LETTER OF SEMINAR 93
 

ARTS & SOCIETIES

With the support of the Foundation of France and Olivier Berggruen
Centre d’histoire de Sciences Po

 
 
 

CHARLES STERLING IN HIS ELEMENT
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Fondation Hartung-Bergman

Marie Tchernia-Blanchard
A "Complete History of Painting [Limited] to Still Life Alone": Charles Sterling and the 1952 The Still Life from Antiquity to Today Exhibition

 


Editorial Director: Laurence Bertrand Dorléac
Editorial Staff: Julie Sissia, Carole Giry
Translator: David Ames Curtis

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EDITORIAL

             Charles Sterling is among those museum curators whose originality is to be rediscovered. Having had to flee Vichy France and the Nazi Occupation during World War II, he never was able to create exactly the kind of exhibition he wanted to organize until the Spring of 1952, when he presented his European retrospective The Still Life from Antiquity to Today at the Orangerie in the Tuileries Gardens. This exhibition served as the manifesto for his way of doing art history. Sterling’s choice of a longue durée presentation allowed him to investigate both art from the past and art up to and including that of contemporary artists who, in 1952, were recording the first signs of modern life. Marie Tchernia, who defended her excellent dissertation on Sterling’s career, looks back for us on this presentation of still lifes. We necessarily see things differently today, but the charting of this corpus is still of the greatest interest to us, since its author took a broad view and obstinately believed in an “international culture.”

Laurence Bertrand Dorléac


  ISSN 2268-3119    

Letter published with the support of the Foundation of France
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