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Yoyo Maeght carries her family's astounding art legacy into the 21st century with a new book and plans to open a gallery in Beijing.
The 'first family' of modern art, the Maeght legacy is as colorful as it is inspiring. Yoyo Maeght shares it all in her new book, while plotting exciting future chapters.
Midway through Yoyo Maeght's enthralling new tome, 'The Maeght Family: A Passion for Collecting Modern Art,' a candid snapshot shows the author as a young girl enjoying a casual chat with Joan Miró. Several pages later, Dizzy Gillespie is giving her piano lessons in the gardens of the Fondation Maeght, the renowned art foundation her grandparents created in 1964 in the bucolic hills above Nice.
The images, just some of the extraordinary documents in her family's vast archive, reveal the nexus of the 20th century legends that made up the Maeght extended family tree. "The reality was so fascinating that there was no need for embellishment," explains Yoyo of the story behind the Maeghts' ascent into the annals of art history. Over the course of their colorful, visionary career, Aimé and Marquerite Maeght (Yoyo's grandparents) pioneered the work of friends and collaborators such as Giacometti, Chagall, Picasso, Breton, Matisse, Braque, and countless others, through their Parisian gallery, publishing company, and later by creating a permanent home for these creators' artwork throughout the Foundation's majestic grounds. Carrying the family torch into the 21st century, Yoyo Maeght discusses her new book and her plans to transport the Maeght art legacy to China with a forthcoming gallery in Bejing.
What is your definition of luxury?
Freedom of thought and choice
If luxury were an object, what would it be?
A private jet that's always available, no matter where or when.
If luxury were a moment, when would it be?
A nap under a beautiful, old tree that one has watched grow over the years, or better yet, planted oneself.
If luxury were a place, where would it be?
On the family property, under that old tree.
If luxury were a person, who would it be?
Leonardo Da Vinci (to have a conversation with him would be a dream!).
Your book explains that your grandfather, Aimé, inherited his taste for creativity from his grandfather at a very young age. How was that love for art consequently passed down to you?
My family always encouraged me to look at things without any filters, to love freely. I was lucky enough to have access to all types of artistic expressions and lifestyles: cinema, dance, theater, literature, design, architecture, and gastronomy. We discussed everything with our parents and grandparents. Everyone was encouraged to openly express their ideas, which sometimes resulted in rather violent exchanges.
Did you anticipate as a young child that one day you'd be leading your family's extraordinary legacy in the arts?
I realized that my grandfather always placed us in the center of the action: for the inauguration of the Foundation, it was us, the three sisters, 5, 7 and 9 years old, who escorted the first guest, André Malraux, into the Foundation. We were at all the openings and dinners given at the Galerie Maeght and the Foundation. For the inaugural celebration at the Opéra Garnier, where Chagall's painted ceiling was presented for the first time, my grandfather chose Isabelle, my sister who was then 9 years old, for his arm. I think that very early on I felt the need to share our family's vision of life: anchored in a deep respect for the past, while curious and passionate about new ideas in order to better understand the future.
How would you characterize the Maeght philosophy towards creativity?
To be the link between the creator and the public, to judge with your heart.
Some of the greatest names in 20th century art were close friends and collaborators with your grandparents. Those intimate stories are beautifully recounted in your new book. What research was involved in recreating those moments?
My grandfather and I were very close. He died when I was 22, so I really had the chance to soak up so much of that history directly through him. Throughout my life we would have lunch together every week and he would tell us all sorts of stories. Much of the book is based on those vivid stories, as well as the many letters, notes, photos and interviews that are in the gallery's archives, which have never been published. I also used material from a series of aired television interviews that my grandfather gave in 1976.
What was your objective in sharing the story? Was it the culmination of a life-long dream?
Most people, when they hear the name Maeght, only think of the Foundation; they don't know to what extent the family story is unique and vast. They don't know about the gallery, or the publishing house and the anecdotes between the artists and the family. I always wanted to share those stories, but as objectively as possible. The history is so incredible and rich that I didn't want to dramatize it by adding my own personal opinions or feelings (that will be for the next book). I wanted each reader to discover the story for themselves, to derive their own emotions from it, to find something personal in it, because in a way, this is a historical document that belongs to everyone.
Of all the artists that your grandparents supported and represented over their career, which artist's work did they personally enjoy and admire most?
They felt the same passion and conviction for all of them.
A multidisciplinary center devoted to the creative voice, the Fondation Maeght was created as site for artistic collaboration and exchange. How is that vision perpetuated today?
The Maeght family continues to put visitors in an intimate, physical relationship with the art work. Each exhibit, each publication is perfection for the savviest art-lovers and scientists while remaining attractive enough to appeal to novices, offering them surprises that make them want to explore the art world.
The greatest names in 20th art were in fact extended members of your family. What was that energy and atmosphere like? Was the gallery an extension of the home?
As is still true today, these were people who were drawn together because they were passionate about the same fields. Artists know that we are an extension of their workshop. We're the tool that brings the work out of the workshop. It's an act of trust, but it's also a daily challenge.
Is it your goal to maintain that same spirit with the contemporary artists the gallery represents today?
Of course, without forcing ourselves to systematically carry on the same tradition, we do what we feel we should be doing.
Which artists working with you today are you most passionate about?
-Aki Kuroda, a Japanese artist, for the ties he's been able to create between Asia and Europe, and for his use of space. He works with scientists like Hubert Reeves, but also other creators, such as Angelin Preljocaj.
- Marco Del Re, an Italian, for his constant dialogue between modernity and classicism, his always informed opinion on literature, theater, and design. All couched with mordant wit.
- Selma Gurbuz, for her vitality and passion. She's a Turkish woman I have uncommonly wonderful times with.
- Gérard Gasiorowski, who passed away 20 years ago, but whose work is exciting and deserves to be brought to the public eye.
You have organized exhibitions in China and are opening a Maeght gallery in Beijing in 2008. What is it about the current atmosphere in China that appealed to you in your decision to expand overseas?
Contemporary Chinese creation absolutely has to create ties with international art history. When you talk about Matisse, Miró, Giacometti, Bacon or Calder, no one cares whether they were French, Spanish, Swiss, English, or American. They belong to the history of art. Maeght can be the link between world art history and contemporary Chinese creation. We're preparing an exhibition for the Foundation where, for the first time, a Chinese artist will create works related to Miró, Giacometti, Braque and Calder. I exhibited three artists in China: Aki Kuroda, Marco Del Re, and Selma Gurbuz. The impact on art students was huge.
Maeght has always sought to defend artistic individuality, not schools or styles (abstract, figurative, painting, photography, sculpture...). I am lucky enough to be aware, to have been "initiated." So I can feel what the needs of our audience will be tomorrow. Our presence in China is the logical extension of our ideas. A gallery, a museum, publications, productions; each time, we have created the tool for sharing our choices with the public.
What kind of art will your represent there? Will it be a mix of European and contemporary Chinese, or exclusively one or the other?
Today we need to create the tool that will bring our vision of art to the Chinese. Our vision is not limited by the artist's nationality. So, of course, this means artists from all different countries, including many from China. Quite a few Chinese artists are excited by the idea of going head to head with renowned figures such as Bonnard, Matisse, Braque, or Tàpies.
What are your greatest ambitions for the future of the Maeght family enterprise?
For the Maeght spirit and style to be internationally recognized, with no explanations needed, and to be the reference point in people's relationship to art.