The exhibition breaks with this thematic approach ?
Posted: Wed Jul 09, 2025 9:54 am
And “The Morozov Collection” emphasizes this systematic and serial approach to the collection, grouping the paintings into thematic sets where French and Russian artists rub shoulders. A crisp painting of an acrobat from Picasso’s Pink Period, acquired after Leo and Gertrude Stein went their separate ways, confronts an indecently sexy double portrait, by Ilia Mashkov, of him and another artist posing with dumbbells and musical instruments. (Healthy mind, healthy body.) The landscapes of Van Gogh and André Derain mingle with those of Natalia Goncharova, who will become an essential figure of the Soviet avant-garde
only once, for one of the most legendary paintings in the Morozov collection: Van Gogh’s stripped “The prison yard», Done in the last year of his life from the Saint-Rémy asylum. On loan from the Pushkins, he was hung away from the other Van Goghs of the Morozovs in a dark room, under a spotlight – to increase his discouragement, I guess, although to me the lighting seemed more appropriate for a review. of the Moulin Rouge.
They amaze the Shchukin and Morozov collections in equal parts, yet the two shows of the Vuitton Foundation have radically different tones in their final acts. The last ended with the shock of novelty: abstract paintings by job function email database Malevich, Rodchenko and other Soviet innovators, taking up the banner of modernism in the new Soviet Union. This show ends with a requiem from the past, in the form of Morozov’s music room, reconstituted as it was in 1909. The Denis sets, painted on site in Moscow, illustrate the myth of Cupid and Pysche with a palette lysergic of pinks and blues. . The commissioner even chose to play light music, as if the ghosts of the last days of the Romanovs were still among us.
A century ago, Denis’ decorations sparked a heated debate among intellectuals and connoisseurs of Czarism in Moscow. Now, they appear rather as a minor interlude before the great upheaval to come. No dynasty lasts forever: not that of the Morozovs, and certainly not the one that nationalized their mansion. Eventually, the culture changes – the paintings return to Paris and Louis Vuitton opens a concession on Place Rouge.
only once, for one of the most legendary paintings in the Morozov collection: Van Gogh’s stripped “The prison yard», Done in the last year of his life from the Saint-Rémy asylum. On loan from the Pushkins, he was hung away from the other Van Goghs of the Morozovs in a dark room, under a spotlight – to increase his discouragement, I guess, although to me the lighting seemed more appropriate for a review. of the Moulin Rouge.
They amaze the Shchukin and Morozov collections in equal parts, yet the two shows of the Vuitton Foundation have radically different tones in their final acts. The last ended with the shock of novelty: abstract paintings by job function email database Malevich, Rodchenko and other Soviet innovators, taking up the banner of modernism in the new Soviet Union. This show ends with a requiem from the past, in the form of Morozov’s music room, reconstituted as it was in 1909. The Denis sets, painted on site in Moscow, illustrate the myth of Cupid and Pysche with a palette lysergic of pinks and blues. . The commissioner even chose to play light music, as if the ghosts of the last days of the Romanovs were still among us.
A century ago, Denis’ decorations sparked a heated debate among intellectuals and connoisseurs of Czarism in Moscow. Now, they appear rather as a minor interlude before the great upheaval to come. No dynasty lasts forever: not that of the Morozovs, and certainly not the one that nationalized their mansion. Eventually, the culture changes – the paintings return to Paris and Louis Vuitton opens a concession on Place Rouge.