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Trois baigneuses, 1935. Image © The Foundation Le Corbusier / FLC ADGAP

Le Corbusier’s Paintings Showcased for the First Time Since 1966




该展览活动在国家博物馆中的Villa Stenersen展场举办,展示了勒•柯布西耶从1926年到1936年期间所创作的艺术作品。本次展览不仅仅包括了他所创作的15幅复制的画作以及一系列素描草图,同时还展出了两部电影,它们都是勒•柯布西耶自己所拍摄的反映其周围生活环境的摄影作品。

They say one cannot separate art from the artist, or perhaps in this case, the artist from the architect.
Arguably one of the most criticized architects, Le Corbusier is often portrayed as cold and controlling. Depicting his more dreamy and humorous nature, the Nasjonalmuseet's exhibition titled, “Le Corbusier by the Sea,” draws upon his memories from his summer travels along the coast of southwest France.
Hosted in Villa Stenersen, one of the National Museum's venues, the exhibition showcases Le Corbusier's work as an artist during the period 1926-36. Not only does the exhibition include fifteen of his reproduced paintings alongside a collection of sketches, but also screens two films from Le Corbusier's own footage of his surrounding views.


La pêcheuse d'huitres, 1935. Image © The Foundation Le Corbusier / FLC ADGAP

正如大多数拥有创造性思维的人一样,勒•柯布西耶有一个特殊的地方供其去寻找创作灵感。Le Piquey,这里是他的创意宝库,在这里,他可以再一次轻松地成为最初的那个查尔斯•爱德华•乔纳雷(勒•柯布西耶的原名),并且不间断、自由地描绘着素描和草图。一旦他回到自己在巴黎的工作室,他会重新把之前的草图绘制成画作,并且将他的思想融入到作品之中。

Like most creative minds, Le Corbusier had a special place to find inspiration. Le Piquey, his treasure trove for ideas, was a place where he simply became Charles-édouard Jeanneret again, sketching incessantly and freely. Once he arrived back to his Parisian studio, he would rework his drawings into paintings, cementing his thoughts to canvas.


Baigneuse, barque et coquillage. Image © The Foundation Le Corbusier / FLC ADGAP


该展览对勒•柯布西耶在Le Piquey所待的那段独特的时光里所创作的作品进行了展示,旨在突出他是如何经常从自然和周围的环境中汲取创造灵感。鲜为人知的是,这种创作方式在一定程度上影响了他的建筑风格甚至是对建筑材料的选择。

As a co-creator of the Purist style, Le Corbusier's paintings depict his fascination with the geometries of mundane objects to either emphasize or deconstruct typological forms, informing his early architectural studies.
The curation of the artwork from his time spent specifically at Le Piquey aims to highlight how often he drew inspiration from nature and the environment around him. Lesser known is the extent to which these influences impacted his architectural style and even choice of materials.


Le déjeuner près du pare, 1928. Image © The Foundation Le Corbusier / FLC ADGAP

我绘画的地方是一个人们自然生活的地方。Le Piquey是一个充满健康,平静和尺度适宜的生活之所:对于人的尺度。这就是被文明所摧毁的东西,把人们推向了欺骗和不幸之中。——勒•柯布西耶给母亲的信,1932

I am drawn to places where people live naturally. Le Piquey is full of life that is healthy, calm and to scale: to a human scale…This is what civilizations destroy, plunging people into artifice and misfortune.- Le Corbusier in a letter to his mother, 1932


Le Corbusier & Yvonne Gallis. Image © The Foundation Le Corbusier / FLC ADGAP


也许他仅仅只是想在海边过简单的生活,或是短暂地逃离城市的生活对他而言就已经足够,但是无论如何,Le Piquey是柯布西耶建筑思想意识形成的不可分割的部分。

该展览是由Bruno Hubert,Tim Benton,Talette Simonsen策划的,并且将会持续到12月16号。


Whether liked or disliked, Le Corbusier still remains a deeply faceted individual in the scheme of his larger public identity.
Perhaps he only wanted a simple life by the sea, or perhaps the short-lived escapes from the city were enough, but in either case, Le Piquey served as an integral part in formulating his architectural ideologies.
The exhibition curated by Bruno Hubert, Tim Benton, and Talette Simonsen will run until December 16.
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