On the second floor of the Fondation Louis Vuitton in Paris, visitors arrive at an atypical display.
Indeed, while the exhibitions do not dwell on Mitchell’s biography, there are glimpses of her out in the world. Throughout the vast corridors of the Frank Gehry-designed FLV are portraits of both artists; their lives overlapping by less than two years. Monet interacts with the canvas at very close range and fully frontal. Mitchell’s stance is even more active, leaning with an arm outstretched as through taking off towards the canvas. He wears a proper shirt and tie covered by an artist’s smock.
Although the shows will prove dazzling to anyone who visits, they’re best seen without large crowds. A calmer setting is most conducive to feeling in communion with the art, to observing how certain colors emerge and recede, to experiencing the emotional dimensions of abstraction. In one of the galleries is Monet’s, a formidable triptych spanning nearly 43 feet that was purchased by three different museums beginning in 1956.
Around this point, Pagé notes “an osmosis between nature and the canvas.” She repeatedly describes Mitchell’s paintings as “sumptuous” and “marvelous,” pointing out how the artist combined opacity and transparency with a velocity that corresponded to the developing notion of action painting. “She had boundless energy,” says Pagé. “It was a mixture as much of psychological energy as physical energy.
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