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| Flower Garden, Woman in a White Dress by Emil Nolde, 1908 |
Our journey to Evian was not for obvious reasons. Aside from the compulsory stop at the local fountain of crystal clear water, we were at the commune to discover its cultural facet. It all started at the architectural beauty of a building that is the Palais Lumière.
The Palais is currently hosting the exhibition l’Expressionnisme allemand, chefs-d’œuvre de l’Aargauer Kunsthaus et du Osthaus Museum Hagen till September 29, 2019, which is one of many initiatives aiming to transform Evian-les-Bains into a cultural and entertainment hub.
The exhibition presents a brighter side of 20th century Germany through drawings, colors and a unique creative vision. It projects a realistic reflection of the époque coupled with the aspirational dimension of expressionist artists.
The exhibition is a juxtaposing and culturally stimulating event that commemorates a not so common topic: German Expressionism at the heart of a French city. It’s the intention of the Palais Lumière to celebrate the modernist movement that started off in a turbulent period of change witnessed in the early 1900s. The transformation of the human lifestyle in modern times made of expressionism an escape from reality and an expedition to new cultures and nations. First rejected by the German political regime, the movement later on became a national pride and a symbol of fine arts.
A visit to l’Expressionnisme allemand, chefs-d’œuvre de l’Aargauer Kunsthaus et du Osthaus Museum Hagen equates three decades of work, from 1905 to 1937, all reunited in a bouquet of 140 masterpieces. Popular and not-so-commercial names include; August Macke, Chris- tian Rohlfs, Conrad Felixmüller, Cuno Amiet, Emil Nolde, Ernst Ludwig Kirchner, Erich Heckel, Franz Marc, Gabriele Münter and many more.
Running till September 29th, the exhibition is a summer must-see this season. Book your tickets here.
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| Barbarian Princess by Alexej von Jawlenski, 1912 |
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| Boats on Water by Karl Schmidt-Rottluff, 1913 |
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| Girl Sleeping by Max Pechstein, 1910 |