{"title":"Voyage et le regard exotique","description":"\u003cp\u003eŒuvres d'art qui saisissent la rencontre avec l'inconnu : des explorateurs s'aventurant dans des terres lointaines, le regard orientaliste et la représentation complexe de l'« autre » à travers l'histoire de l'art.\u003c\/p\u003e","products":[{"product_id":"jose-claudio-cavalcanti-da-fonseca","title":"Claudio FONSECA (1949-1993)","description":"\u003cp\u003eJosé Claudio CAVALCANTI DA FONSECA, dit Claudio FONSECA (1949–1993) \u003ci\u003eForte Sāo Joāo visto do Morro Cara de Cão\u003c\/i\u003e [Fort São João vu du Morro Cara de Cão], 1983\u003c\/p\u003e\n\u003cp\u003ePastel sur papier\u003c\/p\u003e\n\u003cp\u003eSigné et daté en bas à gauche\u003c\/p\u003e\n\u003cp\u003eSigné, daté et localisé au dos\u003c\/p\u003e\n\u003cp\u003e34 x 49 cm\u003c\/p\u003e\n\u003cp\u003eProvenance : Ancienne collection du critique et historien d'art Roberto Pontual (1939–1994)\u003c\/p\u003e\n\u003cp\u003eJosé Claudio Cavalcanti da Fonseca (1949–1993), dit Claudio Fonseca, est un architecte et artiste brésilien. Il représente le Brésil à la Biennale de Paris en 1985 et participe à de nombreuses expositions internationales, dont la 18e Biennale de São Paulo et l'exposition marquante \u003ci\u003e\"Como Vai Você, Geração 80?\"\u003c\/i\u003e [Comment allez-vous, Génération 80 ?], un mouvement pluriculturel né à l'École des Arts Visuels de Parque Lage (Rio).\u003c\/p\u003e\n\u003cp\u003eJournaliste, historien et critique d'art d'origine brésilienne, Roberto Pontual est une figure centrale des échanges culturels entre l'Amérique latine et l'Europe. Engagé dans le mouvement néo-concret à Rio de Janeiro dès 1959, il se consacre à la documentation systématique de la création artistique de son pays, publiant notamment un \u003ci\u003eDictionnaire des arts plastiques au Brésil\u003c\/i\u003e en 1969. Sa carrière institutionnelle est marquée par des postes de conservateur au Musée d'Art Moderne de Rio de Janeiro et la curatisation du pavillon brésilien à la Biennale de Venise en 1980. Installé à Paris en 1980, il travaille comme correspondant culturel et conseiller pour de grandes institutions telles que la Biennale de Paris et la Maison de l'Amérique Latine. Expert reconnu pour sa vision de la \"géométrie sensible\", il dirige des expositions phares, dont \u003ci\u003eModernidade\u003c\/i\u003e au Musée d'Art Moderne de la Ville de Paris en 1987. Son travail théorique culmine en 1990 avec la co-publication d'un ouvrage de référence définitif sur la peinture latino-américaine du 20e siècle.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e","brand":"Lykos Galerie","offers":[{"title":"Default Title","offer_id":58108032975229,"sku":null,"price":850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7999\/9613\/files\/Cavalcanti.jpg?v=1777570315"},{"product_id":"utagawa-kunisada-toyokuni-iii-1786-1865","title":"Utagawa KUNISADA (Toyokuni III) (1786–1865)","description":"\u003cdiv class=\"xdj266r x14z9mp xat24cr x1lziwak x1vvkbs x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003ci\u003eKirira Yosaburō at Kisarazu Seashore\u003c\/i\u003e, c. 1853–1860\u003c\/p\u003e\n\u003cp\u003eDimensions: Height 35.5 cm x Width 24.5 cm (14 x 9.6 in)\u003c\/p\u003e\n\u003cp\u003eWoodblock print on paper (\u003ci\u003eōban\u003c\/i\u003e, single left sheet from triptych segment)\u003c\/p\u003e\n\u003cp\u003eSigned: \u003ci\u003eToyokuni ga\u003c\/i\u003e (within red gourd-shaped cartouche)\u003c\/p\u003e\n\u003cp\u003eBlock cutter: \u003ci\u003eHori Kō Fukachō\u003c\/i\u003e (carver seal, lower left)\u003c\/p\u003e\n\u003cp\u003eCondition: Good impression and color, minor trimming along margins.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eUtagawa Kunisada, who assumed the prestigious name Toyokuni III in 1844, was the undisputed titan of 19th-century \u003ci\u003eukiyo-e\u003c\/i\u003e. Heading the powerful Utagawa school, he produced an extraordinarily vast body of work, with \u003ci\u003eyakusha-e\u003c\/i\u003e (actor portraits) forming the cornerstone of his career. Kunisada's prints defined the visual language of late Edo kabuki, celebrated for their sharp draftsmanship, exquisite attention to textile patterning, and dramatic psychological intensity.\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis print illustrates a pivotal scene from the kabuki narrative \u003ci\u003eKeisei Tsukushi no Tsumagoto\u003c\/i\u003e (and its famous revival \u003ci\u003eYewusatsu Yosaburō\u003c\/i\u003e), capturing the tragic hero Kirira Yosaburō stranded along the rocky coastline at Kisarazu. Caught in an affair with Otomi, the mistress of the gang leader Akama Genzaemon, Yosaburō is brutally slashed across his face and body, left with thirty-four scars, and cast into the sea. The cartouche at the top left identifies the character as \u003ci\u003eKirira Yosaburō\u003c\/i\u003e, rendered here with exposed legs against crashing waves and the prow of a boat, his face still reflecting the trauma of his ordeal.\u003c\/p\u003e\n\u003cp\u003eBeyond its narrative function, the work highlights the intersection between kabuki iconography and the culture of \u003ci\u003ewakashudō\u003c\/i\u003e (\"the way of young men\") in Edo Japan. Long before modern pinup culture, single-sheet actor prints (\u003ci\u003eyakusha-e\u003c\/i\u003e) of alluring male performers served as widely circulated objects of romantic idealization and visual desire. Sold affordably across print shops in Edo, Kyoto, and Osaka, these works allowed audiences to track their favorite stars, follow aesthetic trends, and celebrate male beauty within an established artistic tradition.\u003c\/p\u003e\n\u003cp\u003eIn this composition, Kunisada emphasizes Yosaburō's sensual appeal through his dynamic pose, loosened robes, and the distinct hairstyle featuring styled forelocks associated with youth culture. The print offers a compelling testament to the role of the kabuki actor as both a theatrical icon and an object of eroticized fandom in late Edo visual society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Lykos Galerie","offers":[{"title":"Default Title","offer_id":58691777167741,"sku":null,"price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7999\/9613\/files\/247076de528570541489298244552df1.jpg?v=1789596503"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7999\/9613\/collections\/Cavalcanti_2cd4898d-393e-47d3-9bdf-b638439402c4.jpg?v=1777933106","url":"https:\/\/lykosgalerie.com\/fr\/collections\/iconographie-travel-exotic-gaze.oembed","provider":"Lykos Galerie","version":"1.0","type":"link"}