The reconciliaTion8 9 Provenance galerie louise leiris, paris galería Theo, Madrid & Valencia...

picasso & chagallThe reconciliaTion

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With great anticipation, Opera Gallery Dubai is pleased to unveil the exhibition “Picasso-Chagall : the Reconciliation”. We have decided to focus on two major artists from the twentieth century who shaped the world of modern art as we know it and yet had a very complex relationship.

In 1910, Chagall came to Paris and had heard of Picasso, who was living in Montmartre at the time. He asked the poet Apollinaire to introduce him to Picasso. Apollinaire refused to do so and replied : “Picasso? Are you feeling suicidal?”

Initially, just before returning to Russia in 1914, Chagall had a great admiration for Picasso and did a drawing entitled “Thinking of Picasso”. But later on, he had produced another artwork named “Tired of Picasso”.

From the USA Chagall sent a letter to Picasso telling him that he would like to meet him and enclosed in his letter a photo of himself and his son. Picasso was so touched by the photo that he even pinned it up in his studio. After the Second World War, Chagall came back to France and went to the French Riviera where he frequently met with Picasso at the Madoura ceramic workshop in Vallauris.

Picasso commented on Chagall’s work by saying : “When Chagall paints, you do not know if he is asleep or awake. Somewhere or other inside his head, there must be an angel.” Picasso also said : “ When Matisse dies, Chagall will be the only painter left who understands what colour is. His canvases are really painted, not just tossed together. Some of the last things he has done in Vence convince me that there’s never been anybody since Renoir who has a feeling for light that Chagall has.”

In 1954, the major break-up came at a dinner party, during which they had a fierce argument. Thereafter they never spoke to each other again and from that day, Chagall referred to Picasso as “the Spaniard” and even said sarcastically “ What a genius Picasso is! It’s a pity he doesn’t paint.”

55 years later, Opera Gallery has decided to reconcile both artists in a joint exhibition in Dubai. We are sure that you will appreciate the amazing talent of both artists who still draw crowds nowadays wherever their artworks are being displayed.

Gilles DyanFounder and ChairmanOpera Gallery Group

Bertrand EpaudGeneral Manager

Opera Gallery Dubai

picasso & chagallThe reconciliaTion

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Cartier was among the first Maisons to take an active stance in favour of contemporary art and, as a corporate patron, is committed to promoting contemporary creators and their freedom of expression, by raising public awareness around them.

The embodiment of this commitment led to the establishment of the Fondation Cartier pour l’Art Contemporain, in 1984 in Paris. Since then, Cartier has developed a different kind of patronage through its exhibitions, its collection, and its production of artwork.

Its keen interest in the arts is especially visible in its commission policy: a key feature of patronage, reflecting a total commitment to artistic production, from the moment of conception to the finished work.

The Fondation Cartier pour l´Art Contemporain enables the Maison Cartier to stay attuned to the latest creative innovations, providing a forum where freedom and originality can thrive, bringing together collections which reflect a tradition, a legacy and an era.

Both Pablo Picasso and Marc Chagall, who are true master artists of their time, brought a liberal culture to the world of art. They demonstrated their imagination and creativity in their artistic creations; and like Cartier’s creations, their collections are unique and distinctive, thanks to their creative yet timeless works of art.

Yours sincerely,

Patrick NormandManaging DirectorCartier Middle East & South Asia

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paBlopicasso

Pablo Picasso (Malaga 1881 – Mougins 1973)

Picasso began his artistic training under the guidance of his father, a design teacher. He studied in La Coruna, Barcelona and Madrid. In Barcelona, he attended the artistic settings of Modernismo, in particular in the café Els Quatre Gats. Between 1900 and 1902, he made three trips to Paris and painted the works of his co-called blue period. In April 1904, he moved to Paris, living in the famous Bateau Lavoir on Montmartre, where he lived until October 1909. During those years, he began his rose period, between 1905 and 1906, he discovered African art, and together with Georges Braque created Cubism, based on a radical fragmentation of forms.

In 1917, he traveled to Italy along with Diaghilev’s Ballets Russes. The Spanish civil war brought him to a social and political awareness that found its greatest expression in Guernica.

After World War II, he was tireless in his experimentation in various directions. His genius would express itself in the paintings of course, but also through other artistic channels, from writing theater pieces to sculpting, ceramics and engraving.

This undefeated star of the art market, for his works of classic and yet revolutionary genius, dominated his century.

His work was unanimously considered the symbol itself of 20th Century art.

BiographY

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Provenancegalerie louise leiris, parisgalería Theo, Madrid & Valenciaprivate collection, spain (acquired from the above in 1981. sale: sotheby’s, london, 3rd February 2004, lot 51) purchased at the above sale by the late owner

Exhibitedoslo, galleri haaken, picasso: peintures - sculptures - Dessins, 2004, illustrated in colour in the catalogue

Femme au chapeau assise. Buste, 1962Oil on canvas81 x 65 cm - 31.9 x 25.6 in.

Literaturechristian Zervos, pablo picasso, œuvres de 1962 et 1963, vol. 23, editions cahiers d’art, paris, 1971, no. 62, ill. pl. 27The picasso project, picasso’s paintings, Watercolours, Drawings and sculpture. The sixties i, 1960-1963, san Francisco, 2002, no. 62-253, ill. p. 283

price on request

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Nature morte au poron, 1948Oil on canvas50 x 61 cm - 19.7 x 24 in.

Provenancegalerie louise leiris, parissvensk-Franska Konstgalleriet, stockholmgerard Bonnier, stockholm (acquired by 1953 and until at least 1959)galerie Beyeler, Baselprivate collection, new YorkJames goodman gallery, new Yorkprivate collection, europe (acquired from the above in 1981. sale: sotheby’s, new York, 8th May 2007, lot 55)purchased at the above sale by the late owner

Exhibitedstockholm, svensk-Franska Konstgalleriet, 1918-1953, 1953, no. 115 (titled le homard et le poron)stockholm, liljevalchs Konsthall, cézanne till picasso, 1954, no. 285 (titled le homard et le poron)oslo, Kunstnernes hus, picasso, 1956, no. 278, illustrated in the catalogue (titled le homard et le porron)stockholm, svensk-Franska Konstgalleriet, picasso, 1959, no. 16Basel, galerie Beyeler, Das stilleben im 20. Jahrhundert, 1978-79, no. 92, illustrated in colour in the catalogue

Madrid, Fundación Juan March, Maestros del siglo XX - naturaleza muerta, 1979, no. 68rotterdam, Kunsthal, picasso, kunstenaar van de eeuw, 1999, no. 28, illustrated in colour in the catalogueschiedam, stedelijk Museum, picasso, Klee, Miró en de moderne kunst in nederland, 1946-1958, 2006

LiteratureMaurice raynal et al., ‘picasso’, in le point, vol. Xlii, paris, october 1952, ill. p. 7christian Zervos, pablo picasso. Œuvres de 1946 à 1953,vol. 15, editions cahiers d’art, paris, 1965, no. 116, ill. pl. 68The picasso project, picasso’s paintings, Watercolours, Drawings and sculpture. liberation and post-War Years, 1944-1949, san Francisco, 2000, no. 48-045, ill. p. 211 (titled nature morte aux crustacés)

price on request

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Provenanceestate of picasso (inv. no. 13247-l iii)Jacqueline picasso collection, Mougins, Francegalerie louise leiris, parisgalerie Beyeler, Basel, switzerlandsaidenberg gallery, new Yorkarnold herstand & company, new York

Exhibitedpablo picasso, palazzo reale, Milano, 1953, no. 167

Literaturechristian Zervos, pablo picasso. Œuvres de 1946 à 1953,vol. 15, editions cahiers d’art, paris, 1965, no. 205, pl.121David Douglas Duncan, picasso’s picasso, harper & publishers, new York, 1961, ill. p. 245

L’enfant au béret écossais, 1952 -1953Oil on plywood101,4 x 82,3 cm - 39.9 x 32.4 in.

price on request

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Provenancegalerie louise leiris, parisgalerie internazionale, MilanMarisa del re gallery, new Yorkharry & Brigitte spiro, new York

Literaturechristian Zervos, pablo picasso, oeuvres de 1964, vol. 24, editions cahiers d’art, paris, 1983, no. 326, ill. pl. 127The picasso project, picasso’s paintings, Watercolours, Drawings and sculpture The sixties ii, 1964 -1967, san Francisco, 2002, no. 64-327, ill. p.112

Buste de jeune garçon, 1964Oil on canvas73 x 54 cm - 28.7 x 21.2 in.

price on request

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Provenancegalerie louise leiris, parisMichel couturier & cie, parisWalby Findlay galleries international inc., chicagoprivate collection

Exhibitedparis, réunion des Musées nationaux, hommage à picasso, 1966-1967, no. 279culan (France), Forteresse Médiévale, picasso exhibition, July-sept., 1967

Literaturechristian Zervos, pablo picasso, vol. 25 : oeuvres de 1965 à 1967, Éditions cahiers d’art, paris, no.156, ill. p. 85

Tête d’homme barbu, 1965Oil on canvas72 x 60 cm - 28.3 x 23.6 in.

price on request

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ProvenanceDaniel henry Kahnweiler, paris, no. 1736Justin K. Thannhauser, Munich, Berlin, paris, new York and Bern, no. 40164Mrs. Justin K. Thannhauser, Bernchristie’s, new York, november 1998

ExhibitedBern, Musée des Beaux-arts, sammlung Justin K.Thannhauser,1978, no. 31, p. 110, ill. p. 70Washington Dc, the national gallery of ar t, picasso, saltimbanques,1980-1981Barcelona, Museum picassoBern, Kunst Museum, picasso 1905-1906, From the rose

period to the ochres of gosol, 1992, no. 213, ill. p. 350Munich, haus des Kunst: pierrot Melancolie and Maske, 1995, no. 59, ill. p. 1361

Literaturechristian Zervos, picasso, supplément aux volumes 1 à 5, volume 6, editions cahiers d’art, paris, 1954, no. 697, ill. p. 85p. Daix and georges Boudaille, The Blue and rose periods: a catalogue raisonné of the paintings, 1900-1906, greenwich, connecticut, 1967, DXrii, ill. p. 271p. Daix, Tout l’oeuvre peint de picasso, période Bleue et rose, paris, 1968, no. 188, ill. p. 102

Saltimbanque et jeune fille, 1905Watercolour and charcoal on paper laid on card29,5 x 19,5 cm - 11.6 x 7.7 in.

price on request

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Provenancesala gaspar, Barcelona

Literaturechristian Zervos, pablo picasso, vol. 27, Éditions cahiers d’art, paris, no. 471

Mousquetaire, 1967India ink on paper63 x 47 cm - 24.8 x 18.5 in.

Provenancegalerie louise leiris, parisgaleria sur, Montevideochristie’s, new York, november 9, 1999, lot 459

Exhibitedcéret, Musée Municipal d’art Moderne, n.d.naples, Florida, philharmonic center for the arts, n.d.

Tête d’homme III, 1964Coloured crayon74,6 x 51,1 cm - 29.4 x 20.1 in.

LiteratureThe picasso project, picasso’s paintings, Watercolours, Drawings and sculpture The sixties ii, 1964-1967, san Francisco, 1997, no. 64-158, ill. p. 49christian Zervos, pablo picasso : oeuvres de 1964, vol. 24, editions cahiers d’art, paris, 1971, no. 162, ill. p. 60

price on request price on request

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Provenancelucien clergue, arles, FranceThis work is the original illustration for the back cover of lucien clergue’s book of photographs

CertificateMaya Widmaier Picasso has confirmed the authenticity of this work

L’amateur d’art, 1959Felt tip pen on card31,9 x 23,5 cm - 12.6 x 9.3 in.

Provenancelucien clergue, arles, France

CertificateMaya Widmaier Picasso has confirmed the authenticity of this work

Le peintre et son modèle, 1959Felt tip pen on card31,9 x 23,3 cm - 12.6 x 9.2 in.


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CertificateMaya Widmaier picasso and claude picasso have confirmed the authenticity of this work

Provenancecollection Jojo pous, collioure

CertificateMaya Widmaier picasso and claude picasso have confirmed the authenticity of this work

Public NotesWax crayons drawing made on the first-page of the catalogue for the: “picasso, 75th anniversary exhibition”, Museum of Modern art, new York 1957

Le porro, 1957Coloured crayon24,4 x 22 cm - 9.6 x 8.7 in.Portrait de Martin Fabiani, 1943

Pencil drawing on paper48,9 x 31,8 cm - 19.2 x 12.5 in.


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Au bain, 1930Etching, signed edition of 25045 x 34 cm - 17.7 x 13.4 in.

LiteratureBloch, picasso, tome 1, catalogue de l’oeuvre gravé et lithographie 1904-1967editions Kornfeld, Berne, no. 136, p. 57

Le Piccador, 1961Lithograph, signed edition of 25/5018,4 x 22,7 cm - 7.2 x 8.9 in.


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Le dormeur, 1956Silver plate, edition of 2042,8 x 42,8 cm - 16.9 x 16.9 in.AP ed.2 aside 3/20Inscribed and stampedConceived in 1956 and executed in silverby François and Pierre Hugo, Paris

Visage, 1956Silver plate, edition of 2041,5 x 41,5 cm - 16.3 x 16.3 in.AP ed.2 aside 8/20Inscribed and stampedConceived in 1956 and executed in silverby François and Pierre Hugo, Paris

LiteratureDouglas cooper, picasso, 19 plats en argent par François et pierre hugo, paris, 1977

CertificatePierre Hugo has confirmed the authenticity of this work

LiteratureDouglas cooper, picasso, 19 plats en argent par François et pierre hugo, paris, 1977

CertificatePierre Hugo has confirmed the authenticity of this work


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Marc Chagall (Vitebsk 1887 – St Paul de Vence 1985)

He first collaborated with local famous Russian artist Leon Bakst, from whom he would glean the essentials of his technique.

After Art studies in St Petersburg, Chagall moved to Paris in 1910, where he met the leading avant-garde artists. Chagall paid close attention to the cubists and futurists and, later on, to the German expressionist movement. He flirted on the outskirts of these movements without subscribing to neither of their faith nor their aesthetics.

At the outbreak of the World War I, he was in Russia. While at Vitebsk during the revolution he obtained several official commissions of a cultural character. In 1922, he left Russia and went first to Berlin, then to Paris.

During World War II, he took refuge in the United States. The American Period brings Chagall closer to the theatrical scene. He creates numerous costumes for ballets produced by the New York City Opera and the American ballet Company.

The end of the war coincides with another major event in Chagall’s life: the death of his beloved wife ; his loss would wound him deeply, affecting both his creativity and productivity. In 1948, he went to Vence on the French Riviera, where he made engravings, stained glasses, mosaics and ceramics.His utter happiness to return to Europe is translated in luxurious use of color, literally invading some of his works, so typical of the paintings he produces upon his return to France from the US. If a constant can be distinguished throughout this creative period, it could be defined as a spontaneous aesthetic, going against any waves of academicism and all exciting artistic movements, whether they be cubism, futurism, fauvism or expressionism, suprematism or surrealism. Abstract art existed on the outskirt of the various creative cycles of Marc Chagall’s work, without disturbing his unique path.

Marc Chagall produced more than fifty enormous projects, leaving his indelible trace of his artistic genius for eternity. Stained glass pieces for the Cathedral in Metz, the UN Headquarters in New York, The Cathedral in Reims, a mural painting at the Metropolitan Opera House, New York, even the ceiling of the Opera Garnier in Paris, to mention only a few of the major pieces and to grasp the echo of his monumental life-work and the artistic message emanating therefrom.

BiographY

Marcchagall

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Le grand cirque, 1968Oil on canvas160 x 170 cm - 63 x 66.9 in

Provenancepierre Matisse gallery, new Yorksotheby’s, new York, 1998private collection, Usa

Exhibitedpierre Matisse gallery, Marc chagall recent paintings, 1966 -68 solomon guggenheim, new York, 1975pierre Matisse gallery, Marc chagall a celebration, new York, 1977, no. 11John and Mable ringling Museum of art, The circus in art, sarasota, 1977Milwaukee Museum of artcolumbus Museum of artalbany, new York Musuem of artnew York Museum, Washington Dcroyal academy of art, londonphiladelphia Museum of art

LiteratureW. haftmann, Marc chagall, new York, 1972, no. 43, ill. p. 151F. le Target, Marc chagall, Madrid and apris, 1986, no. 116 i.F. Walther and r. Metzger, Marc chagall, 1887-1985, painting as poetry, cologne, 1993 ill.

CertificateThe Comité Marc Chagall has confirmed the authenticity of this work

price on request

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La fenêtre dans le ciel, 1957Oil on canvas73 x 92 cm - 28.7 x 36.2 in.

ProvenanceVava chagallcohen gallery, new YorkWaddington gallery, londonprivate collectionDavid and leslee rogathMartin lawrence galleries

Exhibitedhamburg, KunstvereinMunich, haus der Kunstparis, Musée des ar ts Décoratifs, Marc chagall, February-september 1956, ill. no.170greenwich, connecticut, Bruce Museum of arts and science, pleasures of collecting: 20th century and contemporary art, January-april, 2003san Francisco, Martin lawrence galleries, Marc chagall: The color of love, august-september, 2003

LiteratureMarc chagall: his graphic Work (new York: harry n. abrams, inc., 1957)Franz Meyer, Marc chagall: life and Work (new York: harry n. abrams, inc., ), p. 558 and ill. p. 565catalogue, Marc chagall, hamburg, Kunstverein et al., no. 170The World of Marc chagall, izis & McMullen (new York; Doubleday & co., inc., 1968), ill. p. 38-39susan compton, chagall (philadelphia: philadelphia Museum of art, 1985)The art of Dreams (pennsylvania: Martin lawrence limited editions, 2002), ill. p.44pleasures of collecting: 20th century and contemporary art (greenwich, cT.: Bruce Museum of arts and science, 2003), ill. p.28, p. 80

price on request

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Provenanceestate of ida chagall


Le coq-peintre à Paris, 1982Oil and tempera on canvas91,8 x 59,8 cm - 36.1 x 23.5 in.

price on request

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Provenancegalerie Maeght, paris

ExhibitedTokyo, Fuji Television gallery, Magician of love chagall, 1973 Tokyo, The national Museum of Modern artKyoto, Municipal Museum of artnagoya, aichi prefectural Museum of art, chagall, august-December 1976, no.134 (illustrated)

Tokyo, ota, Morioka, Master : chagall 1980, no. 12nagano prefectural shinano Museum, chagall, a song in praise of love and lige, april-May 1981, no. XV (illustrated) Tokyo, ota Memorial Museum of art


Saint-Paul dans la nuit bleue, 1969 -1970Oil on canvas125 x 106 cm - 49.2 x 41.7 in.

price on request

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Le village jaune, 1968Oil on canvas73 x 50 cm - 28.7 x 19.7 in. Provenancegalerie Maeght, parisgalleria la Bussola, Turino, no. 848private collection


price on request

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Provenancegalerie rosengart, lucerne (acquired from the artist in the late 1960s) acquired from the above by the present owner in 1969

Public notesla nuit enchantée of 1964 is a quintessential example of chagall’s mastery in assembling an array of folkloric images in a dense and colourful composition. The work contains several of the most important elements of his pictorial iconography; the bride, the clown-musician, the goat, the bouquet of flowers and the rooster. Each figure is masterfully rendered through a matrix of intense colour and spatial experimentation that epitomised Chagall’s work, reflecting his own very personal delight in the act of artistic creation. as susan compton writes in the catalogue of the royal academy chagall retrospective: “Throughout his life certain themes recur in the work of chagall: the circus, lovers and peasants take their place beside more sombre scenes of suffering and death […] For the themes in chagall’s art are timeless, not confined to a single epoch of history, but reminding man of the continuity of life for generation after generation, since the earliest days of recorded time” (s. compton, chagall (exhibition catalogue), The royal academy of arts, london, 1985, p. 14).

love and marriage, a recurring theme throughout chagall’s work, was also an integral part of the artist’s life. chagall’s own love story began in 1909, when he met Bella rosenfeld, the daughter of a wealthy Vitebsk merchant family. It was love at first sight for the artist, who eventually married the young woman who would serve as inspiration for his art for years to follow. “Always present - watching, advising, refining - she [Bella] supplied echo and answers to artistic questions, formed contacts, removed obstacles. she was and still is the archetype of the loved one, the bride who leans toward her young groom in so many pictures, the tender girl who dreams in her lover’s arms” (Franz Meyer, Marc chagall, life and Work, new York, 1963, pp. 465-466).


La nuit enchantée, 1964Oil on canvas55 x 66 cm - 21.6 x 26 in.

price on request

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Le peintre au bouquet de fleurs, 1982Tempera on masonite65 x 40,2 cm - 25.6 x 15.8 in.

price on request

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Les amoureux au carré vert, circa 1970-1975Oil on canvas60 x 73 cm - 23.6 x 28.7 in.

Provenanceestate of ida chagallprivate collection, paris

ExhibitedTaipei, sun Yat sen Memorial hall, 1993Beijing, Fine art house of china, 1994


price on request

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Cirque, 1957Gouache and pastel over brush and India ink48,5 x 63,5 cm - 19.1 x 25 in.

Provenanceotto preminger collection, new York, 1963private collection

LiteratureF. Meyer, Marc chagall: life and Works, new York, 1963, p. 762, no. 970

price on request

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Scène de village au coq jaune, circa 1970Oil and gouache on canvas27 x 41 cm - 10.6 x 16.1 in.

price on request

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Le village vert aux fleurs et fruits, 1978Gouache, watercolour, pastel and pen on paper57 x 78,5 cm - 22.4 x 30.9 in.

Provenanceestate of ida chagallo’hara gallery, new YorkBerry-hill galleries, inc., new YorkBabette cohen, new Yorkacquired from the above by the previous owner in May 1998


price on request

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Provenancechristie’s london, 27 June 1995, lot 328


Fleurs rouges à la fenêtre, 1935-1936Oil, gouache and pencil on canvas41,5 x 27 cm - 16.3 x 10.6 in.

price on request

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Vision, 1980Oil on tasteboard46 x 33 cm - 18.1 x 13 in.

price on request

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Le peintre à la chèvre verte, 1978Tempera41 x 33 cm - 16.1 x 13 in.


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ProvenanceThe estate of the artist


Portrait aux fruits, circa 1957Pastel, India ink, gouache and pencil on paper41,4 x 29,2 cm - 16.3 x 11.5 in. Provenance

acquired by the father of the present owner and thence by descent


Clown et acrobate, 1927Watercolour, gouache and crayons48,3 x 35,8 cm - 19 x 14.1 in.


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Provenancegalerie Maeght, paris

Femme à la fenêtre, 1953Watercolour, brush and India ink, wash and wax65 x 49,8 cm - 25.6 x 19.6 in.



Deux amoureux à l’arbre, 1956Ink and watercolour61 x 50 cm - 24 x 19.7 in.


64 65price on request price on request

Etude de costumes pour le ballet “Nidjinska” (le pirate), 1967Watercolour, pencil on paper28,2 x 17,5 cm - 11.1 x 6.9 in.

Le ramoneurPencil on paper

25,5 x 17 cm - 10 x 6.7 in.

Portrait de jeune fillePen and ink on paper

27 x 20,5 cm - 10.6 x 8 in.

Portrait, 1925Brush and India ink on paper28,5 x 22,3 cm - 11.2 x 8.8 in.

CertificateDavid Mc Neil has certified the authenticity of this work

CertificateDavid Mc Neil has certified the authenticity of this work

CertificateDavid Mc Neil has certified

the authenticity of this work

CertificateDavid Mc Neil has certified

the authenticity of this work

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DUBAI

www.operaga l ler y.com

SEOUL

NEW YORK

VENICE

MONACO

MIAMI

S INGAPORE

GENEVA

LONDON

HONG KONG

PARIS

GaTe VILLaGe BuILdInG 3 • duBaI InTeRnaTIonaL FInanCIaL CenTRe (dIFC) • Po Box 506737 • duBaI, uae(T) +971 4 323 0909 • (F) +971 4 323 0908 • [email protected]

Opera Gallery warmly thanks its faithful partners and participants in the Picasso-Chagall Reconciliation exhibition.

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The reconciliaTion8 9 Provenance galerie louise leiris, paris galería Theo, Madrid & Valencia...

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