Henri Manguin, Sleeping child – Claude Manguin, 1912, oil on canvas, 81x100cm, Kunsthaus Zürich, legs Dr Hans Schuler, 1920, all rights reserved, ©2018, ProLitteris, Zurich.
Just as the season for languid, lazy moments has arrived in the Swiss Romandy comes a new exhibition at the Hermitage Foundation in Lausanne that captures the very essence of hot summer days and nights.
In Manguin: The voluptuousness of color we see some 100 works — paintings, sketches and watercolors — by the painter Henri Manguin (1874-1949) who indulged his passion for color so ardently the contemporary poet Apollinaire called him the “voluptuous painter”. Read More
Beach huts as colorful as the exhibition inside greet visitors to “Plouf!” at the Musée du Léman.
The cheerful exhibition Plouf! A History of Swimming in the Léman provides a playful means to learn about the history of the Lake and its significance over the years to fans of its shores and waters. It’s especially informative when combined with a tour of the Museum’s permanent collection of historical artefacts. Read More
The six “Songbirds” created by Danish designer Kay Bojesen in the 1950s each has a name. Above, from left to right: Pop (after soda pop), Kay (after the designer himself), and Peter (after Bojesen’s eldest grandchild).
Once you scratch the surface (figuratively, of course) of Danish furniture design there’s just no turning back. Boris Liger, Manager of Geneva’s La Boutique Danoise — for whom Danish design is not just a job, but a passion — explains why it elicits such enthusiasm and the reasons for its enduring appeal. Read More
Flowers and birds, Jouy, Oberkampf factory, 1778 to 1797, woodblock print. ©Swiss National Museum.
To mark its 20th anniversary, the Château de Prangins has opened a major exhibit on the printed cotton material know as chintz. Originating in India, the 17th-century European craze for this fabric and its floral motifs dominated the global economy, society and fashion for 200 years.
Celebrating its two decades of existence, the Swiss National Museum at the Château de Prangins has chosen a beauty of a topic, not only for the attractiveness of its main subject but because of its significance for Switzerland, a primary participant and beneficiary of the printed cotton trade that fluorished in the 17th and 18th centuries in Europe and latterly in America. Read More
Award-winning Swiss designer Ly-Ling Vilaysane established her fashion brand “aéthérée” in 2006. At her St Gallen atelier she creates timeless, modern clothes for everyday wear with an emphasis on quality materials and attention to detail. In this Q&A interview she shares with us what’s important to her in life.
Ly-Ling, please describe your path to becoming a fashion designer.
I wanted to become a fashion designer since I was 7 years old. It always fascinated me how thoughts can be made tangible. You have an idea and suddenly you hold the idea in your hands and then you can wear it and make people happy. After graduation I wasn’t sure if I should study architecture, but then I chose fashion and don’t regret it for a second. Being a fashion designer means being free. I’m free to express myself through my work. I’m allowed to do what I like every day and I can choose who I want to work with. In addition, I can express my personal development through my clothes. Read More
Odilon Redon, Drifting (The Boat), 1906, pastel on cardboard, private collection. Photo: Peter Schälchli, Zurich. Pastels can suggest strength and power as much as they can softer attributes.
Until 21st of May, the Fondation de l’Hermitage in Lausanne gives us a privileged look at the use of pastels across five centuries of art. Some 150 masterpieces from public and private collections in Switzerland — from early Renaissance masters to contemporary artists — give us a captivating look at this exceptional technique.
Sometimes the word “pastel” when used in reference to the color of clothing, decor or makeup can conjure an image of the faded or wishy-washy for me. But seeing the effect of pastels in artworks, such as those now exhibiting in Pastels from 16th – 21st century at the Hermitage in Lausanne, I realize that pastel shades – even in the most subtle rendering — are anything but weak. Read More