At the Musée d'Ornans in the Doubs, the Franco-Chinese star of contemporary painting is engaged in an unprecedented face-to-face encounter with the leader of the Realism movement.
In an exhibition labelled of national interest by the French Ministry of Culture and the highlight of the celebration of the bicentenary of Gustave Courbet's birth, Yan Pei-Ming confronts about 15 of his works with some 20 emblematic paintings by his forerunner. Nearby, in Courbet's last studio, he also presents four works he painted on the spot: a landscape, a huge bestiary ( East of Eden ), a portrait of the master at 58 and his self-portrait at the same age. Despite the generations between them, large formats, powerful gestures and energy are common to both artists.
After Leonardo da Vinci and Caravaggio, you’re dialoguing with Courbet. Why him? They are different approaches each time. Mona Lisa was the starting point for my work Les Funérailles de Monna Lisa ( Mona Lisa's Funeral , 2009). By revisiting the famous painting in the dynamics of a reflection on filiation, the undisputed icon of the Louvre Museum was caught up in the relationship between a father…
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