If you have a lemon tree, make art: Foujita in Montparnasse

foujita lemon pickers small

As an illustrator, Kees Van Dongen can’t be beat. (Check his ethereal covers of Proust’s gossamer ladies for Folio’s editions of “Remembrance of Things Past.”) But I just can’t see what makes “The Tall Doe in Black Stockings,” a 40 x 32 inch oil of a thin naked flapper painted in 1922-23, worth between 1.2 and 1.6 million Euros, Artcurial’s pre-sale estimate for tonight’s Impressionist and Modern auction in Paris. So if you’re looking for a representative of the Montparnasse epoch of the School of Paris — in all its international splendor — we propose instead Léonard Tsuguharu Foujita (1886 – 1968), whose 1918 “The Lemon Pickers,” an 18 1/4 x 12 inch watercolor, ink, and gold and silver leaf on paper, is estimated at a paltry 100,000 – 150,000 Euros. Not just for its intrinsic value, but because Foujita, born in Japan and artistically flowered in France, in the hybrid nature of his oeuvre defies the false debate current among some French pundits between “multi-culturalism” and “national identity,” demonstrating that far from being antithetical, they have forged the synthesis that is the cosmopolitan French and Parisian culture. Signed in French and in Japanese (of course) at lower right. Image courtesy and copyright Artcurial.

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She wore lemon: Concocting the feminine image with D. Chase Angier

By Paul Ben-Itzak
Copyright 2000, 2017 Paul Ben-Itzak

BROOKLYN — I know, I know, the borough of Brooklyn is part of New York City, so it’s as ridiculous to make that the dateline for this Flash as it would be to make it “MANHATTAN.” But living in Manhattan — GreenWich Village, no less, to para-tone Bob Dylan in “Talkin’ New York” — I’ve tried to ignore the increasing number of dance flyers with a Brooklyn venue that have flooded the DI inbox. That’s not from snobbery, it’s from fear of getting lostery. As anyone who’s ever accompanied me to an event where a subway is involved will tell you, when I emerge from the station I can’t even figure out which way is uptown and which way down. So the prospect of trying to find my way to a hidden theater in a strange town has always been daunting. Only a friend or an artist I know and REALLY want to see will get me there, and even then only if there’s someone to hold my hand along the way. But when I heard Chase Dance Theater was in the house with “an Evening of Beauty and Madness,” including a reprisal of D. Chase Angier’s mostly-new-to-me riff on female image consciousness “Lemons for Loveliness,” I was tempted. And when I heard the house was a spanking new space, Williamsburg Art NeXus (or WAX), it seemed my duty, as we’ve been ranting here about the shrinking space for dance in this town, to check it out. And finally, when I was told WAX is right on the L line — folks, this is a ten-minute ride from downtown Manhattan, half the time it takes you to get uptown, and you’re in the company of a way cooler Boho crowd — this young man had no excuse not to go east.

To receive the complete article, first published on October 9, 2000, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager 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 paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions). Contact Paul at paulbenitzak@gmail.com.

La nude en rose armchair

gromaire arm chair nude smallAmong the works featured in tonight’s Impressionist & Modern auction at Artcurial Paris is, above, “Nude in pink arm chair,” a 21 5/8 x 18 1/8 oil on canvas painted in 1931 by Marcel Gromaire (1892 – 1971) — a far cry from Gromaire’s early depictions of life in the trenches of World War 1, first published from 1916 through 1918 in the revue Le Crapouillot. (Gromaire also wrote the first treatise on the manifestation of painterly values in the cinema, in 1925.) As intimate as the tableau may seem at first glance, the perspective of the outside world is frequently present even in Gromaire’s most intimate paintings (here, in the cobalt twilight projected on a rear window). Signed and dated at upper center; signed again, dated, and titled on the back. Artcurial pre-sale estimate: 60,000 – 80,000 Euros.  Image courtesy and copyright Artcurial.

Orienting the Eye

Fall AC two Dufresne smallOrienting the eye: I was all set to re-frame Charles Dufresne’s monumental painting “Retour de chasse” (The Return of the Hunting Party), above, in current and historical socio-political contexts, but then I heard about the Viennese tourism office’s cynical response to the reluctance of the cities of London and Hamburg to run its publicity posters for the country’s celebrations of the Expressionist painter Egon Schiele on the centennial of his death at 28. Rather than simply pull the posters featuring work like “The girl in orange stockings” and “Nude Self-Portrait,” it draped the subjects’ privates in banners reading “Sorry — 100 years old but still too daring today,” accompanied by the inevitable hashtag. In other words, the Viennese tourism office desecrated the art it was supposedly promoting and debased the memory of the artist it was supposed to be celebrating. I realized that even if they often comment on, rebel from, or reflect contemporary mores and debates, artists should not always be subjected to them. I also couldn’t help recall a colleague’s insistence that a female nude by Eugene Dinet — who spent most of his adult life in Algeria and converted to Islam — which we once published and which was to my eye a natural study denuded of any exoticism was Orientalism of the worse sort. (If any context could be appropriately applied to Dufresne’s circa 1913, 83 1/8 x 115 inch oil on canvas — apparently the most controversial work of the last Salon before World War 1, on sale for Artcurial’s November 28 Impressionism & Modern auction Tuesday in Paris — it would seem to be that furnished by Ballets Russes, whose version of Michel Fokine’s “Scheherezade” premiered in 1910 with Ida Rubinstein and Vaslav Nijinsky.) But the painting, signed at the lower left, ultimately deserves to be judged, evaluated, perceived, and received on its own intrinsic merits. Artcurial pre-sale estimate: 30,000 – 50,000 Euros. Image copyright and courtesy Artcurial.

Return to Innocence

Fall AC two contemp Combas smallReturn to innocence: The painter Robert Combas and the troubador Georges Brassens have much more in common then their hometown Sete on the Mediterranean. The apparent frequent wickedness of the oeuvres of both men ultimately reveals itself as owing more to Eden than bawdy barrooms. It was thus no surprise when the contemporary artist devoted a whole series of large-scale paintings to the late anarchist singer and poet. But there’s no homerism or even regionalism in Combas’s 1992, 76 3/4 x 111 3/4 inch acrylic “Dans l’Eau de la Claire Fontaine,” on sale Monday in Paris for Artcurial’s Post-War & Contemporary auction. Signed, dated, and titled upper left. Artcurial pre-sale estimate: 50,000 – 70,000 Euros. Image courtesy and copyright Artcurial.

Vanishing Acts: Waiting in Limbo with Maguy Marin & Lutece

marin umweltCompagnie Maguy Marin in Maguy Marin’s “Umwelt.” Photograph by and copyright Christian Ganet and courtesy Theatre de la Ville.

By Paul Ben-Itzak
Copyright 2015, 2017 Paul Ben-Itzak

PARIS — One of the endurance tests of a work of art is its malleability over time. When I first saw Maguy Marin’s “Umwelt” 10 years ago in its Paris premiere at the Theatre de la Ville – Sarah Bernhardt, if the choreography was dense, the dance’s spirit was still unrelentingly slapstick, with nine performers taking turns surging rapid-fire — alone, paired, or in triplets — from the opening between three lateral walls of mirrors, le tout, mirrors and humans with their various props (baby dolls, turkey drumsticks, army helmets, guns, aprons, foliage, blonde wigs, laboratory jackets, pills, buckets of dirt…) buffeted about by wind machines as they engaged in everyday human interplay and gestures ranging from kisses to left hooks, with the occasional flashing of buttocks and genitals tossed in to remind you it was, after all, European modern dance. (And to ensure the ‘unfamily friendly’ label from the constipated directors of the Joyce Theater; who needs the NYPD — which swooped down on Anna Halprin’s frolicking performers at the Kaye 50 years ago — when the pre-censoring is done in-house?) Even the bombastic score — played by a single strand of twine which crossed the downstage from one spool to another, caressing the strings of three prostrate electric guitars en route — couldn’t perturb the frothy demeanor of the movement. What outraged me was that where no one had walked out of the same theater during a Wim Vandekeybus spectacle the previous week which projected graphic images of children being tortured and killed, 40 spectators fled “Umwelt,” the more optimistic work. On Friday December 4, though, at the opening of the reprise of “Umwelt” on the same stage, I started sobbing at the first appearance of the performers. With their bright pedestrian outfits and variety of human shapes and ages, in their frantic running back and forth, fighting against the torrential currents of the wind and lost in the confines of the buckling rows of mirror-wall centurions, they seemed to be the innocents killed November 13, discombobulated and disoriented over what had just happened to them, trapped in this antechamber between existance and the afterworld like Captain Kirk hovering between two dimensions, juggling the detrius of their lives on Earth until we the survivors could set things right. At the moment, the verdict is still out, as we too seem to be hovering like Kirk between two worlds — or at least two worldviews, that of trepidation and fear and that of persevering hope.

To receive the complete article, first published on December 11, 2015, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager 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 paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at paulbenitzak@gmail.com.

See Freespace Dance Soar

freespace small(Dance Insider Principal Sponsor Ad) The Star-Ledger’s Robert Johnson calls Donna Scro Samori  / Freepace Dance “astonishing and wonderfully gratifying.”  For information on classes and upcoming performances, including the company’s December 2 appearance at the Montclair Arts Festival, click here. Above: Freespace Dance artistic director Donna Scro Samori and Omni Kitts, as captured by Lois Greenfield. Photo copyright Lois Greenfield. (To advertise your dance program, performance, audition, or product on the Dance Insider, please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com . Sponsor ads just $49 when you sign up by November 30, 2017.)