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Itâ € ™ s the first very visible public consequence of the merger of the Lyon Museum of Fine Arts and the MAC Lyon Contemporary Art Museum: a collision that closely combines the two collections for the period when they can dialogue, the last decades of the XXe century and the beginning of the XXIe. The exercise has two main merits. On the one hand, it shows the abundance and variety of acquisitions of the two institutions, which we do not necessarily suspect that they have, for example, to one, the first Dubuffet acquired by a French public collection in 1956, the Blonde landscape from 1952; and for the other, a Ambiente Spaziale Lucio Fontana from 1967, which today would be the happiness of many institutions. In both cases, it is commonly said in the art world that the work was "well-purchased": early enough for its price not to be So was exorbitant.
This Dubuffet and this Fontana would probably not be accessible for these same museums today or would consume a year of budget supplemented by a lot of money. Same remark for a pace Robert Delaunay acquired just in time â € "in 1959 â €" and for the MÃ © duse of Alexej von Jawlensky bought in 1956, while this friend Kandinsky's celebrity was much inferior to what she later became. "Well-bought," these two decidedly deservedly returned to the then director of the museum, Renee Jullian, and critic Lyonnais Ren Deroudille.
The other merit is of more historical order, history of creation and history of taste. For the occasion, they left the reserves where they remained invisible works of artists that we rarely see, or even for some, have been forgotten. © s. Sometimes it's just an eclipse: they have been in favor and have ceased to be because of the changes in the eyes, the judgment and the market. For others, it is an obscurity from which they did not come out during their lifetime: they were not combative enough, they cultivated the discrimination or the recognition, they Were too far away from fashion trends, etc. Or, third scenario, they are known for some of their work, at the expense of others who are no less interesting. This last situation is that of the series of walls, pencil on foil paper by GeneviÃ¨ve Asse, whose name evokes the image of variations of blue and gray on the edges of the monochrome, marine and atmospheric abstractions. The walls, it is, conversely, the frontier of the stone, its grain, its cracks, its hardness. To expose them, it is to correct the habitual vision of the artist.