The Foundation Louis Vuitton exhibits in Paris the work of the two artists, united by two biographies culturantes
Two lightning in the sky of the TWENTIETH century. The ferment of two comets. The press shoots metaphors celestial to speak of Jean-Michel Basquiat and Egon Schiele, stars of the autumn in paris, brought together by the Foundation Louis Vuitton. Stirred but not mixed in the shaker that the architect Frank Gehry designed in the Bois de Boulogne.
But what looms in the two images that accompany this text? Two looks fierce. Four eyes like burning embers. Four magnets that leave you stuck, unable to avoid their attraction. They are a very good bet divided among 100 works of Schiele and 120 of Basquiat. Brilliance. That is the word which the RAE defines with the other two: radiance and brilliance.
class=”icon-foto_16_g”> ‘self-Portrait with cook’ (1912), Schiele.
Live with a woman without being married and in a town was a scandal. And that the ejected towards Neulengbach, 20 km from Vienna, where they rent an isolated farm. Wally continues to model and leads to the house; he exposes with success in Vienna, Budapest, Cologne and Munich. “Schiele begins to feel on top of the self-esteem and believes that her privileged status of the artist gives you the right to tackle any topic.”
Not only is strolling with her lover, but that invites the children of the village to pose for him. The boys tell their parents that the house is full of erotic drawings. On the 13th of April, 1912, two police officers were present on the farm, confiscate 125 drawings, turn on the painter and bring him to the dungeon. There he remained until may 7, accused of child molestation, rape, and immorality public. There is No evidence of the first two charges, but the judge Stovel, collector of erotic drawings, conviction for the latter. Leave it in freedom, but burn symbolically one of the roles in the Hearing. The other 124 did not appear more. For then, Egon Schiele is an artist with a voice of his own and particular world. The same as this exposure unfolds almost as an anatomy of the night psychic artist, the delicacy of his intriguing expedition.
Now a break until 1982. One of the best years of the production of Basquiat. Has already participated in the group exhibition New York/ New wave at Queens, in the PS1, the temple of the emerging art of the time. Has caught the wave. He travels for the first time to Europe, and Annina Nosei installed (or closes) in the basement of his gallery in new york during the month of September. Thus was born the first solo exhibition of Basquiat in march of 1982. Based on the references of tribal painting, the ferocity of the stroke graffiti, expressionism and calligraphy fused in a crucible leaving a scream that only he generates, although they all understand. The work of Basquiat is an imposing lighthouse without a light of notice and certainty of storms. A rupture that comes of the avant-garde and comes to a paint dislocated, crazy at times, establishing a canon of their own.
There is a lot of early daring in Basquiat. Of fortuitous. Of instinct unleashed. Impresses dealers and Andy Warhol. Collectors and brokers. It is the product of artistic consumption, more refined, from the Manhattan of the early 80s. The art comes buffeted in all directions and one of their evangelists, is a young mulatto that comes out of the underground and do not understand entirely what is happening. But it is a main part of what happens. Puts the focus on some of the popular icons of that decade is convulsed: the boxer Cassius Clay, or jazz musicians such as saxophonist Charlie Parker…
That year, marvel is also the drawing on paper which illustrate these pages. And of another work, untitled, a black head and raging on a blue background painted on canvas. Some years after he drove Basquiat in the club of 100 million dollars. A guild that barely contained Picasso, Modigliani, Bacon, Giacometti, Munch, and Warhol. Basquiat is the only one born after 1945.
Together, stirred but not mixed, together now in Paris, two of the artists most impetuous of their times. The matches are fierce: earliness, uniqueness, relationship to virtuous with drawing, figurative, expressionist… they Both had problems with their parents and left as a trail a sound extraordinary.
Gallego&Rey
Egon Schiele, in the dungeon, he noted in his journal on April 22, 1912: “As the godhead, namely, the Buddha, Zoroaster, Osiris, Zeus, or Christ, the art embodies an eternal principle and does not obey the time”. In the solitude of the cell, Schiele painted what he saw, two chairs and a bucket. And wrote on the back: “art cannot be modern. The art is primordially eternal”.
The line of Schiele was a radical and disconcerting. Less intuitive Basquiat, but more trembling, more accurate and more inquitetante by delicate. Drawing, gouache, painting as a confusion define one of the main artists of the first third of the TWENTIETH century. Obsessed with autorretratarse, that gesture was as much narcissism as self-destruct. To make visible the damage and the loss. So the pint Schiele (more or less what decades later will do Basquiat): developed itself from the centre of a powerful darkness.
The practice of the dramatization of the scenes are in both artists. But Schiele takes you farther. Bodies of women that enter or leave a state of ecstasy. Or of a cold. Lovers of a strange styling which sets out in a game of alternations between emptiness and fullness. Sexuality naked also overflows the papers of Egon Schiele. There are No more rules that the passion to paint, even from the disgust.
None of these two agents provocateurs have a vocation playful. Don’t paint him as a balm, but as a disagreement. This sample proposes a collisions most exciting picture in the exhibition of the autumn european. Popular, yes. Willing, why not. Strategically successful, without a doubt. But a bold confrontation which abounds in the force of the cracks. Many cracks. Points of vertigo and intersection.
According to the criteria of
Learn more
