China to Les Arts Décoratifs

China to Les Arts Décoratifs, Paris

Devised and produced to celebrate the fiftieth anniversary of relations between France and China, the exhibition presents textiles, court and ceremonial clothing, porcelains designed for the European market and the imperial court, cloisonné and painted enamels, bronze, jade and hardstone pieces, glassware, lacquerware, posters and toys. As well as all this, there are books, engravings and photographs from the library of Les Arts Décoratifs. The exhibition is laid out in twelve rooms, on two levels. The presentation is thematic, not chronological, because these objects did not enter the Arts Décoratifs for the purpose of reconstructing a history of Chinese art. And yet decorative arts museums were among the first to take an interest in these objects, in both France and Britain for example, before Asian art museums were even thought of – and with other missions. Founded in 1864 in the wake of the Universal Exhibitions, the Union Centrale des Beaux-arts Appliqués à l’Industrie – which became the Union Centrale des Arts Décoratifs in 1882 and is now the Arts Décoratifs – was a place of inspiration for artists and craftsmen, in order to "pursue, in France, the culture and production of beauty combined with usefulness." The institution's interest in Oriental art took shape in 1869, when it organised a temporary museum in the Palais de l’Industrie, based on private collections. Chosen for their forms, decoration, treatment of materials and production techniques, objets d’art from China – and more broadly from the Middle and Far East – swelled the ranks of French and European objects and provided new sources of inspiration for creators. The first four rooms of the exhibition illustrate this context: the renewal of ornamentation brought about through these works, publications and universal exhibitions, in which China began to officially participate in 1878.

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Frieze New York, from 9 to 12 May in Randall’s Island Park, Manhattan. The young, avant-garde and highly European fair has now stolen the limelight from the historical Armory Show. A vital stage for conquering the American art market


Art Market Magazine

Souvenirs of the legendary Lutétia Hotel on the Paris Rive Gauche, illustrated books by the Iranian poet Salah Stétié, a Monogold by Yves Klein, a painting by the Dutch artist Eglon Van Der Neer (Great Lady) and funerary furnishings from the 13th Egyptian dynasty are just some of the highlights of the sales in France



China once more features large in the game of auctions, posting some thundering results from Hong Kong to Paris (Chicken Cup from period of Chenghua, oil on canvas by Zao Wou-ki…). And for once, the French decorative arts have followed suit.



"De la Chine aux Arts Décoratifs". For the first time, this exhibition unveils the Paris Musée des Arts Décoratifs' collection of Chinese objets d’art, exceptional for their quality and diversity.



From 23 to 25 May, 35 galleries are opening for the very first "Collectors' Weekend" in France. They are all galleries with well established reputations and a variety of profiles, ranging from the historic (Jean Fournier and Jaeger Bucher) to the more forward-looking (Cortex Athletico and Laurent Mueller).



After the Armory Show, which devoted its fifth "Focus" to China, Art Paris Art Fair included a window onto contemporary Chinese creation. The choice of China was a timely one, because the 50th anniversary of diplomatic relations between France and China involves a series of events in Paris.



The legendary Kunstkammer
has opened again at the Kunsthistorisches Museum (KHM) in Vienna, Austria, following ten years of meticulous restoration in the museum's laboratories. This is the biggest cabinet of curiosities in the world, covering a thousand years of history…



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