monet - portail culturespaces...‘monet, renoir, and chagall: journeys around the mediterranean’...

A GIANFRANCO IANNUZZI - RENATO GATTO - MASSIMILIANO SICCARDI CREATION

Journeys Around the Mediterranean 28 FEB. 2020 - 3 JAN. 2021

CHAGALLRENOIRMONET

YVES KLEIN Infi nite Blue (SHORT PROGRAM)

PARIS

PRESS KIT

CONTENTS

Page 4THE ATELIER DES LUMIÈRES Page 5THE IMMERSIVE EXHIBITIONS IN 2020 Page 6INTERVIEW WITH GIANFRANCO IANNUZZI, THE ARTISTIC DIRECTOR Page 7THE IMMERSIVE EXHIBITION ‘MONET, RENOIR, AND CHAGALL: JOURNEYS AROUND THE MEDITERRANEAN’ Page 22

KEY DATES Page 24

THE EXHIBITION’S SOUNDTRACK Page 25

THE PRODUCTION TEAM Page 26‘YVES KLEIN: INFINITE BLUE’ - SHORT PROGRAMME Page 26‘JOURNEY’ - WINNER OF THE IMMERSIVE ART FESTIVAL 1‘MOMENTS’ - IN LE STUDIO Page 32RSM, SPONSOR OF THE ATELIER DES LUMIÈRES

Page 32CULTURESPACES DIGITAL® Page 33THE CULTURESPACES FOUNDATION Page 34 IMAGES AVAILABLE FOR THE PRESS Page 43PRACTICAL INFORMATION

‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’© Culturespaces/Nuit de Chine Photo © Lefevre Fine Art Ltd., London© Bridgeman Images

4 Press kit - ‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’

The first digital art centre in Paris, established in a fully restored former nineteenth-century foundry, the Atelier des Lumières holds digital exhibitions that immerse visitors in the pictorial worlds of the most famous artists in the history of art.

Since it opened in April 2018 with an exhibition devoted to Gustav Klimt, the Atelier des Lumières welcomed nearly 2.6 millions visitors and has become one of the most important cultural sites in Paris, using the digital revolution to promote artistic creativity.

With 140 video projectors and a spatialised sound system in a surface area of 3,300 m2, visitors are immersed in the images and music. The Atelier des Lumières also offers visits in Le STUDIO, where the work of several contemporary digital artists is displayed.

Proposing a new, emotional, and dynamic approach to art, the Atelier des Lumières welcomes every member of the general public and of all ages.

Since 2018, the Culturespaces Foundation has been developing its educational and cultural mission with Atelier des Lumières, each year by offering its national program ‘Art in immersion’ to 2,500 children from 5 to 7 years of age in situations of social exclusion.

THE ATELIER DES LUMIÈRES

KEY FIGURES:

A former foundry established in 1835 by the PLICHON family

Nearly 1.4 million visitors in 2019

2 projection areas: La HALLE (1,500 m2) and Le STUDIO (160 m2)

140 video projectors and 50 speakers

3,300 m² of projection surface (walls + floor)

10 metres high

Open 7 days per week

A FORMER NINETEENTH-CENTURY FOUNDRY:

The Atelier des Lumières is also about the restoration of a heritage site-that of the former Plichon iron foundry. Established in the nineteenth century in the heart of the east of Paris, the foundry is for Culturespaces an essential part of the artistic experience. Rather than being a mere complement, the venue-with its spaces, history, and industrial character-has forged the project’s identity. Thanks to its monumental architecture, highlighted by the original metal structure that spans the great hall, the former iron foundry provides the ideal setting for these digital exhibitions.In La Halle visitors will find various monumental features (a chimney, drying tower, pool, water tank, etc.) that have been converted to enable the visitors to enjoy interactive experiences.

Press kit - Atelier des Lumières 5

The Atelier des Lumières has two visitor spaces: LA HALLE and LE STUDIO.

IN LA HALLE: - Long programme: ‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’ The new immersive exhibition in the Atelier des Lumières presents visitors with an itinerary that spans the period between Impressionism and modernism, and which highlights the link between artistic creativity and the Mediterranean shores, as the principal centres of the modernist movement. The exhibition will immerse visitors in the masterpieces of twenty artists, including Renoir, Monet, Pissarro, Matisse, Signac,Derain, Vlaminck, Dufy, and Chagall, amongst others. By Gianfranco Iannuzzi, Renato Gatto, and Massimiliano Siccardi. With the musical collaboration of Luca Longobardi. A CULTURESPACES DIGITAL® production.

- Short programme: ‘Yves Klein: Infinite Blue’ A native of Nice, Yves Klein loved the Mediterranean sky and was inspired by it to create his first work. In Yves Klein’s work, colour took on a spiritual and metaphysical dimension. This ten-minute-long work immerses visitors in the artist’s works, going beyond the famous International Klein Blue (IKB), a combination of ultramarine pigment and special binder. Amongst other works, visitors will discover the body prints with his Anthropometries, and nature with his Cosmogonies and his Planetary Reliefs. Cutback realisation. A CULTURESPACES DIGITAL® production. IN LE STUDIO: - ‘Moments’: an original production for the Atelier des Lumières Produced for Le Studio in the Atelier des Lumières, ‘Moments’ was created by using Impressionist paintings, scanned in a very high resolution. These works in close-up become pigments-fine particles and coloured suspended components of painting. Using an algorithm, the captivating images evolve and begin to move, creating a unique immersive digital work. By the creative studio Melt. A CULTURESPACES DIGITAL® production.An area dedicated to contemporary works, Le STUDIO gives digital artists carte blanche to give vent to their creativity.

Digital exhibitions produced under the direction of Bruno Monnier.

THE IMMERSIVE EXHIBITIONS IN THE ATELIER IN 2020


INTERVIEW WITH GIANFRANCO IANNUZZI, THE ARTISTIC DIRECTOR

Why did you choose to focus on the Mediterranean?

The digital exhibition revolves around a particular themethe Mediterranean. Whether or not it is actually represented, the Mediterranean is always present in the works, as a source of inspiration, and in the light and colours. This ‘background presence’ captivates us and is present throughout this show, in which each painter’s work reflects their distinctive view of the Mediterranean. Viewers see the Mediterranean through the eyes of the landscape painter Vernet, the Impressionists Monet and Renoir, the Pointillists Signac and Cross, in the unusual colours of Matisse and the Fauves, in Bonnard’s Intimist works, Dufy’s light-hearted and mundane works, and in Chagall’s provocatively modernist paintings.

They are different approaches in an itinerary that begins with very precise hyperrealistic representations and ends with works that border on abstraction. During this fifty-year period in the history of French painting, the painters practised their art outside Paris and expressed themselves by drawing inspiration from this new, vibrant, and sunny source of inspiration-the Mediterranean. The chosen works form a mosaic that is created over time. It is an invitation to embark on a journey into art and back in time, along the shores of the Mediterranean.

How did you establish a link between all the artists? Massimiliano, Renato, and I did not look for a link but rather sought to highlight the diversity of approaches. That is to say, the way in which each artist found their own original way of expressing themselves on canvas, drawing inspiration from a common source. It does not matter who painted the work or which technique was used-when you view the works you can still smell the wild herbs, feel the light breeze, or hear the sound of a wave hitting the shore. So it’s not a linear itinerary. The itinerary evolves through associations and dissociations. It generates various musical emotions-sometimes through dissonance-, which evoke a period of artistic effervescence and rich in innovation. Our aim is to offer visitors the freedom to view and interpret the works in a space in which their movements are an integral part of the immersive exhibition.

Why do you think the painters were fascinated with the Mediterranean? It was a real discovery, fostered by the new transport opportunities. They generally came from other parts of the country and they found a new source of inspiration in the climate, the landscapes, light, and colours of the Mediterranean in order to free themselves from classicism and the canons of Impressionism, which had until then prevailed amongst the critics. From that perspective, the artists’ journeys were not simply a change of geographical location but very often provided an opportunity for inner renewal and creative stimulation. That’s the journey we’re inviting visitors to embark on.

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‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’ presents visitors with an itinerary that spans the period between Impressionism and modernism. After the exhibition devoted to van Gogh, the new digital exhibition highlights the link between artistic creativity and the Mediterranean shores, as the principal centres of the modernist movement. The exhibition immerses visitors in the masterpieces of twenty artists, including Renoir, Monet, Pissarro, Matisse, Signac, Derain, Vlaminck, Dufy, and Chagall, amongst others.

These artists saw van Gogh as a genius of painting, who, after departing from Paris, used pure colour as his principal means of expression. In the 1880s, the Mediterranean attracted many artists: abandoning Paris and the northern regions, they flocked to the southern shores, between Collioure and Saint-Tropez. It was at this point that they developed a new approach to the representation of light and colour.All these artists had links with the Mediterranean, either through their origins, or via their stays in the Midi. The digital exhibition shows how their artistic personalities were brought to the fore by these seascapes and how pictorial modernism was invented.

In seven sequences lasting forty minutes, visitors are taken from one artistic movement to another: from Impressionism, with Monet and Renoir, to Pointillism with Signac and Cross, and Fauvism with Camoin, Derain, Vlaminck, and Marquet … and, of course, Matisse. The immersive exhibition also retraces the fascination of Bonnard and Dufy for the Mediterranean, and eventually focuses on one of the greatest colourists of modern art-Chagall. The unique style of each painter is illustrated: Matisse’s colours, Bonnard’s depth, Dufy’s insouciance, and Chagall’s audaciousness. More than 500 works, which are now held in collections around the world, will fill the Atelier des Lumières with their bright colours and highlight the variations in the works of these great artists on the Mediterranean shores, which inspired them to take their work to its finest expression.This visual and musical creation by Gianfranco Iannuzzi, Massimiliano Siccardi, and Renato Gatto, produced by Culturespaces, will cover the floors and walls to a height of ten metres: bright and powerful colours will fill the entire space, the works will come to life, and emerge line by line, creating the illusion of a mirror of the sea and the dazzling sun.

In La Citerne, in the centre of the Atelier des Lumières, the paintings used as a basis for the work of the video makers are presented in their entirety, with their name and the museum in which they are exhibited. A mobile application, available free of charge, enables visitors to discover these works.

A CULTURESPACES PRODUCTIONCREATED BY GIANFRANCO IANNUZZI, RENATO GATTO, AND MASSIMILIANO SICCARDI– WITH THE MUSICAL COLLABORATION OF LUCA LONGOBARDI

JOURNEYS AROUND THE MEDITERRANEAN


1 - PROLOGUE IN MARSEILLE

The immersive exhibition begins with a tribute to Claude Joseph Vernet (1714-1789). The Atelier des Lumières shows visitors what the port of Marseille looked like when the painter arrived there by sea in the eighteenth century. The works show the skill with which Vernet-an eminent marine painter-represented the omnipresence of the water and the light in the stormy skies. For the series of paintings of the ports of France commissioned by Louis XV, Vernet did not paint outdoors but went to the various ports to take notes and make sketches that helped him to work in his studio. Light is a key element in the composition of these marine works. This treatment of light was further developed by the Impressionists, who sought to capture the atmospheric conditions of the landscapes.

THE ITINERARY OF THE IMMERSIVE EXHIBITION

Pierre-Auguste Renoir,Bal du Moulin de la Galette, 1876 oil on canvas, 131 x 175 cmMusée d’Orsay, Paris © Bridgeman Images


2 - IMPRESSIONNISM

The immersive exhibition continues with wonderful masterpieces by Claude Monet (1840-1926) and Auguste Renoir (1841-1919), such as Water Lilies (1914-1926) and Woman With Umbrella Turned Towards the Right (1886) by Monet, and the Bal du Moulin de la Galette (1876) by Renoir. The two artists initially developed their new approach to painting on the banks of the Seine.

Renoir moved away from Paris for some time, accompanied by his friend Monet, who abandoned his garden in Giverny. They were captivated by the landscapes and gardens of the French Riviera.

Between 1883 and 1888, their various sojourns on the Côte d’Azur provided a new source of inspiration for their work and, subsequently, for many other artists. Under the southern sun, their works became more colourful and contained a range of luminous effects.

‘It’s beautiful here, so bright and light! One swims in blue air, it’s terrifying’

‘I am struggling away at my work and wrestling with the sun-and what sun. In order to paint here one would need gold and precious stones. It’s wonderful.’ Monet – Letter sent to Rodin from Antibes in January 1888

Claude MonetWoman With Umbrella Turned Towards the Right, 1886, oil on canvas, 131 x 88 cmMusée d’Orsay, Paris © Bridgeman Images


3 - THE MEDITERRANEAN LIGHT

Considered the elder statesman of the Impressionists, Camille Pissarro (1830-1903) was a key figure in the movement. He settled in Paris in 1855, where he painted and frequented Claude Monet and Paul Cézanne.

As of 1857, the PLM train ran from Paris to Marseille via Lyon. The colourful villages on the Mediterranean coast became readily accessible and captivated ‘le Tout-Paris’.

Attracted by the light on the southern shores, the painters painted a whole range of different scenes. From the Spanish border to the Italian Riviera, each painter found a place of inspiration for his work: Collioure, L’Estaque, Saint-Tropez, Antibes, Cagnes, Bordighera, and so on. In these places, the artists developed an extremely rich chromatic palette and participated in the development of pictorial modernism.

During their various sojourns, Monet mainly focused on Bordighera, on the Italian coast. Renoir preferred the colours of Cagnes, Grasse, and Cannet.

Contributing to the development of modernism with their Pointillist or ‘neo-Impressionist’ works, Henri-Edmond Cross (1856-1910) and Paul Signac (1863-1935) brought about a veritable pictorial change by creating vivid optical combinations of colours. Represented via ever more colourful dots, the sea in Signac’s works is often indistinguishable from the boats, while in Cross’s works the sea is an integral part of the bucolic landscapes.

1. David Dellepiane, Poster Advertising Travel to Antibes, Côte d’Azur, With the French Railway Company P.L.M., 1910, colour lithograph, private collectionPhoto © Christie’s Images/Bridgeman Images

2. Claude Monet, Garden in Bordighera, Impression of Morning, 1884 oil on canvas, 65.5 x 81.5 cmHermitage Museum, Saint Petersburg, © Bridgeman Images

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1. Henri-Edmond Cross, Coastal Landscapeoil on canvas, 54 x 73 cm, private collection,© Bridgeman Images

2. Paul Signac, The Port of Saint-Tropez, 1899, oil on canvas, 65 x 81 cm,Musée de l’Annonciade, Saint-Tropez, © akg-images

The discovery of the landscapes and light on the shores of the Mediterranean was a revelation for the young Henri-Edmond Cross. At the end of 1883, Cross visited his parents who were sojourning in Monaco. He changed his palette of colours and abandoned portraiture and still lifes. A precursor of Fauvism, he experimented with a liberated use of colour in his landscapes, which influenced artists such as Henri Matisse (1869-1954).

Signac, who had been living in the South of France since 1892 and had a passion for sailing, painted Pointillist landscapes and entertained many artists at Saint-Tropez. Increasingly frequented by artists such as Derain and Matisse, Saint-Tropez gradually became a fashionable place and a major tourist destination. Signac juxtaposed complementary colours and depicted in his works ‘the warm and enveloping atmosphere of the South of France, where the light penetrates the shade and almost dissolves it’. His neo-Impressionist canvases, with their luminous colours, influenced the Fauves and the Expressionists.

The Impressionist, Pointillist, and cubist paintings attest to the artistic wealth of this period of French painting.

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1. Paul Signac, In the Time of Harmony. The Golden Age is not in the Past, it is in the Futureoil on canvas, 312 x 410 cmMairie of Montreuil, © akg-images/Erich Lessing

2. Henri-Edmond Cross, Le Bois ou Nu sous bois (‘The Woods’ or ‘Nude in the woods’), 1906-1907 oil on canvas, 46 x 55 cmMusée de l’Annonciade, Saint-Tropez, © akg-images

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1. André Derain, The Turning Road, L’Estaque, 1906 oil on canvas, 129.5 x 194.9 cmMuseum of Fine Arts, Houston; museum purchase funded by Audrey Jones Beck, Photo: © Bridgeman Images © Adagp, Paris, 2020

2. Henri Manguin, The Pine Forest at Cavalière, 1906, oil on canvas, 65 x 81 cm, private collection, © akg-images © Adagp, Paris, 2020

4 - THE FAUVES The veritable revolution in the use of colour reached its height with Fauvism. The painters Charles Camoin (1879-1965), André Derain (1880-1954), Maurice de Vlaminck (1876-1958), Othon Friesz (1879-1949), Henri Manguin (1874-1949), Albert Marquet (1875-1947), and Louis Valtat (1869-1952), most of whom originated from northern France and Europe, were in turn drawn by the climate and the contrasts between the bright and soft colours of the Mediterranean.

Henri Matisse (1869-1954) met Signac in Saint-Tropez and Cross in Le Lavandou. It was a revelation for him: ‘All I could think of was making my colours sing, without bothering with all the rules and prohibitions … moving directly into the arabesque with colour’, he wrote.He drew inspiration from them for the work Luxe, calme et volupté (‘Luxury, calm, and voluptuousness’, 1905), in which he used Signac’s ‘divisionist’ technique combined with bright colours heralding Fauvism. The colours were given priority over representational concerns.

André Derain (1880-1954) joined Matisse in Collioure in July 1905. Exposed to the Mediterranean light, they radically altered the pictorial codes. They used pure and arbitrary colours in a series of founding maritime scenes with red sand and orange and blue trees. The landscapes of L’Estaque, Collioure, and Saint-Tropez were their favourite subjects.

In the same year, they exhibited their work at the Salon d’Automne in Paris: their works caused a scandal and were called ‘Fauves’ due to the primitive savagery of their style.

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Pierre Bonnard, Women in the Garden, 1891, oil on paper glued on canvas, 160.5 x 48 cm Musée d’Orsay, Paris,© Bridgeman Images


5 - BONNARD Part of the immersive exhibition is devoted to Pierre Bonnard (1867-1947), who drew inspiration for his work in his holiday homes and the South of France. Famous for his depictions of intimate interior scenes, Bonnard was also a landscape painter.

In 1891, he exhibited Women in the Garden at the Salon des Indépendants. The work’s format and technique are quite unusual: the ensemble, a screen, is composed of four panels. Inspired by Japanese art and ukiyo-e prints, he used this format with a new support and developed a taste for arabesques, decorative motifs, and printed fabric. He became known as the ‘Japanese Nabi’ and enchanted artists such as Henri de Toulouse-Lautrec (1864-1901).

Bonnard also discovered Saint-Tropez and Nice circa 1904. He travelled, often in the company of Édouard Vuillard (1868-1940), stayed with Henri Manguin in 1909, and became friends with Signac and Matisse. In a letter to his mother he wrote that what he experienced ‘struck (him) like a Thousand and One Nights … the sea, yellow walls, reflections as bright as light’ . His canvases were permeated with a diffuse light, the Canal de la Siagne became his favourite place for walks, and in the 1920s he moved to Le Cannet.

Pierre Bonnard, The Conversation at Arcachon, 1926-1930,oil on canvas, 56 x 48 cm, Petit Palais, Paris, Girardin bequest, 1953


6 - DUFY

Raoul Dufy (1877-1953), called ‘l’enchanteur’ (‘the magician’), was known as a painter of happiness and joy. He defined himself as a painter of ‘light and colour’. Although Dufy initially found the quality of light in the marine landscapes of his native Normandy, he also discovered it early on in his career in the South of France, where he sojourned for the first time at the age of twenty-six. He henceforth developed an enduring and passionate interest in the Mediterranean landscapes.

Initially influenced by Impressionism, Dufy subsequently became interested in Fauvism: he was fascinated with the work Luxe, calme et volupté (‘Luxury, calm, and voluptuousness’, 1905) by Matisse and his works were characterised by bright, intense colours and very bold contours. Dufy was also tempted by cubism: he sojourned in Marseille and L’Estaque, and, as in Braque’s and Cézanne’s work, his painting evolved, the forms became more geometric, and the space structured. These phases marked a period in which the artist flourished; he subsequently developed his own very personal artistic style, by choosing his own path.

Exposed to the Mediterranean light, a constant source of inspiration, he developed a palette of endless bright blues. For him, ‘Blue is the only colour that maintains its own character in all of its tones’.

Considered as one of the greatest colourists of his time, Dufy saturated his canvases with explosions of colour through the intensity of his incredible blues. Concerts, horse races, regattas … everyday life evaporated in his strokes of colour, which he boldly dissociated from drawing.

Raoul Dufy, Little Bather at Sainte-Adresse, 1932-1933, oil on canvas, 46 x 38 cmPrivate collection© Bridgeman Images© Adagp, Paris, 2020


1. Raoul Dufy, Baie des Anges, Nice (‘The Bay of Angels, Nice’), circa 1926oil on canvas, 61.5 x 74 cm, private collection, © Bridgeman Images © Adagp, Paris, 2020 2. Raoul Dufy, Coucher de soleil (‘Sunset’)Watercolour on paper, 50.2 x 65.6 cmLeeds Museums and Galleries (Leeds Art Fund), © Bridgeman Images © Adagp, Paris, 2020

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7 - CHAGALL

Intense colours can be seen in the paintings by Marc Chagall (1887-1985). The work Couple dans un paysage bleu (‘Couple in a blue landscape’, 1969-1971) depicts two lovers with Saint-Paul de Vence in the background, and a powerful, thick blue Mediterranean sky that merges into the blue sea. This infinite landscape fills the walls and floor of the Atelier des Lumières to the sound of modern and contemporary music.

The White Russian painter’s highly unique pictorial language found new expression under the hot Mediterranean sun of the Côte d’Azur and the hinterland of Nice. He discovered the region in the 1920s and in 1950 he decided to settle and work there, initially in Vence, and subsequently, from 1966 to the end of his life, at Saint-Paul de Vence.

‘I thank destiny for leading me to the shores of the Mediterranean. If there was a hiding place in my pictures I would slip into it.’ (Chagall Mediterranean, 1984)

Marc Chagall, Couple dans le paysage bleu (‘Couple in a blue landscape’), 1969-1971oil on canvas, 112 x 108 cm, private collection, © Adagp, Paris, 2020 – photo: Marc and Ida Chagall Archives, Paris


Chagall was keen to experiment with various techniques and materials in his work and even combined them in his compositions. Amongst his many experiments, collages that had been used in set models in Russia at the end of the 1910s enabled him-at the end of the 1950s-to assess the characteristics of the materials and textures to be transposed, in terms of the tones of the colours and materials, in preparatory models for monumental works. Visitors will be able to see the whole creative process-from the preparatory work to the finished work. Pieces of fabric, lace, paper, and plants come to life in the exhibition space; they are stuck and removed, illustrating the freedom and complexity of the creative process.

Chagall subsequently received several public commissions for stained-glass windows and monumental mosaics. The exhibition focuses in particular on the stained-glass windows in the synagogue in the Hadassah-Hebrew Medical Centre in Jerusalem, with its plant and animal iconography. The preparatory drawings gradually cover the walls and the structures of the stained-glass windows gradually take shape, filling the entire exhibition space.

The mosaic in the University of Nice, The Message of Ulysses, an eleven-metre-long work in which Chagall represented all the episodes from the story of Ulysses-the Mediterranean hero and protégé of Athena-appears. The tesserae dance on the walls of the Atelier des Lumières and then return to their places in the artist’s composition. The extremely dynamic effect immerses visitors in a whirlwind of colour.

Marc Chagall, The Message d’Ulysse, 1967-1968, mosaic of 200,000 tesserae composed of marble and stone, including onyx, enamels, glass, and Murano golds, green minerals, and ores extracted from King Solomon’s copper mines, 3 x 11 mFaculty of Law and Political Science, University of Nice, photo: François Fernandez© ADAGP, Paris, 2020


In 1966, Marc and Valentina Chagall donated seventeen monumental canvases from the ‘Biblical Message’ series to the French State; they were intended to be housed in the first national museum built for a living artist, inaugurated by André Malraux in Nice in 1973.

The film-makers who created the immersive exhibition went to the Musée Marc Chagall in Nice to take very high-resolution photos of the ‘Song of Songs’ and ‘Biblical Message’ series. Hence, they have produced close-up images of the canvases, inviting visitors to discover the complexity of Chagall’s technical process through an immersion in a highly modernist abstract vocabulary.

By dint of a close observation of his work, the visitor is immersed in a bright abstraction of materials and colours. Chagall’s painting technique, which has been enlarged, appears on the walls of the Atelier des Lumières in an amazing finale, which invites us to view the essence of his works through a celebration of materials.

‘Ever since early childhood, I have been captivated by the Bible (…) the greatest source of poetry of all time. I have continued to seek out its reflection in life and art. The Bible is like a musical vibration of nature and I have tried to convey that secret’. (Extract from Marc Chagall’s speech at the inauguration of the Musée National Message Biblique, on 7 July 1973)

Marc Chagall, Adam and Eve Being Chased from Paradise, 1961, 190.5 x 283.5 cm,Musée National Marc Chagall, Nice,© Adagp, Paris, 2020 – Photo © RMN-Grand Palais (Musée Marc Chagall)/Adrien Didierjean


Marc Chagall, The Tribe of Zebulun, 1962Synagogue in the Hadassah-Hebrew Medical Centre in Jerusalem, © ADAGP, Paris, 2020, photo: Yuval Yairi


1857: Creation of the P.L.M. railway line (863 KM), linking Paris to Lyon and Marseille. The Côte d’Azur becomes a tourist destination in the middle of the nineteenth century. Still reserved for the more affluent classes, it does however attract an increasing number of people to its hotels, casinos, and villas.

1874: First Impressionist exhibition, organised by the Société Anonyme des Artistes Peintres, Sculpteurs et Graveurs. Works by Pissarro, Renoir, Monet, and Cézanne are presented. Impressionist works feature in eight public exhibitions in Paris between 1874 and 1886.

1883: Monet and Renoir stay on the Mediterranean coast. Monet subsequently sojourns in Italy.

1886: Seurat exhibits the work Sunday Afternoon on the Island of La Grande Jatte (1884-1886) in the eighth and last Impressionist exhibition, at the Salon des Indépendants. With this huge painting, composed of thousands of equal-sized dot-like brushstrokes of pure colour, which contrast with one another, Seurat founds ‘divisionism’. The art critic Félix Fénéon, an ardent supporter of the movement, uses the term ‘neo-Impressionism’ for the first time in an article for the Brussels journal L’Art moderne.

As of 1892: Signac sojourns regularly in Saint-Tropez, where he produces paintings such as La bouée rouge (‘The red buoy’, 1895) and Storm in Saint-Tropez (1895), with bright and luminous colours. Working with him, and gradually abandoning his geometric approach, Cross also focuses on painting brighter and more luminous colours. This explosion of colour will later influence the Fauves and Expressionists. Works by Seurat, one of the most rational of artists, draw the attention of the cubists.

1905: Matisse, influenced by Signac and Cross, paints Luxe, calme et volupté (‘Luxury, calm, and voluptuousness’). At the Salon d’Automne, he exhibits his work with Marquet, Manguin, Derain, and Vlaminck. The explosion of pure and violent colours in their works causes a scandal. It is the beginning of Fauvism: ‘With pure colours we obtained stronger reactions.’ (Matisse)

1909: After exhibiting Women in the Garden at the Salon des Indépendants in 1891, Bonnard spends a long time with Manguin in Saint-Tropez. He becomes friends with Signac, Maillol, and Matisse.

1925: Dufy sojourns in Nice with his wife. He designs theatre sets and costumes and illustrates books with lithographs.

1936-1937: Dufy produces La Fée Électricité (‘The good fairy electricity’), the largest painting in the world, for the Electricity Pavilion at the Exposition Internationale.

1956: Chagall produces the sets and costumes for the ballet Daphnis and Chloe.

1973: Chagall produces the ‘Biblical Message’ series in Nice.

KEY DATES


DATES OF THE MAJOR ARTISTS:

AUGUSTE RENOIR (1841-1919)

CLAUDE MONET (1840-1926)

CAMILLE PISSARRO (1830-1903)

HENRI-EDMOND CROSS (1856-1910)

PAUL SIGNAC (1863-1935)

PIERRE BONNARD (1867-1947)

HENRI MATISSE (1869-1954)

HENRI MANGUIN (1874-1949)

RAOUL DUFY (1877-1953)

OTHON FRIESZ (1879-1949)

ANDRÉ DERAIN (1880-1954)

MARC CHAGALL (1887-1985) Hugo d’Alési, Poster Advertising the Paris-Lyon-Mediterranean Railway Line and Holidays in Cannes, 1904, colour lithograph, Bibliothèque-Musée Forney, Paris, © Bridgeman Images

Claude Monet, Antibes, 1888oil on canvas, 65.5 x 92.4 cm, Samuel Courtauld Trust, The Courtauld Gallery, London, © Bridgeman Images


THE ‘MONET, RENOIR, AND CHAGALL’ SOUNDTRACK

Prologue : Heinrich Ignaz Franz Von Biber: Mystery Sonatas

Section 1 Impressionism: - Maurice Ravel: Introduction and Allegro for Harp (with accompaniment of string quartet, flute, and clarinet)

- Luca Longobardi: La Rêverie

Section 2 The Mediterranean light: - Luca Longobardi: Rag Cinema Time

- Claude Debussy: Bergamasque Suite

Section 3 The fauves : - Maurice Ravel: Concerto in G Major for Piano and Orchestra

Section 4 Bonnard : - Billy Holiday - Good Morning Heartache, Irene Higginbotham, Ervin Drake, Dan Fisher - Billy Holiday - All of Me de Gerald Marks and Seymour Simons - Billy Holiday - I Loves you Porgy de George Gershwin and Ira Gershwin

Section 5 Dufy : Concerto en Fa pour piano et orchestre, George Gershwin

Section 6 Chagall : - Louis Armstrong , Ella Fitzgerald : Summertime de George Gershwin,

- Janis Joplin : Piece of my heart de J. Ragavoy & B. Berns / Big Brother & The Holding Company

- The Song of the Earth: The Farewell, The Uri Caine Ensemble

- Not Love Perhaps, John Surman

- Motet à trois voix de femmes, Luca Longobardi

- Cinderella - Ballet In Three Acts Op. 87, Act II: Waltz-Coda (Allegro Espressivo), Sergeï Prokofiev

- Cinderella - Ballet In Three Acts Op. 87, Act II: Midnight (Allegro Moderato), Sergeï Prokofiev

Credits

- La Rêverie – valse for piano, Luca Longobardi


THE PRODUCTION TEAM

GIANFRANCO IANNUZZIGianfranco Iannuzzi creates immersive spaces and exhibitions. He redesigns and artistically restores the interiors and exteriors of many venues. His work is based on images, sound, and light, which are used as vehicles for sensorial expression.

LUCA LONGOBARDILuca Longobardi is a pianist and composer. He has opened up classical music to electronic experimentation. He mainly composes music for contemporary dance, artistic performances, and multimedia installations.

MASSIMILIANO SICCARDIMassimiliano Siccardi is a video maker and multimedia artist. He has developed research and production activities that integrate new technologies into installations and immersive exhibitions. His work focuses on moving images and their integration into artistic and theatre performances.

RENATO GATTORenato Gatto is a drama teacher and assistant director. He runs the Accademia Teatrale Veneta, a professional acting school in Venice. He is a teacher of vocal technique and participates in the Educational Project at the Gran Teatro La Fenice in Venice.


’YVES KLEIN: INFINITE BLUE’

As a complement to ‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’, an immersive exhibition produced by CULTURESPACES DIGITAL® echoes this tribute to the Mediterranean. Created specifically for the Atelier des Lumières, ‘Yves Klein: Infinite Blue’ focuses on this major twentieth-century artist, who set out to turn his life into a work of art.This ten-minute-long work immerses visitors in the plurality of the artist’s works, going beyond the famous International Klein Blue (IKB), a combination of ultramarine pigment and special binder. Amongst other works, visitors will discover the body prints with his Anthropometries, and nature with his Cosmogonies and his Planetary Reliefs.

A native of Nice, Yves Klein loved the Mediterranean sky and was inspired by it to create his first work. He believed that ‘painting is COLOUR’ and he sought to individualise, free, and magnify colour in its purest form. With Yves Klein, colour took on a spiritual and metaphysical dimension.In a 1950s Parisian setting visitors are invited into a contemporary art salon in order to view an immersive exhibition of Yves Klein’s works, which begins with a D Major chord from the ‘Monotone-Silence’ Symphony.Retracing the artist’s career and his immaterial quest, the immersive exhibition presents the artist’s first works, the Monochromes, which were created in order to express the living world of each colour, but which were perceived by the general public as a polychromatic ensemble.Replacing the diversity of colours, a storm of ultramarine pigment fills the exhibition space and takes the viewers into another world, radiating with colour. It is a vibrant blue called IKB (International Klein Blue), which became the artist’s signature colour.Visitors are then immersed in dreamlike landscapes, where gold leaves dance and shimmer,

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revealing the spectacular reflections of the Monogolds and Monopinks.They are then taken into the artist’s studio, where his assistants, whom he called his ‘living brushes’, move around on the canvas, leaving imprints on it with their bodies.When the studio finally begins to burn, unique forms literally spring forth on the walls. With


‘For me, the colours are living beings (…). Colours are the true inhabitants of space.(...) The monochrome space, the world of pure colour, a free and living world.’ Yves Klein

Cutback realisation. A CULTURESPACES DIGITAL® production.

The immersive exhibition devoted to Yves Klein was made possible courtesy of the Yves Klein Archives and their invaluable assistance.

Yves Klein, Untitled Fire-Colour Painting(FC 17), 1962, pure pigment and synthetic resin on scorched cardboard, 106 x 94 cm, Louisiana Museum of Modern Art, Humlebæk, Denmark. Long-term loan: Museumsfonden af 7 December 1966 © Succession Yves Klein c/o ADAGP, Paris, 2020

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Yves Klein, the destructive power of fire is transformed into a veritable creative power. Shortly before dying, Yves Klein said to a friend: ‘I’m going to the biggest studio in the world and I’m only going to produce immaterial works there.’ As a tribute to his final confession, the immersive exhibition’s finale takes visitors into an almost immaterial and infinite atmosphere.

Thanks to a selection of 90 works and 60 archive images, ‘Yves Klein: Infinite Blue’ completely immerses visitors in the subject matter and his artistic sensibility, accompanied by Vivaldi’s stirring and vibrant music and Thylacine’s electronic rhythms.


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E THE ‘YVES KLEIN: INFINITE BLUE’ SOUNDTRACK SECTION BY SECTION:

A WORLD OF PURE COLOUR: - Track: Monochromie (since 2000) Composer: Pierre Henry - Track: Act1-Typing Music Repeat -Composer: Steve Reich

INFINITE BLUE: Track: Dad Album: Blend EP Composed by: Thylacine

THE ILLUMINATION OF MATTER: Track: Cum Dederit (Nisi Dominus) Album: Vivaldi: Nisi Dominius Composer: Antonio Vivaldi Performed by: Andreas Scholl

BODY PRINTS: Artiste: A Silver Mount Zion Track: 13 Angels Standing Guard ‘Round the Side of Your bed’

THE CREATIVE FIRE: Track: Le Sacre du Printemps - Le jeu du Rapt Composer: Igor Stravinsky

THE IMMATERIAL: Track: An Ending (Ascent) Artiste: Brian ENO Album: Apollo: Atmospheres and Soundtracks


YVES KLEIN (1928-1962) Born in 1928 in Nice, Yves Klein’s initial vocation was judo. In 1954, he decided to practice art and began his ‘monochrome adventure’.

Driven by the idea of ‘liberating colour from the prison of lines’, Yves Klein focused on painting monochrome works, because for him it was the only way of painting that made it possible ‘to see what was visible in the absolute’.

Focusing on the expression of sensibility rather than on figurative forms, Yves Klein went beyond artistic representations and produced works of art that were ‘traces’ of the artist’s communication with the world. The idea was to make invisible reality became visible. He defined his work as ‘the ashes of his art’.

In his oeuvre Yves Klein put forward a new conception of the artist’s role. He believed that beauty existed before the work of art was created, but in an invisible state. His task was to capture beauty wherever it might be found, in matter as in air. Yves Klein turned his entire life into a work of art: ‘Art is everywhere that the artist goes’.

Yves Klein used ultramarine as a vehicle in his quest to capture immateriality and the infinite. Waves of colour radiate from this bluer-than-blue hue-which he called ‘IKB’ (International Klein Blue)-, which not only engage the eyes of the viewer but also enable us to see with our souls.

From his monochromes to the void, his ‘living brushes technique’ andAnthropometries, his use of natural elements in order to reveal their creative life force, and his use of gold as a portal to the absolute, he produced an oeuvre that transcended the boundaries between conceptual art, body art, and performance art.

Shortly before he died, Yves Klein said to a friend: ‘I’m going to the biggest studio in the world and I’m only going to produce immaterial works there’.

Between May 1954 and 6 June 1962, the date of his death, Yves Klein burned his life to make a flamboyant work that marked his era and that still resonates.


The Turkish collective Nohlab was awarded the First Prize at the Immersive Art Festival on 24 October 2019. THE IMMERSIVE ART FESTIVAL IN PARIS was held from 18 to 24 October at the Atelier des Lumières. Devoted to immersive digital design, it presented works by some of the most influential artistic collectives in the world of the digital arts. Eleven competing works, which were specifically adapted to and designed for the Atelier des Lumières, were presented. The 4-minute-long immersive shows combined video, photography, motion design, and sound spatialisation.The First Prize, awarded by both a professional jury and visitor voting, was given to the collective Nohlab, enabling them to present ‘Journey’ at the Atelier des Lumières for six months.‘Journey’ is an experimental journey whose theme is the genesis of photons, one of the primary elements of light. The journey describes how photons pass through all the layers of the eye (the iris, the vitreous humour, the optical nerve, etc.) until they reach the neurons and are converted into electrical signals. It describes the process by which photons are transformed into a form of energy that is perceptible by the brain.

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Melt realisation. A CULTURESPACES DIGITAL® production.

Duration: 15 minutesAn immersive experience that is projected continuously: there are no fixed viewing times. Free admission, included in the entry ticket.melt.studio

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The Atelier des Lumières is also presenting a new fifteen-minute visual and audio work in its STUDIO.Adapted to and designed for Le Studio in the Atelier des Lumières, ‘Moments’ was created by using Impressionist paintings, scanned in a very high resolution. These works in close-up become pigments-fine particles and coloured suspended components of painting. Using an algorithm, the captivating images evolve and begin to move, creating a sensorial journey into the abstract-fleeting moments inspired by the great masters of light and shade.

After ‘Monet, Renoir, and Chagall; Journeys Around the Mediterranean’, which presents major works by the Impressionists, this work by Melt immerses visitors in a constant flow of movement and an explosion of colour.

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RSM, SPONSOR OF THE ATELIER DES LUMIÈRES

RSM, a global audit, expertise and consultancy network, aims to support companies and their managers in securing their financial information and developing their business. Present in France and abroad, RSM is very committed to highlighting cultural heritage and supports the Atelier des Lumières for the second consecutive year.

RSMRSM, an international network of audit, tax, and consulting networks, aims to help businesses andmanagers make their financial information secure.Present in France with six regional offices and in 110 countries, RSM is fully committed to highlightingcultural heritage because we like to share what we love.

www.rsm.global/france

http://www.rsm.global/france

http://www.rsm.global/france


Founded in 1990, Culturespaces is the leading French private actor in the global management and promotion of museums and cultural and heritage sites; Culturespaces is the leading creator of digital art centres and immersive exhibitions in France and abroad; it also produces cultural events and exhibitions.

With CULTURESPACES DIGITAL®, Culturespaces is the leading international cultural operator with specialised teams and comprehensive expertise, combining the design and creation of digital art centres, the technological competence for the diffusion and production of immersive digital exhibitions, the presentation of classical, modern, and contemporary artists, and the organisation of festivals.

CULTURESPACES DIGITAL® IS EMPLOYED: > in monumental sites of interest (historical monuments, quarries, mines, abandoned factories, halls, etc.); > with monumental dimensions, with a surface area exceeding 2, 500m², and a minimum height of 8 m; > in venues in which there is complete darkness during the projection of the exhibitions.

‘As President of Culturespaces, it has been my ambition to transmit a passion for art to as many people as possible. In 2012, Culturespaces went digital with monumental immersive digital exhibitions, in the Carrières de Lumières in Les Baux de Provence, which were an entirely new and refreshing approach to presenting the works of the great masters. Since 2018, Culturespaces has used new technologies to create digital art centres that are entirely devoted to immersive exhibitions. With CULTURESPACES DIGITAL®, our vocation-cultural transmission-is taking on a completely new dimension in major cities around the world.’

Bruno Monnier, President of Culturespaces

CULTURESPACES, THE EXHIBITION’S PRODUCER


Established in 2009 by Bruno Monnier, the Culturespaces Foundation enables children who are made vulnerable by illness, or suffer from a handicap or social exclusion to enjoy unique artistic and cultural experiences that stimulate them and help them develop and fulfil themselves creatively.

THE CULTURESPACES FOUNDATION

The programme’s sponsors:

Art en Immersion (‘lmmersion in Art’): stimulating the creativity of children who have

KEY FIGURES FOR THE 2020 ‘ART EN IMMERSION’ PROGRAMME: 5,000 children

4 regions & 10 départements 300 visits |300 creative workshops

350 educational kits160 educational establishments

www.fondation-culturespaces.com

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limited access to cultureThe educational and cultural programme Art en Immersion (‘lmmersion in Art’) is an innovative way of teaching children about art, in which digital technology is the vector for the transmission of knowledge. Composed of four parts, the programme develops children’s general cultural awareness and

creativity through educational activities before and after the visit to the Atelier des Lumières.Launched when the Atelier des Lumières opened in 2018, the programme will be offered free of charge to 2,500 children (aged 5 to 7) suffering from social exclusion (final year

of nursery school (Grande Section) to the second year of primary school (CE1)).

A programme that promotes awareness of art, composed of four parts PART 1: AN EDUCATIONAL WORKSHOPThe aim is to familiarise the pupils with the artists’ world.PART 2: A VISIT TO THE ATELIER DES LUMIÈRESThe children visit the immersive exhibition.PART 3: A CREATIVE WORKSHOPThe visit is followed by a new workshop in which the children are able to express their immersive experiences in an artistic form.PART 4: A ‘MINI’ EXHIBITIONThe children will be able to share this immersive experience with their families with an exhibition of their own works.

https://www.fondation-culturespaces.com/fr/home

https://www.fondation-culturespaces.com/fr/home


IMAGES AVAILABLE FOR THE PRESS

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‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’© Culturespaces/Nuit de Chine- Pierre-Auguste Renoir: Le Lavandou (detail), 1894, oil on canvas, private collection; Claude Monet: Woman With Umbrella Turned Towards the Right (detail), 1886, oil on canvas, 131 x 88 cm, Musée d’Orsay, Paris; Antibes (detail), 1888, oil on canvas, 65.5 x 92,4 cm, Samuel Courtauld Trust, The Courtauld Gallery, London; Palm Trees at Bordighera (detail), circa 1884, oil on canvas, 61.3 x 74 cm, private collection, Photo © Lefevre Fine Art Ltd., London -all the preceding images: © Bridgeman Images.

‘Monet, Renoir, and Chagall: Journeys Around the Mediterranean’Photo: © Dominique Chauvet © Culturespaces/Nuit de Chine

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1 |Pierre-Auguste Renoir, Bal du moulin de la Galette, 1876, oil on canvas, 131 x 175 cm, Musée d’Orsay, Paris, © Bridgeman Images

2 | Pierre Auguste Renoir, L’Estaque, 1882, oil on canvas, 65.8 x 81 cm, private collection, © Bridgeman Images

3 | Claude Monet, Woman With Umbrella Turned Towards the Right, 1886, oil on canvas, 131 x 88 cm, Musée d’Orsay, Paris, © Bridgeman Images

4 | Claude Monet, Garden in Bordighera, Impression of Morning, 1884, oil on canvas, 65.5 x 81.5 cm, Hermitage Museum, Saint Petersburg, © Bridgeman Images

5 | Claude Monet, Antibes, 1888, oil on canvas, 65.5 x 92.4 cm, Samuel Courtauld Trust, The Courtauld Gallery, London, © Bridgeman Images

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6 | Paul Signac, The Port of Saint-Tropez, 1899, oil on canvas, 65 x 81 cm, Musée de l’Annonciade, Saint-Tropez, © akg-images

7 | Paul Signac, In the Time of Harmony. The Golden Age is not in the Past, it is in the Future, oil on canvas, 312 x 410 cm, Mairie of Montreuil, © akg-images/Erich Lessing

8 | Henri Manguin, The Pine Forest at Cavalière, 1906, oil on canvas, 65 x 81 cm, private collection, © akg-images © Adagp, Paris, 2020

9 |Henri Manguin, Jeanne allongée sur un canapé, ou la petite odalisque (‘Jeanne lying on a sofa or the little odalisque’), 1912, oil on canvas, 88 x 116 cm, private collection, © akg-images

10 | André Derain, The Turning Road, L’Estaque, 1906, oil on canvas, 129.5 x 194.9 cm, Museum of Fine Arts, Houston, museum purchase funded by Audrey Jones Beck, © Adagp, Paris, 2020, Photo: © Bridgeman Images

11 | Pierre Bonnard, Women in the Garden, 1891, oil on paper glued on canvas, 160.5 x 48 cm, Musée d’Orsay, Paris, © Bridgeman Images

12 | Henri-Edmond Cross, Coastal Landscape, oil on canvas, 54 x 73 cm, private collection © Bridgeman Images

13 | Henri-Edmond Cross, Le Bois ou Nu sous bois (‘The Woods’ or ‘Nude in the woods’), 1906-1907, oil on canvas, 46 x 55 cm, Musée de l’Annonciade, Saint-Tropez, © akg-images

14 | Émile-Othon Friesz, Port de La Ciotat (‘Port of La Ciotat), 1908, oil on canvas, private collection, © Bridgeman Images © Adagp, Paris, 2020

15 | Émile-Othon Friesz, Cassis ou Paysage ideal (‘Cassis’ or ‘Ideal landscape’), 1910, oil on canvas, 113 x 146.5 cm, Staatliche Kunstsammlungen, Dresden, Galerie Neue Meister, Dresden, © akg-images © Adagp, Paris, 2020

16 | David Dellepiane, Poster Advertising Travel to Antibes, Côte d’Azur, With the French Railway Company P.L.M., 1910, colour lithograph, private collection, Photo © Christie’s Images/Bridgeman Images

17 | Hugo d’Alési, Poster Advertising the Paris-Lyon-Mediterranean Railway Line and Holidays in Cannes, 1904, colour lithograph, Bibliothèque-Musée Forney, Paris, © Bridgeman Images

18 | Pierre Bonnard, The Conversation at Arcachon, 1926-1930, oil on canvas, 56 x 48 cm, Petit Palais, Paris, Girardin bequest, 1953

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19 | Raoul Dufy, Baie des Anges, Nice (‘The Bay of Angels, Nice’), circa 1926, oil on canvas, 61.5 x 74 cm, private collection, © Bridgeman Images © Adagp, Paris, 2020

20 | Raoul Dufy, Coucher de soleil (‘Sunset’), watercolour on paper, 50.2 x 65.6 cm, Leeds Museums and Galleries (Leeds Art Fund), © Bridgeman Images © Adagp, Paris, 2020

21 | Raoul Dufy, Little Bather at Sainte-Adresse, 1932-1933, oil on canvas, 46 x 38 cm, private collection, © Bridgeman Images © Adagp, Paris, 2020

22| Marc Chagall, Couple dans un paysage bleu (‘Couple in a blue landscape’), 1969-1907, oil on canvas, 112 x 108 cm, private collection, © Adagp, Paris, 2020 – photo: Marc and Ida Chagall Archives, Paris

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23 | Marc Chagall, The Tribe of Zebulun, 1962, synagogue in the Hadassah-Hebrew Medical Centre in Jerusalem,

© ADAGP, Paris, 2020, photo: Yuval Yairi

24 | Marc Chagall, Adam and Eve Being Chased from Paradise, 1961, 190.5 x 283.5 cm, Musée National Marc Chagall, Nice

© Adagp, Paris, 2020 – photo © RMN-Grand Palais (Musée Marc Chagall)/Adrien Didierjean

25 | Marc Chagall, The Message of Ulysses, 1967-1968, mosaic of 200,000 tesserae composed of marble and stone, including onyx, enamels, glass, and Murano golds, green minerals, and ores extracted from King Solomon’s copper mines,, 3 x 11 m, Faculty of Law and Political Science, University of Nice, © ADAGP, Paris 2020 – photo: François Fernandez

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The immersive exhibition devoted to Yves Klein was made possible courtesy of the Yves Klein Archives and their invaluable assistance.

Simulation of ‘Yves Klein: Infinite Blue’© Succession Yves Klein c/o ADAGP, Paris, 2020

Yves Klein, Do-Do-Do (RE 16), 1960Pure pigment and synthetic resin, natural sponges and pebbles on panel, 199 x 165 x 18 cm© Succession Yves Klein c/o ADAGP, Paris, 2020

Yves Klein, Untitled Fire-Colour Painting (FC 17), 1962, pure pigment and synthetic resin on scorched cardboard, 106 x 94 cmLouisiana Museum of Modern Art, Humlebæk, Denmark. Long-term loan: Museumsfonden af 7 December 1966© Succession Yves Klein c/o ADAGP, Paris, 2020

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ADDRESS38, rue Saint-Maur75011 Paris

Métro : lines 9 (Voltaire, Saint-Ambroise), 3 (Rue Saint-Maur), and 2 (Père Lachaise) Bus : 46, 56, 61 and 69 OPENING TIMESOpen every day from 10 a.m. to 6 p.m. and in the evening on Fridays and Saturdays until 10 p.m. and on Sundays until 7 p.m. The exhibitions will be projected continuously: there are no fixed viewing times. The cultural gift shop is open during the venue’s opening times.Online booking.A visit application is available free of charge, providing visitors with information about fifty works.

ADMISSION FEESRegular admission: €15 Senior rate (over 65 years old): €14 Discounted admission: €12 (students, job seekers, disability card holders, ‘Pass Education’ card holders – upon presentation of a valid proof of entitlement)Young person’s rate (aged 5-25): €10 Family rate (2 adults + 2 children): €44 Free for children under 5 (upon presentation of a valid proof of entitlement)

PRESS CONTACTAgence Claudine Colin CommunicationT. +33 1 42 72 60 01 Lola Véniel : [email protected] - 06 85 90 39 69 Caroline Vaisson : [email protected] - 06 72 01 54 52

WEB www.atelier-lumieres.com #atelierdeslumieres

PRACTICAL INFORMATION

PARTNERS

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38 rue Saint-Maur - 75011 Paris7 days a week between 10 a.m. and 6 p.m., and in the evening on Fridays and Saturdays until 10 p.m. and on Sundays until 7 p.m.

www.atelier-lumieres.com

#AtelierdesLumieres

PRESS CONTACT

Agence Claudine Colin Communication

T. +33 1 42 72 60 01 Lola Vé[email protected]

Caroline Vaisson

[email protected]

mailto:caroline%40claudinecolin.com?subject=

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