Next exhibition is next month in Lille, from February 4 to 11, with sculptor Fanny Leurent, at the Atelier Galerie A3, 10 rue Saint-Génois in Lille. The gallery is open from Tuesday to Saturday 11am-7pm. Preview : Friday 3, February at 6.30pm. Need a map ? Click on the flyer. The posters are here too : Fanny Leurent – Eric Bourdon ;-)
Come to see some of my paintings in Marseille, France…!
From Friday 18 Nov to Sunday 27 Nov, 2016
Free entrance from 12pm to 7pm
You can find some of my paintings at the new gallery/workshop Atelier A3 in Lille (France) : 10 rue Saint-Génois (near the train station Lille-Flandres). The Atelier A3 is open from Tuesday to Saturday 11am-7pm.
Exhibition of my works, with pop paintings (Prince & Florent Pagny)by Virginie Fiers alias Mamzelle Firlipipis…
“Art of Today” exhibition
(pen & marker on paper)
*** 2016 ***
© Eric Bourdon
NOVEMBER 13-22, 2015 – MARSEILLE, FRANCE
Free entrance from 12pm to 7pm
Silver Gundestrup cauldron from northern Denmark© John Lee / The National Museum of Denmark
Source : From monsters to manga : golden age of art by the Celtic race that never was, by Maev Kennedy, 10 July 2015
Julia Farley, the London curator, said the museums hoped to explode the view that the Celts were a distinct race who kept moving west from eastern Europe until they ended up stranded to this day in Ireland, Scotland and Wales.
…the term “Celt” was used by the ancient Greeks to refer to anyone in Europe north of the Mediterranean. “The word Celt was used to describe what people were not – not Roman, not Viking, not Mediterranean, not metropolitan or imperial”, MacGregor [the British Museum’s director] said. “The name Celt is a badge of otherness.”
If they had no common language or shared bloodlines, what united the people for 2,500 years was art, spectacular pieces showing humans and animals tangled together like spaghetti – and an element of what Farley called “weirdness”, including helmets for both men and horses which transformed them into horned monsters.
Celts : British Museum, London, 24 September 2015 – 31 January 2016, National Museum of Scotland, Edinburgh, 10 March – 25 September 2016
Source : British Museum could send loans worth £1bn to the Gulf
by Martin Bailey, 15 July 2015
‘The Banquet Scene’ ; gypsum wall panel relief fragment, 645BC-635BC
© The Trustees of the British Museum
Islamic State destroyed 50 complete panels at Nimrud in northern Iraq in April, which has made the remaining reliefs in museums, including the Louvre [Paris] and Metropolitan Museum of Art [New York], even more important. Although the £100m valuation may seem high for the British Museum’s Banquet Scene, Sotheby’s sold the Guennol Lioness (3000–2800BC) for $57m in 2007. The limestone figure of a lioness, believed to have been discovered near Baghdad, measures just 8cm in height.
The British Museum will receive a fee for the loans [to Abu Dhabi museum], and although the fee has not yet been finalised, it will certainly be millions of pounds a year. This will help the British Museum financially, which has been facing substantial cuts to its UK government funding. In real terms (after inflation) this represents a 30% reduction in grant-in-aid from 2010 to 2016.
“Cobra is the new generation of oil colours of Royal Talens. A fantastic line of water mixable colours for which you no longer need any hazardous solvents. Not only is this therefore better for your health, but you also have the freedom to paint wherever you want. And all this without having to surrender any quality.”
“No one is a prophet in their own land” is a well known popular expression. As an artist struggling to exhibit your work, you could also think “No one is an artist in their own land”. Alan Bamberger defends an opposite – or complementary – view :
A: Many artists believe that all they have to do to get known is to show their art in major national or international art centers, and somehow some way, collectors will discover and appreciate it immediately. Continuing with this magical thinking, they fantasize that the exposure will result in instant recognition, a steady stream of sales, and the beginning of a great career. Why do they think this? It’s kind of a “grass is greener on the other side” mindset, often having to do with the mistaken belief that their art is not in front of the “right audience,” and that the only reason they haven’t been selling is that there’s not much of an art scene in their hometowns or wherever they happen to live, and that hardly anybody who lives there buys art. But the truth is that people do buy art, they buy it everywhere, and the hometown does count, so let’s take a look at the reality of the matter.
Full article here : Artists : How to Get Shows at Galleries in Major World Art Centers