ART ON VIEW
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number of paintings from Fénéon’s collection, as
well as works that relate to articles and reviews
that he wrote. Unexpectedly, our research topic
proved to have multiple connections with New
York.
T.A.M.: Let’s move back to France. How are the
Parisian shows organized?
P.P.: We conceived of them as two chronologically
inverted chapters. The fi rst exhibition, at the
Musée du Quai Branly – Jacques Chirac, deals
with the second part of Fénéon’s life, while the
Orangerie show explores his early years—those
he spent as a prolifi c art critic, supporting,
albeit briefl y, the neo-impressionists through
the production of exhibitions; on studies, most
notably one on Seurat; and, fi nally, on the
FIG. 4 (below):
Georges Seurat, Poseuse
de profi l. 1887.
Oil on panel. 24.7 x 15.5 cm.
Musée d’Orsay.
Photo © Paris RMN/Grand Palais/
Adrien Didierjean.
FIG. 5 (right):
Statuette. Songye; DRC.
19th–early 20th century.
Wood, copper. H: 47 cm.
Ex F. Fénéon; F. Fénéon sale 1947c,
no. 99; acquired by art dealer and
collector Albert Kleinmann, 1947.
Private collection.
Photo © Musée du Quai Branly
– Jacques Chirac, Paris. Photo:
Pauline Guyon.