See press coverage below:
article in Süddeutsche Zeitung
Galerie DANIEL BLAU and Galerie MEYER – Oceanic Art present an exhibition of early photographs of Tahiti and the Marquesas Islands. DANIEL BLAU takes great pleasure in unveiling two unknown photographs of the painter PAUL GAUGUIN taken by Jules Agostini on July 19th, 1896 at Venus Point on the island of Tahiti.
Galerie Meyer – Oceanic Art
17 Rue des Beaux-Arts
Paris 75006 France
TEL: 01 43 54 85 74
The below document provides a description and timeline of our discovery of the two, only known, photographs showing Paul Gauguin in French Polynesia.
France O covers the discovery on television on 18th November. Please fast forward to Minute 10:15 to view the footage:
Catrin Lorch, 10. Februar 2017, Süddeutsche Zeitung
Claire Voon, 10 Februar 2017, Hyperallergic
Recently Discovered Photographs May Be the Only Ones of Paul Gauguin in Tahiti
9 Februar 2017, The Times UK
Gaugins Tahiti frolics revealed
Henri Neuendorf, 7. Februar 2017, Artnet News
Do These Photos Show Paul Gaugin and His Tahitian Muse?
These may be the only known photos of the artist in Tahiti
Martin Bailey, 7. Februar 2017, The Art Newspaper
Images of Gaugin in Tahiti discovered in photo album
7. Februar 2017, ARTFORUM
Only Known Photographs of Gauguin in Tahiti Recently Unearthed
Scott Reyburn, 2. December 2016, International New York Times
Daniel Blau is delighted to announce Reflections, an extraordinary exhibition focusing on American photojournalism in the context of an emerging atomic age. This year’s selection includes vintage colour atomic photographs from the US Army, newly discovered photographs by Weegee and Edward Wallowitch as well as a collection of prints of the iconic NASA portrait of Buzz Aldrin standing on the moon.
Wallowitch was the youngest photographer to be included in “The Family of Man”, Edward Steichen’s legendary exhibition held in 1955 at The Museum of Modern Art. This exhibition subsequently also saw his work join the museum’s collection. Wallowitch produced a kind of poetic street photography with a strong sensibility, both compositionally and thematically. Not only are we pleased to be working with his estate, we are excited to premiere these works to a European audience.
The works presented here document the ephemeral relationship between a post-war American landscape and the emergence of atomic energy. Both Weegee’s rarely seen V-J Day series and Wallowitch’s street photography create a daring juxtaposition with a series of rare dye-transfer prints showing atomic test explosions by te US Army. Reflections explores photography’s development after the first atomic explosion on July 16th, 1945. This group of vintage dye-transfer prints are not only impressive in their quality but also extremely rare. Most of the photography published in the 1950s was still in black-and-white as there was only very limited use for colour. Large pictures of American nuclear tests in colour (Daniel Blau’s long-standing specialty) are among the great rarities of 20th century documentary photography.
We look forward to welcoming all visitors to our stand for this special 20th anniversary edition of Paris Photo.
On the occasion of PAD’s 10th anniversary in London, Daniel Blau is pleased to present an eclectic selection of paintings and photographs.
Artists include: Andy Warhol, Alfred Jensen, Dan McCarthy, Christa Dichgans, Marc Quinn as well as a fine selection of vintage NASA prints
from the Apollo XI mission.
All the works presented here show the artistic results of translating the power of imagination into pictures. From Warhol’s precise and inimitable
lines, to McCarthy’s uncharacteristically light oil paintings all the way to the wonders of the moon landing – this show promises to inspire and awaken
Imagination from Latin imaginatio(n-), from the verb imaginari means to ‘picture to oneself ’, from ‘image’. Picture This! shows the powerful artistic
and political powers of pictures – their ever-lasting effectiveness to capture their audiences and astound them with the condensed, yet distilled pictorial
information we so greatly love.
Come and join us for this special 10th anniversary instalment of PAD in Berkeley Square, we look forward to welcoming you at our stand.
Daniel Blau is delighted to participate once more in the “Collections” section, curated by Sir Norman Rosenthal. This year’s selection promises a stunning juxtaposition of paintings by Eugène Leroy and poi (taro) pounders from the Pacific.
Eugène Leroy (1910 – 2000) was a French painter whose works were typically made over many years, where paint was gradually applied to the canvas to create these magnificently thick, expressive surfaces. His paintings show his life-long preoccupation with light – how light is captured not only through colour, but through layers of paint. His contemplation of light and form shows itself most when we closely examine the paintings. Leroy’s thick surfaces are the results of his painterly quest to investage light. Areas he was satisfied with were left ‘thinner’ than those he needed to develop, add, layer until his desired result was obtained. His subjects, often nudes, become almost indistinguishable amidst the material density created. Though he remained largely unrecognised until the 1980s, he was awarded the Grand Prix Nationale de la Peinture in 1996 and his paintings are held in numerous public collections. We will show a range of works from the 1960s to 1990s. Poi pounders, or Penu in Tahitian, are characterised by their beautiful, pure and essential
form. They are used for pounding cooked taro root (kalo) into poi, a main staple of the traditional Pacific, mostly Polynesian diet. Taro root was steamed in an imu (earth oven), peeled with a shell scraper, and placed on a wooden pounding board to be mashed with the stone pounder. Most have been skilfully crafted from fine basalt or coral rock and sometimes show elaboration and embellishments on their handles such as carvings of humans and animals. The exquisite selection of 15 – 20 pounders we will exhibit at this year’s Frieze Masters has been collected over the last 30 years.
They are magnificent examples of how form follows function. The poi pounders are as equally utilitarian as they are evocative and sculptural.