Kelly Richman 1

Robert Doisneau:

Artistic Engagements

Fall 2013

Kelly Richman 2

The Exhibition:

Due to his prevalent interest in capturing snapshots of Paris and documenting “the

marvels of daily life,”1 Robert Doisneau—a 20th century French photographer—is

predominantly known for his adoration of the Parisian lifestyle and role as a pioneer of

photojournalism. As a result of his work’s popularity, museums have been exhibiting his

photographs for nearly 70 years.2 While frequent and well-received, the exhibitions seldom

stray from two thematic focuses: life in Paris, and retrospectives of his most well-known

photographs. Thus, in order to exhibit the works of Robert Doisneau in innovative, original,

and interesting ways, one must deviate from these topics and concentrate on other aspects of

the photographer’s life and work. In Robert Doisneau: Artistic Engagements, a proposed special

exhibition for the Art Institute of Chicago, Doisneau’s artistic background and its subsequent

impact on his photographic technique and subject matter are explored and presented to the

public. Featuring 30 black and white photographs taken over a span of 30 years, Robert

Doisneau: Artistic Engagements approaches the photographer’s innate interest in art by

presenting his work in three distinct categories: “Art in Focus,” which features art as the

subject of each piece, “Personal Interactions,” a collection of works that portray human

beings interacting with artwork, and “Expressive Environments,” which depicts art as

setting. By featuring photographs that transcend the typical themes of everyday Parisian life,

this exhibition offers new perspectives on Doisneau’s work, highlights his inherent artistic

inspiration and sensibility, and demonstrates the ways in which his photography surpasses

the functions of photojournalism to qualify as art itself.

Born in Gentilly in 1912, Robert Doisneau had an artistic childhood, as he grew up

studying drawing, engraving, and lithography.”3 From 1926 to 1929, he attended the Ecole

Estienne in Paris4 and, in 1930, he took up photography merely as a tool to refine his

draughting skills.5 Just a year later, however, he began to work under André Vigneau, a

French artist, as a cameraman, and, in 1939, he “joined the Rapho Photo Agency, taking

some of his first professional street photographs.”6 As a street photographer, Doisneau often

incorporates his artistic sensibility into his shots; often, the striking contrasts in his black and

white photographs evoke charcoal drawings, and the bold lines and designs of his

compositions frequently bring engraving and etching to mind. Furthermore, as apparent in

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Robert Doisneau: Artistic Engagements, he enjoyed photographing artistic subject matter. While

this exhibition will focus only on his photographs from 1944 through 1974, Doisneau

focused on such subject matter until his death in 1994.

As commemoration of the twentieth anniversary of the photographer’s death, Robert

Doisneau: Artistic Engagements will be on view at the Art Institute of Chicago from September

through December of 2014. This site is ideal for the exhibition due to the relevance of its

mission, its devotion to modern art, and its already-established collection of Doisneau

photographs. According to its mission statement, the Art Institute of Chicago represents

“the world’s diverse artistic traditions, for the inspiration and education of the public and in

accordance with our profession’s highest ethical standards and practices.” 7 The presentation

of such diverse traditions is apparent in Robert Doisneau: Artistic Engagements, as photographs

that depict myriad forms of art— including painting, sculpture, textiles, chalk drawings, and

even tattoos—are shown. Additionally, due to the exhibition’s artistic nature and aesthetic

focus, it seeks to inspire and prompt its audience to recognize and understand the merits of

photography as an art form. Furthermore, while the museum has garnered a collection of

28 works of Doisneau—three8 of which are in in Robert Doisneau: Artistic Engagements—only

one9 is currently on display, and, similarly, the site has not featured his work in a special

exhibition since 1954.10 Thus, while the Art Institute of Chicago has an inherent connection

and level of accessibility to the photographs, it is likely that its general audience is not

familiar with his body of work—and, if they are, Robert Doisneau: Artistic Engagements will

inevitably offer new perspectives and information regarding his career, aesthetic inspirations,

and technique.

Concise and straightforward, the exhibition’s title speaks to the ways in which

Doisneau sought to photograph artwork in innovative, creative, and aesthetically appealing

ways. Due to the approachable and congenial nature of his works, the title uses language

that is accessible and succinct; like his photographs, it is welcoming and memorable.

Furthermore, in order to present this clear attention to art to the public, Robert Doisneau:

Artistic Engagements is divided into three sections, called: “Art in Focus,” “Personal

Interactions,” and “Expressive Environments.” In each section, 10 photographs are

featured, and each one represents its respective theme in original and distinctive ways.

Furthermore, each gallery will feature a title and a brief paragraph explaining the section’s

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theme (for full wall text, see Appendix A), and each object will have an object label that list

the work’s title (in both French and English) and the year that it was taken (see Appendix G

for a sample wall label).

In “Personal Interactions,” photographs that depict people directly acknowledging

and engaging with artwork through visual observation and physical contact are presented.

Many of the works in this section are playful and comical, and various media—including

painting, sculpture, tapestry, and even tattoos—are represented. This section includes work

that is extremely recognizable as Doisneau’s, as it features lighthearted images of his

contemporaries—a prevalent theme of his street photography. The photographs included in

this section are: Le combat du centaure or The Battle of the Centaurs (figure 1); Le peintre du pont des

Arts, Daniel Pipard or The Painter of the Bridge of the Arts, Daniel Pipard (figure 2); La dame indignée or

The Indignant Lady (figure 3); Maurice Baquet, Chopin et sa muse or Maurice Baquet, Chopin, and His

Muse (figure 4); Contest of the Most Beautiful Tattoo or Concours du plus beau tatouage (figure 5);

Tapisserie des Gobelins, la harpe de laine or Gobelins Tapestry, Harp of Wool (figure 6); Vénus prise à la

gorge or Venus Grabbed by the Throat (figure 7); Ludmilla Pitoëff à la fête de l'Humanité or Ludmilla

Pitoëff at the Party of Humanity (figure 8); Soldats américains, jardin des Tuileries or American Soldiers,

Garden of Tuileries (Figure 9); and Le menuisier de la rue Saint Louis or The Carpeneter of Saint Louis

Street (figure 10) (for a complete list of exhibition’s images, see Appendix B; for descriptions of

each work and reasons for inclusion, see Appendix C).

The second section, “Art in Focus,” revolves around pieces in which artistic

creations—ranging from sculpture, postcards, and even architecture—are treated as each

composition’s subject. The title of this section alludes to “point of focus,” a term in

photography that refers to the “object in a photograph at which the photographer wants to

draw the most attention.”11 Thus, the main objective of “Art in Focus” is to show

Doisneau’s interest in elevating artwork as worthy of being the focal point of photographs

and, consequently, to disclose his inherent interest in art itself to the viewers. The

photographs in this section are: La gargouille de Notre Dame or The Gargoyle of Notre Dame (figure

11); Le Prisonnier barbare et Vénus Callipyge, Versailles or Barbarian prisoner and Callipygian Venus,

Versailles (figure 12); Le sculpteur or The Sculptor (figure 13); Les cartes postales or Postcards (figure

14); L'Esprit de la Bastille la nuit or The Spirit of the Bastille at Night (figure 15); Pont Alexandre III or

Alexandre Bridge III (figure 16); La Tour Eiffel en liberté or The Eiffel Tower in Liberty (figure 17);

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Maillol nymphes, le jardin des Tuileries or Maillol Nymphs, Tuileries Gardens (figure 18); Baltard

(figure 19); and Cathédrale de Strasbourg or Strasbourg Cathedral (figure 20) .

The final section of the exhibition—“Expressive Environments”—explores the role

of art as a backdrop to life. While, like the works of “Personal Interactions,” many of these

photographs include people, unlike the former, the individuals portrayed in this section are

not interacting with or even acknowledging the artwork; they are simply shown going about

their days without paying any attention to the art that surrounds them. Furthermore, while

art in this section does—like much of Doisneau’s photographs— focus heavily on daily life as

a primary motif, the pieces in “Expressive Environments” predominantly portray the role of

art in daily life and, thus, offer a new take on a familiar theme. This section is comprised of

the following photographs: L'enfer boite de nuit or Hell Nightclub (figure 21); Cour carrée du Louvre

or Court Square of the Louvre (figure 22); Aile ouest de l'Arc de Triomphe, La Résistance de 1814 or

West Wing of Arc De Triomphe, La Résistance de 1814 (figure 23); Pitoyable tarte or Pitiful Pie (figure

24); Trois petits enfants blancs or Three Small White Children (figure 25); Boulangerie, Rue de Poitou or

Bakery, Poitou Street (figure 26); Fleur de neige or Flower of Snow (figure 27); Galerie Vivienne or

Vivienne Gallery (Figure 28); Léon la lune et son harmonica or Leo the moon and his harmonica (figure

29); and Le Baiser de l'Opéra or The Kiss At The Opera House (figure 30).

In the modern wing of The Art Institute of Chicago, there are several special

exhibition halls. Two of these spaces—numbered Gallery 182 and Gallery 184—are located

adjacent to the photography galleries. Thus, these special exhibition spaces are an ideal fit

to house Robert Doisneau: Artistic Engagements. A short hallway joins Gallery 182 and Gallery

184, and, in terms of size, the former is smaller than the latter. Both of these spaces are

located directly next to Griffin Court, a “dramatic, skylit passageway [that] serves as the

entrance to the Modern Wing and is central to the design of the new building.”12

Furthermore, the exhibition’s entrance will be located in Gallery 184, while the exit will be

in Gallery 182.13 A temporary wall will be erected in Gallery 184, bisecting the space in half

and, thus, creating two separate spaces for display, designated as Gallery 184A and 184B.

Due to a slight similarity in subject matter between “Personal Interactions” and “Expressive

Environments,” these sections will not be positioned adjacent to each other. Thus,

“Personal Interactions” will be located in Gallery 184A, “Art in Focus” will inhabit Gallery

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184b, and, lastly, “Expressive Environments” will be in Gallery 182 (to see the floorplan of

the galleries, including the placement of the works, see Appendix D).

As the visitor enters the exhibition, he or she first encounters “Personal Interactions”

in Gallery 184A. Immediately to the individual’s left are: Les soldats américains, jardin des

Tuileries; Maurice Baquet, Chopin et sa Muse; and Vénus prise à la gorge. These pieces are grouped

together due to their common subject matter; in the works, individuals are shown interacting

with sculptures through touch, and each photograph has comical undertones. Furthermore,

due to this humorous nature, the pieces serve as a way to welcome visitors to the exhibition

and set the show’s tone. Moving clockwise, the visitor then approaches Le peintre du pont des

Arts, Daniel Pipard, located to the left of the gallery’s title and wall text, followed by Le combat

du centaure to the right of the said text. These three entities—Le peintre du pont des Arts, Daniel

Pipard; the wall text and title; and Le combat du centaure—are located directly across from the

entrance so that visitors, upon entering the gallery, first see them in the initial long-view. It

is important that visitors understand what each section is as they enter the galleries and that

the works that they first see are representative of said section’s designated theme.

Respectively depicting painting and sculpture, both Le peintre du pont des Arts, Daniel Pipard and

Le combat du centaure feature familiar and the traditional ways in which people often interact

with art: through creation and observation. Next, the visitor encounters Concours du plus beau

tatouage; Ludmilla Pitoëff à la fête de l'Humanité; and La Dame Indignée, which are hung on the

temporary wall. These three photographs are grouped together due to their similarities,

including their humorous nature and portrayal of female subjects. Furthermore, the

compositions of Concours du plus beau tatouage and La Dame Indignée—which are more

horizontally-oriented—frame the vertically-natured Ludmilla Pitoëff à la fête de l'Humanité

nicely. Finally, the visitor observes Le menuisier de la rue Saint Louis and Tapisserie des Gobelins, la

harpe de laine. Located on the wall adjacent to the entrance of Gallery 184B, these

photographs are displayed in a pair since they both depict artisans working on their

respective crafts. Due to the fact that this grouping only consists of two photographs, they

are positioned on one of the gallery’s smaller walls.

As the visitor enters Gallery 184B, he or she first sees the section’s title—“Art in

Focus”—in their long-view, as it is located directly across from the gallerie’s entrance.

Moving clockwise, the visitor first encounters L'Esprit de la Bastille la nuit; Le Prisonnier barbare et

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Vénus Callipyge, Versailles; Pont Alexandre III; and Maillol nymphes, le jardin des Tuileries on the

gallery’s temporary wall. The photographs—which, respectively, portray a winged, Nike-

like statue, a goddess, cherubs, and nymphs—each portray sculptures that depict

mythological figures and, thus—due to this similarity in subject matter—are displayed

together. On the next wall, the visitor observes Cathédrale de Strasbourg and Baltard. Both of

these photographs feature ornate architecture and, due to the presence of sculpture in

Cathédrale de Strasbourg, it is positioned in close relation to the former grouping of L'Esprit de la

Bastille la nuit; Le Prisonnier barbare et Vénus Callipyge, Versailles; Pont Alexandre III; and Maillol

nymphes, le jardin des Tuileries. Furthermore, as the visitor moves clockwise throughout the

space, he or she encounters Le sculpteur. This piece is shown individually due to its unique,

collage-like subject matter and clear focus on art as an object. Similarly, due to its art-

historical allusions, this work effectively represents the section’s theme and, thus, works well

by itself. Finally, La Tour Eiffel en liberté; Les cartes postales; and La gargouille de Notre Dame are

arranged on the next wall. These pieces are arranged together because they each offer a

different view of the Eiffel Tower: in La Tour Eiffel en liberté, the structure is close to the

foreground. In Les cartes postales, it moves further from the viewer, and, finally, in La gargouille

de Notre Dame, it is far off in the distance. Thus, as the viewer passes the pieces, the

monument moves closer into view as if he or she is walking toward it.

Finally, the visitor enters the connecting hallway (which, in order to avoid

congestion, does not feature any images or text) and enters Gallery 182. Upon entering the

space, he or she immediately sees the title and wall text on the left side of the far wall. As the

individual moves clockwise, he or she encounters Cour carrée du Louvre, located on the left side

of the gallery’s entrance. Similarly, Trois petits enfants blancs is located on the wall to the right

of the entrance, which, like Cour carrée du Louvre, is horizontally-oriented and focuses on

children as the subject matter. Thus, when arranged on either side of the entrance, the

pieces create a sense of balance and frame the doorway. To the right of Cour carrée du Louvre

is Tarte pitoyable; Fleur de neige; and Galerie Vivienne which, due to their focus on artwork

portrayed on the surface of the ground, are arranged together. Furthermore, Fleur de neige

and Galerie Vivienne are adjacent to each other, as their intricate designs—when arranged

side-by-side—aesthetically speak to each other. Next, the visitor faces the wall text and title,

followed by L'enfer boite de nuit and Aile ouest de l'Arc de Triomphe, La Résistance de 1814. These

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two images are positioned in the gallery’s initial long-view due to their bold, eye-catching,

and thematically-representative content. Furthermore, since L'enfer boite de nuit is the

exhibition’s poster image, it is crucial that it is located in a prominent location. Finally, as

one nears the exhibition’s exit, he or she views Boulangerie, Rue de Poitou; Léon la lune et son

harmonica; and Le Baiser de l'Opéra. These three photographs are displayed together due to

similarities in the portrayed artwork, as each piece features paintings on the walls of

commercial buildings that are, aesthetically, executed in a very similar style and scale. Thus,

by arranging such works together, the exhibition neatly concludes and the visitor is satisfied

(to see all of the individual groupings of the works within the galleries, see Appendix D).

Aside from Boulangerie, Rue de Poitou; Les soldats américains, jardin des Tuileries; and La

Dame Indignée —as the Art Institute of Chicago owns these prints—the photographs for Robert

Dosineau: Artistic Engagements will be acquired from Atelier Robert Doisneau, the official

representative of Robert Doisneau’s estate. The negatives and original prints of Robert

Doisneau’s 450,000 photographs are housed in L’Atelier Robert Doisneau, which is located in

the apartment where the photographer had worked for over 50 years.14 Located in Paris,

this apartment is maintained to “ensure the conservation and presentation of his works”15

and serves as the archives for Doisneau’s entire body of work. According to the Atelier Robert

Doisneau website, the main purpose of these archives is to facilitate “the creation of

exhibitions,”16 and, thus, requesting pieces for loan should not be problematic. However,

since these pieces must be shipped from Paris to Chicago, it is important to set aside part of

the budget for packing and shipping costs. In order to cover these costs—as well as the costs

of public programming, marketing, maintenance, and other exhibition costs— the exhibition

will look to the International Center of Photography and the Henri Cartier-Bresson

Foundation for funding. Although the latter is representative of a different photographer, it

has exhibited Doisneau’s work in the past, as both artists are often paired together due to

their similar subject matter and photographic approach.

While the estate does not provide dimensions of the works, according to the Art

Institute of Chicago’s website, Boulangerie, Rue de Poitou is 13.1 x 9.6 inches, Les soldats

américains, jardin des Tuileries is 13 3/4 x 11 5/8 inches, and La Dame Indignée is 9.6 x 12 inches.

Thus, all of the prints in Robert Doisneau: Artistic Engagements will be similarly sized. Rather

than compensate for any deviations in size and orientation by framing each work in like-

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sized frames, each piece will be matted in a frame that, in both length and width, is two

inches larger than the photograph. To complement the black and white nature of the

works, the matting of the photographs will be off-white, and the frames will be simple, thin,

and black (Appendix F). Furthermore, the walls will be painted a light shade of grey, while

all text panels and object labels will be egg-shell white. All of the titles will be written in

black and in the “Goudy Old Style” typeface, and the letters will be applied directly to the

wall. Similarly, the body text and object labels will be written in the “Helvetica” font and

will be black as well (to see an example of a gallery wall, see Appendix G). Furthermore, in

order to attract visitors, the exhibition’s title and introductory text panel will feature a

photographic blow-up of Tori Thorimbert’s portrat of Robert Doisneau (Appendix H),

which features the photographer leaning against a bronze sculpture.

In order to promote Robert Doisneau: Artistic Engagements and to educate the museum’s

audiences, several public programs will supplement the exhibition. The most prominent

educational strategy that the exhibition will utilize is The Art Institute of Chicago’s “Tours”

application. This technological tool—which can be downloaded on mobile devices and

tablets—features indoor maps of the museum, as well as “50 personalized tours . . . with

brief entries that explain each work's connection to a theme or its significance in the history

of art.”17 The information pertaining to each piece will explain how the photograph evokes

an artistic sensibility or incorporates artistic subject matter. Due to the popularity and

prevalence of such new technologies within museums, viewers of Robert Doisneau: Artistic

Engagements will greatly benefit from this tool. Furthermore, due to photography’s innate

approachability, the exhibition will also feature hands-on activities that all visitors can

participate in. The first—which is aimed toward children ages 5-12—allows individuals to

create their own interpretations of Doisneau’s work with pencils, paint, crayons, and pastels.

The children will choose a photograph to illustrate and render their own image that they can

take home. This program will occur every Saturday for the duration of the exhibition and

will take place in the Ryan Education Center—a cluster of classrooms and studios located

around the corner from the Special Exhibition space in the Art Institute’s Modern wing.

The second hands-on program—which is targeted toward all age groups—allows museum

visitors to each choose a photograph from the exhibition, and, using sheets of paper and

pencils provided right outside of the exhibition’s exit in Griffin Court, write their own

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narrative (around 3-5 sentences) for said work. They will then submit their story to the

museum, and members of the Marketing Department will choose the most creative and

interesting submissions and, ultimately, post one story daily on the museum’s Facebook

page.

Ultimately, through this exhibition, the photographs of Robert Doisneau will be

presented to the public in new and innovative ways. By focusing on his background and

subsequent artistic inclinations, Robert Doisneau: Artistic Engagements introduces visitors to

Doisneau’s less prominent work and to the significance of his artistic past. By presenting the

selected pieces in three sections, “Personal Interactions,” “Art in Focus,” and “Expressive

Environments,” a thorough survey of Doisneau’s art-based photography is presented.

Through supplemental wall text and publing programing, the Art Institute of Chicago’s

audience will be able to learn more about one of France’s favorite photographers.

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Appendix:

A. Wall Text Exhibition Introductory Text: “Though known primarily for his street photography, Robert Doisneau (1912-1994)—who, as a child, studied drawing, engraving, and lithography—had an innate passion and eye for art. While famous predominantly for his prevalent interest in capturing snapshots of Paris and, consequently, celebrated as one of the first photojournalists, Robert Doisneau: Artistic Engagements explores and presents the artist’s artistic background and its impact on his photographic technique and subject matter throughout his work. Featuring 30 black and white photographs taken over a span of 30 years (1944-1974), Robert Doisneau: Artistic Engagements approaches the photographer’s innate interest in art by presenting his work in three distinct categories: “Art in Focus,” which features art at the subject of each piece, “Personal Interactions,” a collection of works that portray human beings interacting with artwork, and “Expressive Environments,” which depicts art as setting. By featuring photographs that transcend the typical themes of everyday Parisian life and disclosing some of his lesser known pieces, Robert Doisneau: Artistic Engagements offers new perspectives on Doisneau’s work, highlights his inherent artistic inspiration and sensibility, and demonstrates the ways in which his work surpasses the functions of photojournalism to qualify as art itself.”

Section 1: “Personal Interactions” Wall Text: “In order to capture the relationship between people—his most beloved subject—and art, Doisneau often photographed individuals as they directly acknowledged and engaged with artwork through visual observation and physical contact. Often playful and comical, such works feature lighthearted images of his contemporaries, as well as myriad settings and scenery. In these photographs, various media—including painting, sculpture, tapestry, and even tattoos—are represented, and myriad methods of interaction are evident. “ Section 2: “Art in Focus” Wall Text: “Another motif prevalent in Robert Doisneau’s street photography is his attention to art as subject. In these photographs, artistic creations—ranging from sculpture, postcards, and even architecture—are treated as each composition’s focal point. By photographing artwork in such a way, Doisneau’s inherent interest in elevating artwork as subject-worthy is evident, as he strays from his typical habit of capturing people and focuses solely on artistic subjects.” Section 3: “Expressive Environments” Wall Text: “In his photographs, Doisneau’s interest in art often materializes as a backdrop of everyday life. The individuals portrayed in these photographs are not interacting with or even acknowledging the artwork; they are simply shown going about their days without paying any attention to the art that surrounds them. Furthermore, while these pieces do evoke Doisneau’s fascination with daily life, they focus predominantly on the role of art in everyday life and, thus, offer a new take on this familiar theme.”

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B. Figures “Personal Interactions”

Figure 1:

Le combat du centaure

(The Battle of the Centaurs) 1971

Figure 2:

Le peintre du pont des Arts, Daniel Pipard

(The Painter of the Bridge of the Arts, Daniel Pipard) 1953

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Figure 3:

La dame indignée

(The Indignant Lady) 1948

Figure 4:

Maurice Baquet, Chopin et sa muse

(Maurice Baquet, Chopin, and His Muse) Ca. 1950

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Figure 5:

Contest of the Most Beautiful Tattoo

(Concours du plus beau tatouage) 1950

Figure 6:

Tapisserie des Gobelins, la harpe de laine

(Gobelins Tapestry, Harp of Wool) 1944

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Figure 7:

Vénus prise à la gorge

(Venus Grabbed by the Throat) 1964

Figure 8:

Ludmilla Pitoëff à la fête de l'Humanité

(Ludmilla Pitoëff at the Party of Humanity) 1949

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Figure 9:

Soldats américains, jardin des Tuileries (American Soldiers, Garden of Tuileries)

1945

Figure 10:

Le menuisier de la rue Saint Louis

(The Carpeneter of Saint Louis Street) 1947

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“Art in Focus” Figure 11:

La gargouille de Notre Dame

(The Gargoyle of Notre Dame) 1969

Figure 12:

Le Prisonnier barbare et Vénus Callipyge, Versailles

(Barbarian prisoner and Callipygian Venus, Versailles) 1966

Figure 13:

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Le sculpteur

(The Sculptor) 1950

Figure 14:

Les cartes postales

(Postcards) 1953

Figure 15:

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L'Esprit de la Bastille la nuit

(The Spirit of the Bastille at Night) 1973

Figure 16:

Pont Alexandre III

(Alexandre Bridge III) 1970

Figure 17:

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La Tour Eiffel en liberté

(The Eiffel Tower in Liberty) 1969

Figure 18:

Maillol nymphes, le jardin des Tuileries (Maillol Nymphs, Tuileries Gardens)

Ca. 1972

Figure 19:

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Baltard 1968

Figure 20:

Cathédrale de Strasbourg

(Strasbourg Cathedral) 1945

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“Expressive Environments” Figure 21:

L'enfer boite de nuit

(Hell Nightclub) 1952

Figure 22:

Cour carrée du Louvre

(Court Square of the Louvre) 1969

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Figure 23:

Aile ouest de l'Arc de Triomphe, La Résistance de 1814

(West Wing of Arc De Triomphe, La Résistance de 1814) 1974

Figure 24:

Pitoyable tarte (Pitiful Pie)

1968

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Figure 25:

Trois petits enfants blancs

(Three Small White Children) 1971

Figure 26:

Boulangerie, Rue de Poitou

(Bakery, Poitou Street) 1971

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Figure 27:

Fleur de neige

(Flower of Snow) 1968

Figure 28:

Galerie Vivienne

(Vivienne Gallery) 1981

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Figure 29:

Léon la lune et son harmonica

(Leo the moon and his harmonica) 1959

Figure 30:

Le Baiser de l'Opéra

(The Kiss At The Opera House) 1950

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C. Descriptions of Each Piece and Reason for Inclusion Personal Interactions: 1. Le combat du centaure, or The Battle of the Centaurs: In this photograph, a couple is seen observing Le combat du centaure, a massive sculpture by French sculptor Gustave Adolphe Désiré Crauk. This piece is included in this section due to its depiction of the inherent relationship between art and human beings. Also, due to its high contrast, it is reminiscent of a charcoal drawing. Furthermore, due the overwhelming difference in scale between the monumental sculpture and the observers, the photograph illustrates the powerful presence of art, and humanity’s innate attraction to it. 2. Le peintre du pont des Arts, Daniel Pipard: In this photograph, Daniel Pipard, a French painter and poet,, is shown painting a portrait of a woman seated on a bridge. Humorously, however, Pipard’s painting of the woman is nude, while, in reality, she is fully clothed. This piece has been selected for this section because it depicts Doisneau’s interest in the artistic process. Furthermore, this piece is fascinating, as it shows an artist working outside of his or her studio. 3. La Dame Indignée: This piece is from Doisneau’s Romi’s Shop Window, a series in which he hid his camera in the window of an art gallery in order to capture passerbys’ candid reactions to a risqué painting of a female nude. In this photo, a shocked woman, with her mouth agape and her eyes wide, stares in disbelief at the piece. This photograph has been selected over the others in the series—including the more well-known Un Regard Oblique—due to the authenticity of the woman’s reaction and the direct nature of her interaction with the piece. 4. Maurice Baquet, Chopin and his Muse: This piece depicts Maurice Baquet, a French cellist and actor, sitting between sculptures of Frédéric Chopin and his muse. With his cello in hand, Baquet rests his head on the chest of the female figure while Chopin is depicted playing the piano. This work has been selected due to its playful nature and portrayal of an individual interacting with artwork through touch. Furthermore, Doisneau photographed Baquet often, so a photograph that represents their relationship is fitting. 5. Concours du plus beau tatouage: This photograph portrays two tattooed men viewing a tattoo on a woman’s back. It has been chosen for this section because it shows humans interacting with art in one of the most personal and permanent ways: as designs on their bodies. Furthermore, it is fascinating since, as an art form, tattoos are often disregarded or even not acknowledged. 6. Tapisserie des Gobelins, la harpe de laine: In this piece, a female factory worker is shown toiling with wool configured into what resembles a harp. Like tattoos, tapestries are often overlooked as a form of art. With this photograph, the process behind such work is shown as something beautiful and worth photographing. 7. Vénus prise à la gorge: This photograph portrays a bronze sculpture being handled by men as they attempt to move it. Similar in nature to Maillol Nymphs, Tuileries Gardens in the “Art in Focus” section, Doisneau has captured a comical situation, as the men—in order to grip the sculpture—have their hands placed on the figure’s breasts. Due to its humorous concept and its parallels to Maillol Nymphs, Tuileries Gardens, this piece has been selected for the exhibition. 8. Ludmilla Pitoëff à la fête de l'Humanité: In this piece, Ludmilla Pitoëff, a French actress, poses with a carnival cutout illustrated with a picture of a figure and a bicycle. This work has been included in

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“Personal Interactions” due to the uniqueness of the art form and the relatability, humor, and charm of the subject matter. 9. Les soldats américains, jardin des Tuileries: This photograph shows one American solider playfully interacting with a sculpture while another photographs him. This piece has been included due to the soldier’s physical engagement with the work, as well as the portrayal of photography—a theme innate to the exhibition.

10: Le menuisier de la rue Saint Louis: This piece shows a carpenter at work on the street while a young girl observes him. This work has been included in this section due to the portrayal of an unconventional form of art in an unusual setting.

Art in Focus 11. La gargouille de Notre Dame, or The Gargoyle of Notre Dame: Shot from the perspective of Notre Dame Cathedral, this piece features a gargoyle in the foreground and scenes of Paris—namely, myriad rooftops, the Eiffel tower, and the Seine River— in the background. As with many of his photographs, in La gargouille de Notre Dame, Doisneau plays with scale and perspective in this photograph to create an optical illusion, as it appears that the Eiffel Tower is in the gargoyle’s mouth. This piece reminds viewers that “art” refers to more than just traditional media like painting and drawing; it can, rather, also include a concrete gargoyle and architecture. 12. Le Prisonnier barbare et Vénus Callipyge, Versailles: This photo depicts a voyeuristic encounter between two sculptures: a curious male and a voluptuous Venus. This piece has been included because it shows art’s innate ability to interact; though there are no human beings portrayed in the photograph, it conveys a sense of human emotion and liveliness. 13. Le sculpteur: This piece portrays a household collection of postcards and photographs that each features a different piece of art. It is included in this section because it depicts Doisneau’s interest in the role of art in everyday life; in Le sculpteur, images of recognizable art—including Michelangelo’s Moses, Antonio del Pollaiuolo’s Portrait of a Girl, and a detail of Sandro Botticelli’s Birth of Venus—are shown among teacups, appliances, and miscellaneous knick-knacks. 14. Les cartes postales: In this photograph, strings of postcards are shown hanging from a newsstand and set against the Eiffel Tower. Similar to Le sculpteur, this piece has been included due to its portrayal of postcards, which—though commonly thought of as commercial entities—bring art into everyday life. Furthermore, as in the case of La gargouille de Notre Dame, it incorporates uncommon forms of art into the exhibition and, thus, shows Doisneau’s inherent interest in various degrees of such work. 15. L'Esprit de la Bastille la nuit: This piece features the Bastille’s well-known Spirit of Liberty statue. While, compositionally, the statue is located a corner of the piece and, in terms of scale, it is modest in comparison to its surroundings, due to the contrast between the silhouetted buildings and the illuminated statue, the Spirit of Liberty stands out as the photograph’s focal point. Through the use of darkness and light, Doisneau captures the significance of the sculpture as it transcends rooftops. 16. Pont Alexandre III: In this piece, Doisneau focuses on sculpture. In the foreground, he captures the detail of a sculpture’s foot; in the background, stone cherubs dance around an ornately-decorated lamppost. While no human beings are shown in the image, the photograph suggests a human

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sensibility, as both the sculptural foot and cherubs imply movement. Thus, by photographing the artwork as if they were human subjects, Robert Doisneau secures their place as a worthy focal point. 17. La Tour Eiffel en liberté: In this image, a small-scale replica of the Statue of Liberty is set against the monumental architecture of the Eiffel Tower. While often viewed simply as a political symbol and a prominent landmark, the Statue of Liberty and the Eiffel Tower, respectively, are also marvels of art. By including this photograph in Robert Doisneau: Artistic Engagements, and, thus, within the context of images of artwork, viewers are reminded of their aesthetic nature. 18. Maillol nymphes, le jardin des Tuileries: Like many of Doisneau’s pieces, this playful photograph plays with perspective in order to convey a humorous illusion. While, in reality, each of the three female bronze figures are simply lifting their hands to each other, Doisneau shot the photograph from such an angle that is appears that one of them is touching the breast of another. It is included in this section because it portrays Doisneau’s habits of evoking humor and playing with perspective in his work. 19. Baltard: In this piece, Doisneau focuses solely on the cast-iron architecture of the Baltard hall of Les Halles, a historical market in Paris. Rather than using the architecture as a backdrop or setting, Doisneau depicts it as the subject of the photograph, deeming it content worth photographing. Due to this portrayal of the architecture, viewers are able to observe, recognize, and appreciate its intricate design and unique aesthetic 20. Cathédrale de Strasbourg: This photograph depicts a sculpture set against the exterior of the cathedral. Like La gargouille de Notre Dame, Doisneau plays with the scale of the subjects and the composition of the photograph to make it appear as if they foreground and background are interacting. Specifically, in Cathédrale de Strasbourg, Doisneau uses forced perspective to make it looks as if the sculpture is holding the cathedral’s highest spire. It is included in this section due to because is exemplifies the ways in which Doisneau creatively approached the photography of art. Expressive Environments: 1. L'enfer boite de nuit: In this piece, a police officer is shown walking in front of a nightclub doorway adorned with the stone face of a devil. Menacing eyes, curled horns, and an opened mouth—which acts as the door—comprise the face, and sculptural demons and stalactites surround it. This image is included in this section due to the way in which—though the man is seemingly unaware of his positioning— Doisneau perfectly timed the photograph so it appears as if the devil is about to gobble him up. Furthermore, this image is used as the main image of the exhibition because it is memorable, comical, and extremely representative of the relationships conveyed in Robert Doisneau: Artistic Engagements. 2. Cour carrée du Louvre: In this piece, a young boy is shown lying in the middle of plaza of the Musée du Louvre in Paris while a small dog stands on his chest. While no artwork is present in this image, the recognizable architecture of the museum surrounds the figure. This photograph is included in this section because—unlike all of the other works in the exhibition—its portrayal of art is merely implied and, thus, it probes the viewer to seek to understand the connection. 3. Aile ouest de l'Arc de Triomphe, La Résistance de 1814: In this photograph, a couple sits in front of the monumental, dramatic sculpture, La Résistance de 1814. While compositionally similar to Le combat du centaure in the “Personal Interactions” section, the focal points of each piece are entirely different; in

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Le Combat du Centaure, the sculpture takes precedence over the people viewing it, as it is entirely in frame and the individuals are shown admiring it. However, in La Résistance de 1814, the people are the focal point, as much of the sculpture is cropped out of the frame, and the figures appear to be spotlit. Thus, this work is included in “Expressive Environments” because it portrays art as the scene’s backdrop. 4. Tarte pitoyable: In this piece, a man is shown standing atop an unfinished chalk drawing of cherubs. The figure does not acknowledge the artwork, and, due to the positioning of his left foot, it appears that he has just walked over it. This piece has been selected for this section because it portrays an unconventional medium—chalk—comprising the setting of the photograph. 5. Trois petits enfants blancs: In this photograph, a sculpture of a seated female is shown in the foreground while three young children—clad in white and standing in a row—frolic in the background. In terms of subject matter, this work has been selected for this section due to the fact that the children—who have their backs turned to the camera—do not acknowledge the sculpture. Furthermore, from an aesthetic perspective, due to the stark contrast between the white vestments of the young children and the grey tones prevalent throughout the rest of the photograph, it adds aesthetic diversity to the exhibition.

6. Boulangerie, Rue de Poitou: This photograph portrays a man exiting a bakery with a baguette in his hand, a bottle of wine in his pocket, and a cigarette in his mouth. To his right, the storefront is adorned with an image of a laborer holding a sickle. This piece has been included in this section due to the comical juxtaposition between the two figures; while both men appear to be laborers and are holding their like-shaped possessions in a similar way, the inherent differences between the baguette and the sickle add subtle humor to the photograph. 7. Fleur de neige: This image shows a figure standing near a garden; the topiary—which had been crafted into an intricately-shaped flower—is covered in snow, creating a unique and bold design. This piece has been included in the exhibition due to its fascinating aesthetic and interesting—and extremely unconventional—artistic medium. Furthermore, its bold, thick black lines are reminiscent of etching, one of Doisneau’s artistic focuses. 8. Galerie Vivienne: Like Fleur de neige, this piece depicts an individual passing by an intricate and eye-catching pattern. It has been included in this section due to the fact that, like Pitoyable tarte, the figure in this work does not seem to notice that the nearby floor is a piece of beautiful art. 9. Léon la lune et son harmonica: This piece portrays a man standing in front of a wall adorned with paintings. This work has been included in this section due to the similar style and scale of the paintings featured in Boulangerie, Rue de Poitou and Le Baiser de l'Opéra.

10. Le Baiser de l'Opéra: In this piece, two couples seated at a table are shown kissing in the foreground, while a painting of boaters and the words, “essayez nos pedalos,” or “try our pedal boats,” is in the background. Like Doisneau’s most famous piece, Le Baiser de l'Hôtel de Ville, this photograph depicts individuals kissing. Thus, it has been selected for this exhibition as an allusion to the well-known work and as an attempt to satisfy the public’s inevitable longing or expectation to see the piece in a Robert Doisneau exhibition.

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D: Floorplan

5  

8 3   6

 

10  

94  

7  

2  

1   Gallery  184A  

Gallery  184B  

Title

 and

 text  

11  

14

17  

13  

19

20  

18   16   12  

Title  and  text  

15  

Gallery  182  

21   23  

28  

27

24

22 25

26

29

30

Title  and  text  

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Gallery 184A: “Personal Interactions” 1. Le combat du centaure 2. Le peintre du pont des Arts, Daniel Pipard 3. La Dame Indignée 4. Maurice Baquet, Chopin and his Muse 6. Tapisserie des Gobelins, la harpe de laine 7. Vénus prise à la gorge 8. Ludmilla Pitoëff à la fête de l'Humanité 9. Les soldats américains, jardin des Tuileries 10: Le menuisier de la rue Saint Louis

Gallery 184B: “Art in Focus” 11. La gargouille de Notre Dame, or The Gargoyle of Notre Dame 12. Le Prisonnier barbare et Vénus Callipyge, Versailles 13. Le sculpteur 14. Les cartes postales 15. L'Esprit de la Bastille la nuit 16. Pont Alexandre III 17. La Tour Eiffel en liberté 18. Maillol nymphes, le jardin des Tuileries 19. Baltard 20. Cathédrale de Strasbourg Gallery 182: “Expressive Environments 1. L'enfer boite de nuit 2. Cour carrée du Louvre 3. Aile ouest de l'Arc de Triomphe, La Résistance de 1814. 4. Tarte pitoyable 5. Trois petits enfants blancs 6. Boulangerie, Rue de Poitou 7. Fleur de neige 8. Galerie Vivienne 9. Léon la lune et son harmonica 10. Le Baiser de l'Opéra

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E: Groupings of Works “Personal Interactions”

1.

2.

3.

4.

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“Art in Focus”

1.

2.

3.

4.

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“Expressive Environments”

1.

2.

3.

4.

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F: Frames and Matting

2 in.

2 in.

x  

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G: Sample Gallery Wall and Object Label

In his photographs, Doisneau’s

interest in art also materializes as his

interest in capturing art as a backdrop

to everyday life. The individuals

portrayed in these photographs are

not interacting with or even

acknowledging the artwork; they are

simply shown going about their days

without paying any attention to the art

that surrounds them. Furthermore,

while these pieces evoke Doisneau’s

fascination with daily life, in his

photographs, they focus

predominantly on the role of art in

daily life and, thus, offer a new take

on this familiar theme.

Expressive Environments

La Tour Eiffel en liberté (The Eiffel Tower in Liberty) 1969

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H. Supplementary Image

Tori Thorimbert, Robert Doisneau, 1983

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Endnote Citations

                                                                                                               1 Brainy Quote, "http://www.brainyquote.com/quotes/authors/r/robert_doisneau.html." 2 Atelier Robert Doisneau, "Chronologie des expositions." http://www.robert-doisneau.com/fr/expositions/historique-expos/ 3 Art Republic, "Robert Doisneau Biography." http://www.artrepublic.com/biographies/123-robert-doisneau.html. 4 Oxford Art Online, "Doisneau, Robert." http://www.oxfordartonline.com.proxy.library.georgetown.edu/subscriber/article/grove/art/T023098. 5 Britannica Academic Edition, "Robert Doisneau ." http://www.britannica.com.proxy.library.georgetown.edu/EBchecked/topic/168066/Robert-Doisneau. 6 Art Republic, "Robert Doisneau Biography." http://www.artrepublic.com/biographies/123-robert-doisneau.html. 7 Art Institute of Chicago, "Mission and History." http://www.artic.edu/about/mission-and-history. 8 The pieces that the museum has are: Boulangerie, Rue de Poitou, Les soldats américains, jardin des Tuileries, and La Dame Indignée 9 The only one on display at the museum is Un Regard Oblique. 10 Atelier Robert Doisneau, "Chronologie des expositions." http://www.robert-doisneau.com/fr/expositions/historique-expos/ 11 Steve's Digicams, "Point of Focus and Depth of Field." http://www.steves-digicams.com/knowledge-center/point-of-focus-and-depth-of-field.html 12 The Art Institute of Chicago, "The Modern Wing." http://www.artic.edu/aic/collections/exhibitions/modernwing/public. 13 While Gallery 182 has two entrances, one of them will be closed with a temporay wall. 14 Atelier Robert Doisneau, "L'Atelier." http://www.robert-doisneau.com/fr/atelier/. 15 Ibid. 16 Ibid. 17 The Art Institute of Chicago, "Maps, Guides, and Apps." http://www.artic.edu/visit/maps-guides-and-apps?qt-reference_nodes=3