A/P, 13 x 18 in. 15 Géantes d’Italie 1993, silver gelatin print, edition A/P, 12 x 18 in. 16 Nu de la mer, Camargue 1958, vintage silver gelatin print, edition 20/20, 22 x 18 in. 17 Nu de la mer, Camargue 1964, vintage silver gelatin print, edition 2/20, 23 x 19 in. 18 Nu de la mer, Camargue 1962, platinum-palladium print, edition A/P, 14 x 14 in. 19 Nu de la plage, Camargue 1966, platinum-palladium print, edition III/V, 12 x 19 in. 20 Géantes de la mer, Camargue 1971, silver gelatin print, edition A/P, 12 x 19 in. 21 Nu aux verres brisés, La Grande-Combe 1993, platinum-palladium print, edition III/V, 12 x 19 in. 22 Nu à Quebec 1977, platinum-palladium print, edition V/V, 19 x 13 in. 23 Nu Zébré, New York 1998, silver gelatin print, edition 20/30, 15 x 22 in. 24 Nu Zébré, New York 2013 silver gelatin print, edition 1/30, 10 x 15 in. 25 Nu Zébré, New York 1997 silver gelatin print, edition 5/30, 15 x 22 in. 26 Nu Zébré, New York 2013 silver gelatin print, edition 1/30, 10 x 15 in. 27 Nu Zébré, New York 2013 silver gelatin print, edition 1/30, 10 x 15 in. 28 Nu Zébré, New York 2013 silver gelatin print, edition 1/30, 10 x 15 in. 29 Nu Zébré, New York 2013 silver gelatin print, edition 1/30, 10 x 15 in. 30 Nu Sicilien II 1985, fresson print, edition 1/30, 14 x 10 in. 31 Nu au store vénetien II, New York 1991, fresson print, edition 3/25, 12 x 16 in. “Lucien, the Monet of the camera.” Pablo Picasso 32 Nu Italien, Il Ciocco 1984, fresson print, edition 1/30, 9 x 14 in. 33 Nu à la chambre turque III, Villa Medicis, Rome 1986, fresson print, edition 1/30, 10 x 16 in. 34 Nu de la plage, Italie 1984, fresson print, edition 1/20, 10 x 16 in. 35 Reine du Canyon Rouge, Las Vegas 1983, fresson print, edition 2/25, 19 x 15 in. 36 Pharaonne II, Camargue 1981, fresson print, 16 x 10 in. 37 Nu strié, New York 1990, fresson print, edition 1/30, 14 x 9 in. 38 Triptyque de la femme au lion, Los Angeles 2007, cibachrome print, edition 1/15, 8 x 17 in. 39 Anges et Fé: Un seul souffle, Arles-Berlin 2010, cibachrome print, edition 1/15, 18 x 12 in. LUCIEN CLERGUE 1934 Born in Arles, France on August 14, 1934, the only child of a grocer. From the age of seven takes violin lessons. 1944 One third of the city of Arles was destroyed by bombing, including the Clergue family home. 1949 Takes a serious interest in photography. 1952 Death of his mother. Leaves school to work in a food processing factory in Arles. Meets the writer Jean-Marie Magnan, who remained a close friend and a permanent supporter. 1953 First meeting with Picasso, in Arles. For the first time has a photograph published in the local newspaper Le Provençal. 1954 Production of his first photographic series: images of Jean Renoir’s production of Shakespeare’s Julius Caesar (performed in the Arena at Arles to mark the 2000th anniversary of the city’s founding), and Ruines, an exploration of the surviving war damage in Arles. Also starts working on the series Saltimbanques. 1955 Visits Picasso in his studio in Cannes, France. 1956 First meeting with Jean Cocteau, in Paris. Starts work on the series Nudes, posing his models on the beaches of the Camargue, France. 1957 Publication of his first book of photographs: Corps mémorable, with poems by Paul Eluard, cover designed by Picasso, with an introductory poem by Jean Cocteau. Through Cocteau, Clergue meets Max Ernst, who buys a series of Clergue’s images of dead flamingos, thereby becoming the first collector of Clergue’s work. Meets Cartier-Bresson in Arles. 1958 Clergue’s first exhibition opens at the Kunstgewerbemuseum in Zurich, Switzerland. 1959 Guest photographer on Jean Cocteau’s film Le Testament d’Orphée. On December 31, Clergue leaves his job at the factory and becomes a freelance photographer. 1960 The photographer Edward Steichen acquires ten works by Clergue for the collection of the Museum of Modern Art in New York. 1961 Takes part in the last exhibition organized by Edward Steichen for the Museum of Modern Art in New York, Diogenes with a Camera Number 5. Clergue’s film stills are included in the book version of Le Testament d’Orphée, which also has Cocteau’s dialogue from the film. 1962 Stays in Brasilia, Brazil, as a guest of the architect Oscar Niemeyer. Meets Marcel Breuer and Edgar Varese. 1963 Marries Yolande Wartel. Birth of daughter Anne. Prepares a set design for the ballet Le fils de l’air by Cocteau to mark the re-opening of the Munich Opera. The project is abandoned due to Cocteau’s death. Travels to India. The Paris fashion designer Givenchy produces a collection of scarves with motifs taken from Clergue’s photographs. 1965 Meets the poet Saint-John Perse. Takes photographs in the marshes of the Camargue. Makes his first film, Le drame du taureau. Initiates a photographic department at the Musée Réattu, Arles. 1966 Birth of Clergue’s second daughter, Olivia, with Picasso as her godfather. Clergue wins the “Louis Lumière” prize for his film Le drame du taureau. 1968 Clergue makes the film Picasso, War, Love and Peace for the series Museum Without Walls produced by Universal Pictures. Delta de Sel is shown at the Cannes Film Festival and is nominated for an Academy Award. 1969 Serves as Art Director at the Arles Festival. Is co-founder of the Rencontres Internationales de la Photographie in Arles with Jean-Maurice Rouquette and Michel Tournier. 1970 Makes first photographs of the series Nudes in the Wood. 1973 Death of Picasso. 1974 Invites Ansel Adams to the Rencontres Internationales de la Photographie in Arles. Clergue is elected a member of the Académie in Arles. 1975 Takes the first photographs of the series Nudes in the City (Paris and New York). Also starts photographing in color. The Centre National d’Art Contemporain, which will become the Centre Georges Pompidou, Paris acquires sixty photographs from the series Langage des sables for its collection. 1979 Completes a doctorate in photography at the Université de Provence, Marseille, at the recommendation of Roland Barthes. 1980 Presented with the decoration “Chevalier de l’Ordre du Mérite” by French President, Valéry Giscard d’Estaing. 1981 Takes his first photographs in Death Valley. Makes his first experiments with a Polaroid camera. As part of the event marking the centenary of the birth of Picasso, he lectures on the artist at the Metropolitan Museum of Art, New York. 1982 In Monterey, California for Ansel Adams’ 80th birthday, Clergue presents him with the decoration “Commandeur de l’Ordre National des Arts et Lettres”. 1985 First retrospective exhibition in the United States, organized by the George Eastman House, Rochester, New York, curated by Robert Sobieszek. Produces his first large- scale Polaroid photographs (20 x 24 inches) in Boston. 1986 At the Foto Fietsa in Higeshikawa, Japan, Clergue is awarded “Photographer of the Year.” A retrospective exhibition at Fotografie Forum International, Frankfurt, Germany. Lectures and gives an homage to Picasso at the Villa Medicis, Rome. 1987 Photographs artist Karel Appel creating a ballet to be performed in Paris. Retrospective at the Amos Anderson Art Museum, Helsinki. First exhibition of his color photographs at the Musée d’Art Moderne de la Ville de Paris. 1988 Organizes a fashion show in the 2000-year-old Théâtre Antique d’Arles, celebrating the five-year anniversary of the Christian Lacroix Company. 1992 1993 The French National Fund for Contemporary Art (FNAC) purchases 8 silver prints. 1994 Donation of ten photographs to the Museum of Modern Art in New York, by a private collector. The Maison Européenne de la Photographie, Paris acquires six images of the series Surimpressions tauromachiques. 1996 His photographs of the bullfighter Cristina Sanchez are published in numerous magazines and newspapers: Paris Match, Stern, Sunday Mirror, Life, Vogue and American Photo. 1997 Important retrospective exhibition of 40 years of work given at the California Museum of Photography, Riverside, California, curated by Jonathan Green. 2002 Exhibition of photographic portraits of Picasso in Picasso’s former Paris studio at 7 Rue des Grands Augustins. The Musée des Beaux-Arts, Vitoria, Spain, acquires a collection of Clergue’s work. 2003 Presented with the decoration “Chevalier de la Légion d’Honneur” by French president Jacques Chirac. 2005 Awarded the Lucie Award for the “Outstanding Life Achievement in Fine Arts in Photography.” 2007 Retrospectives at Espace Van Gogh, Arles (France), in Vienne at the KunstHaus (Austria) in Münster and Erlangen (Germany). 2009 Major exhibitions: “Picasso intimate” at Louis Stern Fine Arts, West Hollywood (USA), in Arles (France) “Les Gitans et leur Prince José Reyes” at Palais de l’Archevêché, in Aix en Provence (France) “Picasso chez Cézanne” at Atelier Cézanne and Cité du Livre, at Musée Marmottan in Paris (France) “Lucien Clergue-Yann Athus Bertrand, Deux Photographes Académiciens”. Takes portrait photographs of Jackie Onassis in the Camargue and Umberto Eco in Arles. 2013 Elected President of l’Académie des Beaux-Arts. 2014 First exhibition in Canada at Odon Wagner Contemporary. SELECTED SOLO EXHIBITIONS 2014 2013 2012 2011 2010 2006 2004 2002 1999 1997 1993 1988 1987 1986 1985 1984 1980 1978 1974 1969 1963 1962 1958 Odon Wagner Contemporary, Toronto, Canada Musée Réattu, Arles, France Throckmorton Gallery, New York, USA Musée Yves Brayer, Les-Baux-de-Provence, France Centre Culturel Français, Madrid, Spain Musée Jean Cocteau, Menton, France Chris Beetles Gallery, London, England Maison de la photographie, Moscow, Russia French Institute, New York, USA Artmia Foudation, Beijing, China Palais de l’Archevêché, Arles, France Louis Stern Fine Arts, West Hollywood, USA Recontres Internationales de la Photographie, Abbaye de Montmajour, Arles, France Musée des Beaux-Arts, Nîmes, France Retrospective, Museum für Kunst und Kultur, Dortmund, Germany Abbaye de Montmajour, Arles, France UCR California Museum of Photography, California, USA Centro de la Imagen, Mexico City, Mexico Musée Paul Eluard, Paris, France FNAC, Paris, France Milwaukee Art Museum, Milwaukee, Wisconsin, USA International Photo Gallery, Tokyo, Japan Musée d’Art Moderne de la Ville de Paris, Paris, France Amos Anderson Art Museum, Helsinki, Finland Retrospective, ICP, New York, USA Photo Fiesta, Higeshikawa, Japan Retrospective, George Eastman House, Rochester, New York Musée d’Art Moderne, Paris, France French Institute, Tel Aviv, Israel Centre Georges Pompidou, Paris, France Shadai Gallery, Tokyo, Japan Photographic Center, Melbourne, Australia Musée des Beaux-Arts, Brussels, Belgium Israel Museum, Jerusalem, Israel Leopold-Hoesch Museum, Düren, Germany Moderna Museet, Stockholm, Sweden Kunstgewerbemuseum, Zurich, Switzerland Pavillion de Marsan, Musée du Louvre, Paris, France Kunstgewerbemuseum, Zurich, Switzerland SELECTED GROUP EXHIBITIONS 2003 1999 1998 1990 1979 1978 1961 1958 Echec et succès en créativité, organized by Creando, Interlaken, Switzerland The Association of International Photography Art Dealers (AIPAD) Exhibition, New York, USA Paris Photo, Musée du Louvre, Paris, France Galerie Lieberman and Saul, New York, USA New Orleans Museum of Art, New Orleans, USA Museo de Arte Moderno, Mexico City, Mexico Museum of Modern Art, New York, USA Museum of Modern Art, New York, USA SELECTED PUBLIC COLLECTIONS Art Institute of Chicago, Chicago, Illinois, USA Bibliothèque Nationale, Paris, France Boca Raton Museum of Art, Boca Raton, USA Bühl Foundation, New York, New York, USA Cabinet des Estampes à Genève, Geneva, Switzerland Centre Pompidou, Paris, France Dortmund Art Museum, Dortmund, Germany École Nationale de la Photographie, Arles, France Fogg Museum, Harvard University, Cambridge, USA Fondation National d’Art Contemporain, Paris, France Galeria de la Foto, Buenos Aires, Argentina George Eastman House, Rochester, New York, USA Israel Museum, Jerusalem, Israel Kunstmuseum, Basel, Switzerland La Bibliothèque Nationale, Paris, France Los Angeles County Museum of Art, LA, California, USA Maison Européenne de la Photographie, Paris, France Metropolitan Museum of Art, New York, New York, USA Metropolitan Museum of Photography, Tokyo, Japan Moderna Museet, Stockholm, Sweden Musée d’Art Moderne de la Ville de Paris, Paris, France Musée de l’Elysée, Lausanne, Switzerland Musée Picasso, Paris, France Museum of Fine Arts, Houston, Texas, USA Museum of Modern Art, New York, New York, USA Museum of Modern Art of Mexico, Mexico City, Mexico Museum of New Orleans, New Orleans, Lousiana, USA National Gallery of Ottawa, Ottawa, Canada Oxford College Collection, Oxford, England Philadelphia Museum of Art, Philadelphia, Pennsylvania, USA Rencontres Internationales de la Photographie, Arles, France Preus Fotomuseum, Horten, Norway Seattle Art Museum, Seattle, Washington, USA Smithsonian Institute, Washington D.C., USA Victoria Gallery, Melbourne, Australia Worcester Art Museum, Worcester, Massachusetts, USA Front Cover: Nu Zébré, New York 1997, silver gelatin print, edition 11/30, 22 x 15 in. Back Cover: Picasso à la Cigarette 1956, silver gelatin print, edition A/P, 14 x 11 in. For all works in exhibition, please visit odonwagnergallery.com CREDITS CURATORIAL LAYOUT DESIGN PRINTING PHOTOGRAPHY Odon Wagner Rafael Wagner Caitlin McCullough Caitlin McCullough Angela Wagner Solisco Québec © Lucien Clergue 2014 198 Davenport Road, Toronto, ON M5R 1J2 Canada 416-962-0438 or 800-551-2465 [email protected] ISBN: 978-1-927447-12-3 National Library of Canada “Lucien Clergue: La Lumière Transcrite” Copyright: Odon Wagner Gallery, 2014 odonwagnergallery.com