Xavier Girard

The French Riviera of the 1920s and early '30s was a haven for artists and writers from the far reaches of the world. This book revitalizes the now-legendary tale of personalities such as Scott and Zelda Fitzgerald, Picasso, Picabia, Cocteau, and Gerald and Sara Murphy as they are caught between a desire for creation, the quest for happiness, and the looming darkness of World War II. Extraordinary images taken from personal archives reanimate the lifestyles and artwork of some of the most influential artists of the twentiety century.

The French Riviera in the 1920's

Offers a critique of the Fauvist painter's works, examining his use of color, and exploring his different subjects and themes

Discoveries: Matisse

From 1919 to 1933, in Weimar, Dessau and then Berlin, the Bauhaus (literally, "house of construction") was much more than just a professional school of a new genre--it was a modern Utopia. Painters, teaching specialists, architects, urban planners, artisans, engineers, actors, musicians, photographers and designers worked together there on a new concept of everyday life. An experimental style became dominant--bare, functional and scrupulously clear--the style of the 20th century.

Bauhaus

From humble origins, Kiki de Montparnasse became the muse of the most important artists of the Roaring Twenties. Many revolutionary artists of the early twentieth century flourished on Paris's Left Bank, and Kiki, the Queen of Montparnasse, was the thread connecting them. Every image tells a fascinating story in this lavishly illustrated volume. Xavier Girard, former curator of the Matisse Museum, reveals the artistic, social, and historical events that created and surrounded the incredible artistic flowering of the mythical Montparnasse neighborhood after World War I. An oversize luxury edition in a slipcase.

With Kiki De Montparnasse

Paris in the 1920s

Henri Matisse

Kunstmuseum Bern

Sandor Kuthy

Tout au long de son œuvre Matisse travaille la sculpture afin de perfectionner son approche de la ligne. Avec la série des Nus de dos qui s'étend de 1909 à 1930, il affronte tour à tour les problèmes picturaux qu'il rencontre: le tracé des figures monumentales (la réalisation de Nu de dos I, 1909, est contemporaine de celle des grandes compositions La Musique et La Danse), le rapport forme et fond (les fresques destinées à la Fondation Barnes sont réalisées en 1930 comme Nu de dos IV). Toutefois, bien que la série ne semble pas avoir été conçue pour être présentée en une seule entité (la fonte des pièces en bronze n'a été faite qu'après la mort de Matisse), ces quatre sculptures constituent un ensemble plastique

Xavier Girard

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