French Abstraction of the 1950s

Adjacent to the Georges Braque and the Cubist Still Life, 1928-1945 exhibition, visitors can find a selection of works by another generation of School of Paris artists. In the 1940s, these painters experimented with abstraction and large format canvases loaded with paint, pattern, and texture. They worked in Paris after the Second World War, a time of intense creativity and renewal in France. Though many were foreign born, they all became French citizens. Paintings by Nicolas de Staël (b. St. Petersburg, Russian, 1914–d. Paris, 1955); Olivier Debré (b. Paris, 1920–d. Paris, 1999); Serge Poliakoff (b. Moscow 1906–d. Paris 1969); Pierre Soulages (b. Rodez, France 1919); Maria Elena Vieira da Silva (b. Lisbon, 1908–d. Paris, 1992) are on view in this installation.

(Left to right) Serge Poliakoff, Composition, 1957, Tempera on plywood panel 34 7/8 x 45 1/2 in.; 88.5825 x 115.57 cm.. Acquired 1959.; Pierre Soulages,  July 10, 1950, 1950, Oil on canvas 51 1/4 x 63 5/8 in.; 130.175 x 161.6075 cm.. Acquired 1951; Olivier Debré, Cliffs, 1955, Oil on canvas 57 1/2 x 38 1/2 in.; 146.05 x 97.79 cm.. Acquired 1959.

(Left to right) Serge Poliakoff, Composition, 1957, Tempera on plywood panel 34 7/8 x 45 1/2 in. Acquired 1959.; Pierre Soulages, July 10, 1950, 1950, Oil on canvas 51 1/4 x 63 5/8 in. Acquired 1951; Olivier Debré, Cliffs, 1955, Oil on canvas 57 1/2 x 38 1/2 in. Acquired 1959.

(Left to right) Nicolas de Staël, Fugue, between 1951 and 1952, Oil on canvas 31 3/4 x 39 1/2 in. Acquired 1952 ; Maria Elena Vieira Da Silva, Easels, 1960, Oil on canvas 45 1/4 x 53 7/8 in. Acquired 1961.

Duncan Phillips was the first museum director in America to purchase and exhibit work by many of these artists. Already in 1951, Phillips was showing the most current French art in Advancing France, an exhibition organized by Louis Carré Gallery, Paris, and circulated through the American Federation of Arts. Phillips purchased Soulages’s painting July 10, 1950 (1950) from this exhibition. A year earlier, through dealer Theodore Schempp, Phillips discovered Nicolas de Staël, an artist influenced by Paul Cézanne, Henri Matisse, Georges Braque, and other French modernists. Soon after, Phillips acquired the first de Staël  painting for a U.S. museum and later in 1953, he hosted the artist’s first  solo show. In 1959, Phillips gave Olivier Debré his first U.S. museum exhibition, from which the paintings Personnage Blanc (1958) and Cliffs (1955) were both acquired through Knoedler Gallery, New York. In 1961, shortly after purchasing Easels (1960) by  Maria Elena Vieira da Silva, also through Knoedler Gallery, Phillips exhibited this painting with others in the artist’s first U.S. solo show. During his tenure as director, Phillips frequently featured these impressive works with European and American modern painting from the collection.

Renée Maurer, Assistant Curator

Parisian Padlocks

Padlocks on the Pont des Arts. Photos: Brooke Rosenblatt

Padlocks on the Pont des Arts. Photos: Brooke Rosenblatt

The museum’s recent School of Paris installation and our upcoming Art and Romance Soirée got me nostalgic for a place in Paris. The location: the Pont des Arts, a pedestrian bridge that connects the Louvre to the Institut de France (where the Academy of Fine Arts is housed). The logic: the love padlocks.

If you haven’t seen one of these bridges in person, it’s quite a sight. Couples from around the world visit the bridge, attach padlocks with their initials and throw the keys to the locks into the Seine. Have a look at some my recent pictures above.

Though I love this place, I have heard some people just find it (and other padlock bridges) ugly! Additionally, the weight from the padlocks causes damage to the bridge. According to this article on the history of the phenomenon, one grate can have up to 330 pounds of padlocks on them! And this pic from TripAdvisor gives you a firsthand look at what all that weight can do!

“School of Paris” on view in the Music Room

New installation in the Music Room. Photo: Joshua Navarro

New installation in the Music Room featuring the “School of Paris”. Photo: Joshua Navarro

Preparators Alec MacKaye and Bill Koberg install works

Preparators Alec MacKaye and Bill Koberg install Modigliani’s Elena Pvolozky in the Music Room as part of the “School of Paris” installation. Photo: Renee Maurer


The music room was recently installed with modern European works from the collection. The paintings featured are by artists who were either born in France or immigrated there to work in Paris during the first half of the twentieth century. A destination for artists of all nationalities, many spent time in the lively Parisian neighborhoods of Montmartre and Montparnasse and experienced thriving and unparalleled creativity. Loosely grouped as the “School of Paris“, these painters experimented with diverse styles and techniques, from Cubism to Expressionism, to convey traditional subjects such as portraiture, landscapes, and still life. This installation includes paintings by André Derain (b. Chatou, France, 1880–d. Garches, France 1954); Maurice Utrillo (b. Paris, 1883–d. Paris, 1955); Amedeo Modigliani (b. Livorno, Italy 1884–d. Paris, 1920); Chaim Soutine (b. Smilovitchi, Lithuania 1893–d. Paris, 1943); and Georges Rouault (b. Paris, 1871–d. Paris, 1958).

Did you ever wonder how works are installed in the music room? Very carefully. Preparators Alec MacKaye and Bill Koberg are shown above on scaffolding in the process of hanging Elena Povolozky (1917) by Modigliani.

Renée Maurer, Assistant Curator