Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
Fernand Léger (1881-1955), “Project for Paul Eluard’s ‘Liberty, I write your name'” (Detail), 1953. Gouache, ink, and collage on paper, 13 x 51 1/8 inches. Artcurial pre-sale estimate: 80,000 – 120,000 Euros. Image courtesy and copyright Artcurial.
By Paul Ben-Itzak
Copyright 2017 Paul Ben-Itzak
It’s a pity that Paul Lombard was too busy becoming a lion of the law — among other celebrated cases, working on the Chagall, Picasso, Balthus, and Bonnard successions and valiantly defending one of the last men to be executed in France before it banned the death penalty in 1981, Christian Ranucci, in the belief that his client was innocent — to take up a third career (he also wrote books) as a curator. Judging by the breadth and intrepidness of the late Marseille-born advocate’s collection, which goes on sale Tuesday evening at Artcurial in Paris, Lombard was not only an expert in various domains of the law (notably authoring a book on divorce), but could have given seminars to the major museum curators, whose ethos in recent years (with the exception of the Pompidou) seems to be driven by marketing concerns at the expense of curiosity, archeology, and preservation (of art history, I mean), most exhibitions repeatedly trotting out the same artists in new conceptual configurations or combinations.
A perusal of the Artcurial catalog for the Lombard auction confirms that in building a collection which documents several through-lines of art history between them spanning more than 200 years, Lombard, who died in January at the age of 89, was guided by two principles (both familiar to defense lawyers): Explaining (in this case, the sources of artistic movements and individual artists’ inspirations), and shedding light (here, on previously obscure aspects of artists we thought we already knew everything about).
To receive the complete article, including more images, subscribers please contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the DI for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Contact Paul at paulbenitzak@@gmail.com .