A captivating collection of 44 paintings and drawings by the overlooked French painter Ker-Xavier Roussel (1867-1944) is on display at Michael Werner Gallery. The exhibition challenges the debate on whether modernity has stifled imagination with its urgent and elegant presentation.
Roussel, a member of the Nabis school, derived the name from the Hebrew “navis,” meaning “prophets.” His vivid and neon forms, reminiscent of Édouard Vuillard, foreshadow abstraction and the allegories of Bob Thompson. Despite the rise of modernism in the 20th century, Roussel persisted in painting Greek mythological scenes, reviving these ancient tales with spontaneous energy.
One striking piece from around 1910 depicts Acis and Galatea in a passionate embrace on a slice of cardboard. The low-perspective “X” composition exudes both eroticism and impending doom as Galatea’s spurned admirer, the Cyclops Polyphemus, approaches from the valley above.
Roussel’s works, often undated, invite speculation. “L’Enlèvement d’Europe,” a small drawing from around 1914, shows the abduction of Europa by Zeus, rendered in delicate pastel hues that contrast with the violent central action. In a painting from 1943, during the Nazi occupation of France, Roussel juxtaposes a nymph and a predatory faun with a striking diagonal beam of sunlight.
Roussel’s art oscillates between escapism and menace. His focus on ancient brutalities during periods of technologized warfare raises questions about distance and engagement, resonating in today’s era of socially conscious art. Just as Tiepolo’s 18th-century allegories of conquest adorn the Met’s European wing, Roussel’s neoclassical works create a space where harsh realities and inherent beauty converge.
Through his steadfast and invigorating neoclassicism, Roussel found a unique domain where the primal and the picturesque coexist, offering a poignant commentary on the human condition.
New York, August 1, 2024 – An American technology company, Co2Bit Technologies, is under scrutiny for reportedly attempting to exhibit an unauthenticated painting attributed to Jean-Michel Basquiat at the Museum of Modern Art (MoMA) in New York without the museum’s approval.
The painting, titled “200 Yen,” was promoted on a website as a genuine Basquiat. An intermediary claimed to represent Co2Bit Technologies in arranging the exhibition at MoMA, despite lacking the institution’s authorization.
This incident follows a similar controversy involving Co2Bit Technologies. Last month, ARTnews reported that the company had facilitated the private display of a painting with a disputed attribution to Russian modernist Kazimir Malevich at the Centre Pompidou in January. The Centre Pompidou confirmed to ARTnews that it had not granted permission for the exhibit.
These actions have raised concerns about the authenticity and provenance of artworks being promoted by Co2Bit Technologies, highlighting the challenges faced by museums in verifying the legitimacy of exhibited pieces.
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