Falling swooning before the Issenheim altarpiece and, why not contemplate this occasion a Picasso or a Monet. The splits dared by the recent reinvention of Alsatian Museum Unterlinden in Colmar (Haut-Rhin) aims to promote, in addition to its medieval collections, modern art collection hoping the barge, attracted by this jewel of the Renaissance, will stop to see the rest. Inaugurated on January 23 by François Hollande, the museum, where crowds throng since 1853, reopened in mid-December after three years of work (whose budget totaled EUR 47 million).
Whip. Unterlinden worth a visit as it is, in all respects, a curiosity: atypical identity, this associative institution created and managed by the Schongauer Society, made up of volunteers, is the result of donations from collectors and artists. Celle, very rich, the critic Jean-Paul Person brings together 147 works from the School of Paris and lyrical abstraction – an entire room is dedicated to Jean Dubuffet. The challenge for the renovated museum will be to achieve a unified collection for the less heterogeneous containing as sacred art and former regional (works by native son Martin Schongauer, and other gingerbread pan and whisk ancient monastic) exposed in the cloister that in the new wing of modern art. If the big names (Bonnard, Monet, Rodin) are not always synonymous with first-class works, some parts including large formats like those of Serge Poliakoff, Soulages and Georges Mathieu, too massive for many urban museums, are Here prominently. Under the roof, the inaugural exhibition, called “Act contemplate” and orchestrated by the art historian Jean-François Chevrier, revisits the history of art by putting beside classical painting and photographs of Jeff Wall or Charles Ray’s performance.
Spas. Instead of hanging dusty designed in the 80s, the new extension of the museum that doubles its surface (from 4 500-7 900 m 2 ) was driven by the Swiss firm of architects Herzog & amp; De Meuron to whom we owe the industrial building of the Tate Modern in London. Situated in the cloisters of a former Dominican monastery, the institution has thus adopted a second building facing it, that of the former municipal swimming pool called “Ackerhof” (farmyard). In between, instead of parking for buses which had itself replaced a mill, stands a small house made of bricks and metal. Combining the simplicity of a monastic cell in the serenity of the spa, the emulsion between these styles a priori irreconcilable is successful, harmonious and re-entered the museum in the city.
Prestige. center of attention, such as the Mona Lisa in the Louvre, the altarpiece Isenheim siphoning until all visitors. The museum is therefore based on this monumental masterpiece of the early XVI th century (3.30 m high and 5.90 m wide) made by the German painter Matthias Grünewald. Composed of seven panels painted lime, and realized for the Commandery Antonine Isenheim, near Colmar, it opened at the discretion of the liturgical celebrations. Vision astonishing that this representation of the life of Christ and his crucifixion in turn levitating almost new age then greenish and cadaverous. Being restored, this triptych is now presented only at the end of the convent chapel in freezing cold which sets condition. Better informed and developed, it arouses fear as meditation: “Formerly object of devotion, the altarpiece is finally exposed as a work of art,” welcomes museum director, Pantxika De Paepe.
At the crossroads of France and Germany, the Unterlinden museum dream a Europe-wide prestige and hopes to welcome at least 320,000 visitors a year to break even (against 200 000 previously). The President of the Schongauer, Jean Lorentz, already seen there a “flagship museum in the Rhine Valley.” In October, it will host an exhibition devoted to Otto Dix, himself a prisoner of war to Colmar in 1945, who drew a very Christ held the crown of barbed wire.
Museum Unterlinden 1, rue Unterlinden Colmar (68). Rens .: www.musee-unterlinden.com
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