Download - Pinacothèque de Paris

Pinacothèque de Paris
15 octobre 2008 - 15 février 2009
Jackson Pollock, Composition with oval forms, c 1934-1938. Huile sur masonite, 26,7 x 42,5 cm. Collection Jose Mestre. Masque mortuaire de chamane (esprit-oiseau faucon), env. 1840-1870.
Bois sculpté et peint, à dents en coquille d’ormeau. Hauteur : 20,5 cm. Collection Steven Michaan. © ADAGP Paris 2008. Conception et création graphique : Gilles Guinamard
ET LE CHAMANISME

CONTENTS
PAGE
1- JACKSON POLLOCK AND SHAMANISM,
A NEW INTERPRETATION
Introduction, Marc Restellini
2- “JACKSON POLLOCK ET LE CHAMANISME”
Extracts of the catalog, Stephen Polcari
3- ROUTE OF THE EXHIBITION
4- AVAILABLE PICTURES FOR THE PRESS
5- LIST OF WORKS ON SHOW
6- CATALOG AND PUBLICATIONS
7- THE PINACOTHÈQUE DE PARIS
8- THE CHILDREN’S WORKSHOPS
9- THE PINACOTHÈQUE BOUTIQUE
10- USEFUL INFORMATION
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1

JACKSON
POLLOCK
AND SHAMANISM,
A NEW INTERPRETATION
Introduction, Marc RESTELLINI
It has been noted that for creative minds, bridges between various cultures provide a newly exhilarating
approach, with a return to a founding culture, sometimes giving artists the only possibility to look
at their mundane world. These bridges between cultures also allow an escape from the daily round
whenever political and economic climates prove especially difficult. And, finally, they provide the artists
with a means of broaching worlds unknown to the majority of mere mortals.The artist, to his intense
satisfaction, thereby sets himself apart from most people by setting foot on unexplored territories.
And so it was for Pollock who, early in his career, took an interest in Shamanism.The exhibition presented
to-day in the Pinacothèque de Paris is an illustration of this revolutionary re-reading of his body of work.
Like Gauguin, Picasso or Modigliani, Pollock was interested in Primitivism, more specifically in Amerindian
art forms. That is a proven fact. But tradition has it that the passage to the “dripping” period – a.k.a
American Abstract Expressionism – marks a setting aside of that interest, opening up a new period in
his art, from which every Amerindian reference had vanished.
When Stephen Polcari first mentioned to me the idea that Pollock had been, quite apart from the
artist’s interest in American Indians, very attracted by Shamanism and that it had had an unimaginable
impact on his art, I at first deemed this theory to be foolhardy, even far-fetched. But my own personal
interest in the influence of Primitivism on modern art led me to examine his theory with interest.The
confrontation with the work itself seemed to bear out his notion.
The demonstration became perfectly obvious to me in a completely fascinating manner: quite clearly,
for Pollock Shamanism represented the finality of a thought process, as well as a passageway through
mystical portals, allowing him to reach out to worlds that most people can never attain.As the demonstration
became ever more evident, connections with Surrealism began to impinge and more specifically
with André Masson, who was one of Pollock’s foremost references along with Amerindian art.
That is how, little by little, the “drippings” seemed to me quite obviously not just purely abstract works,
but also symbolic works containing references to Shamanism or to Shamanic rituals.
That demonstration naturally led me to a complete re-reading of Pollock’s œuvre.
Henceforth, the abstract logic vanished to leave place for the artist’s deliberate desire to have us believe
in the object’s disappearance in order to, as initiatory Shamanic rituals, let us accede to mystical portals
that everyone cannot behold, but which was reserved for some “chosen few”. Pollock was a child of
Jungian analysis. For him the concept of the unconscious and of initiation or initiatory rituals was very
powerful.
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The concept of reaching other worlds was very clear, as can be seen in the knowledge of the Indian
world that Pollock had at that time, as well as through the exhibition on Amerindian art organized by
the MoMA in 1941.
The confrontation with Masson and with Surrealism in general, sensitive to the same preoccupations
when faced with an America in total recession, undergoing one of the worst crises in its history, must
have given Pollock an urge to bring forth a new man, to re-model “the common man”, in Polcari’s
words, the one who put up with his life without being able to provide it with meaning, so as to finally
accede to a means of re-awakening.
That way of thinking seemed all the more interesting since it linked up with that of Gauguin, Picasso,
Modigliani, Brancusi, Derain, and Matisse, all of whom sought in Primitivism solutions to their period’s
problems by going back to the sources and to nature. Quite certainly, the path taken by Pollock was
one of the most ambitious, intellectually speaking, as the psychoanalytical and primitive concepts are
reached.
This exhibition “Pollock and Shamanism” whose subject is totally in keeping with my own approach as
an art historian, could only take place in the Pinacothèque de Paris. I feel it is really important to offer
the largest possible public this new view on one of the major American artists on the 20th century.
It is shown at the same time as the exhibition devoted to Georges Rouault, an example of the bridge
between civilizations and mysticism. The juxtaposition of these exhibitions demonstrates that all over
the planet, the great artists’ preoccupations are finally very similar.
Demonstrative, clear-sighted, scientifically organized by Stephen Polcari who guided me and accompanied
me in the choice of the works on view, this exhibition is, it must be admitted, outstanding. A masterly
demonstration of his theory, Stephen Polcari’s text provides a remarkable reading of Pollock’s
works, never before attempted.
There is no doubt about it, the viewer’s look at Pollock’s body of work will be transformed.
The “Drippings” are seen in a new light. Pollock is no longer simply the brilliant abstract artist throwing
his paint at the canvas placed on the floor according to movements dictated by abstract aesthetical
choices. Pollock’s wish was quite other: that gesture had as its finality to present a subject even as it
gave the illusion of abstraction and of an absence of subject (that is the very definition of abstraction,
when the work has no subject matter). Pollock set aside abstraction to enter into a sphere of “nonobjectivity”.
Should the very existence of abstraction itself not be subject to revision?
Marc RESTELLINI
Director of the Pinacothèque de Paris
Translated in English by Ann Cremin
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“JACKSON POLLOCK ET LE CHAMANISME”
Extracts of the catalog, Stephen POLCARI
Jackson Pollock’s entire development partakes of the assumptions, culture, and values of his
time. His is an art devoted to inwardness in the form of psychologized, ritual transformation of himself
and his world. His is an art created in response to the epic conflicts and destruction of both in the
1930s and 1940s and to the socio-cultural personality that was thought to have generated them: the
wasteland of mass society and mass, if not fascist, man thought to be evident to the world at
Nuremberg.To represent the dangerous vacuity of that society and to point the way to change, Pollock
drew on what many in his generation understood to be the powers and images of the unconscious
and its alleged contents, the personal and cultural possibilities of the world, ancient and modern.These
pathways would recall new sources of spiritual strength and transformation, necessary for himself but
forgotten in a society of urban, industrial modernity and its incessant wars. [...]
Thus in Pollock’s view, it was necessary to create the future by renewing the past, a traditional
idea that was newly emphasized in 1930s America. At that time, for many from Mexican and American
artists and Carl G. Jung, his metaphysical inspiration, constructing something new meant digging out,
reconstructing, and revivifying the successful pathway of other generations. [...] For Pollock, it meant
unearthing the traditions and powers of other peoples, particularly Native Americans, whose imagery
was that of the non-industrial, anti-modern societies, which represented the exemplary past according
to his illusions of “primitivism”. [...]
In the early 1940s, Pollock cycled his emergent themes in and through mostly the thought and
forms of Native American peoples. He expressed his obsessions through this so-called primitivism as
well as myth, European modernism, and indeed, the entire culture of his period, believing that he was
articulating his unconscious. Of course, it was these sources that told him what was to be “found” in
that unconscious.[...]
It has long been recognized that Pollock was interested in Native American art. Besides having
spent part of his youth in the American Southwest where he was surrounded by Indian ruins, pottery,
pictographs, peoples and rituals. [...], Pollock knew the cultures and arts of the first Americans through
travel, museums, reading and demonstrations. [...]
Pollock purchased twelve copies of the Annual Reports [of the Smithsonian Institution’s Bureau
of Ethnography] in the 1930s. [...]The fist-thick annuals consisted of the American government and the
Smithsonian Institution’s attempts to document culture, art and ritual in the late nineteenth and early
twentieth century.They made up perhaps the most informative sources of Native American life, discussing
and copiously illustrating all aspects of life, arts and cultures. [...]
The scholar W. Jackson Rushing is most responsible for revealing Pollock’s interest in shamanism.
In interviews with Pollock’s friend, the artist Fritz Bultman, Rushing learned of Pollock’s commitment of
shamanism and of his knowledge of its ideology and many of its particulars. Bultman noted that Pollock
was well acquainted with the “whole shamanistic dream culture of Indians” and talked of it. Further,
Pollock’s good friend the Russian John Graham also knew about Russian shamanism, probably as Wassily
Kandinsky did, for it was part of the living culture of Russia even in the twentieth century.And, of course,
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the Smithsonian Annual Reports often mentioned shamanism in their articles and the American
Museum of Natural History published studies in the 1930s on Native American life. In this famous grand
hall, the museum, also described shamanic ritual, particularly of the Norhtwest Coast, as the basis of
the artefacts and art on display. [...]
The emergence of Pollock’s “primitivism” points the way toward shamanism, not the mere drawing
from the personal unconscious of someone who is psychologically disturbed and then renders his
subjective fantasies and personal melodramas. [...] Pollock’s style and form give coherence to symbols
interpreted as magical, totemistic, shamanist, and fecund or sexual. These images become a story of
birth, spring or “coming into life” again, a major theme in the work of other Asbtract Expresionists…
[...]
It was [...] in the mid-1940s that an event took place that altered Pollock’s work and, eventually,
the history of art. After some transitional works – Eyes in the Heat, Shimmering Substance and others
of 1946 - Pollock developed his overall poured and dripped paintings.Their contrast to his past of alternating
between static and dynamic compositions seems decisive. What led to this change? Some thing
or event both reaffirmed for Pollock the appropriateness of an image of dynamic flow as a formal and
expressive means to render his themes of magical ecstasy, fecundity, chaos and new birth. Something
also perhaps inspired the further development of that image.
In 1946, the Museum of Modern Art presented an exhibition, “The Art of the South Seas”. It
was one of the first major shows of Oceanic material in America, and it is still admired today as a fine
combination of anthropological information and ritual objects that the West considers to be art as well
as artefacts. As the first major postwar exhibit of non-Western art, it attracted a great deal of attention.
[...]
As noted above, Pollock had drawn considerable inspiration from the Indian Art show of 1941.
[...] That show had been crucial to the development of his goal of an art of ritual, generative force, and
altered consciousness, and significantly, as a result of seeing it, he adopted forms from several different
Native American cultures [...]. By the time the Oceanic show arrived, Pollock’s direction toward the
expression of dynamic, magic, shamanic power had grown, even if he could not settle on one imagistic
means.[...]
In 1946 Pollock absorbed and worked through the ideas and stylistic alternatives suggested by
[a] Sepik River painted wood carving. In 1947 he developed full control of this new mode and as his
skill and understanding of the potential of movement itself as the image grew, his famous style emerged.
That meant, seemingly, that he eliminated the transitional animal imagery and any suggestion of
human form and figure.[...]
Pollock’s abstractions thus fully develop his search for the apt means to express the immaterial
and intangible that he had only partly succeeded in evoking with such symbols, totemic compositions,
repetitions of designs from his schooling with Benton, the Mexicans and others, and with partially dynamic
forms. [...]
Pollock’s shamanism believed in a dynamic web of power shared by everyone and everything
in their world and that informed the universe. [...] Pollock’s art, then, is a form of resistance to contemporary
history and culture, to the “wasteland” of early modernity. It articulates an attack on mass psychology
and its traits by founding a memory of the past with which the artist could identify and it
attempts an authenticity not based on subservience to industrial order. Pollock sought a renewed, living
inner self, and a capacity for feeling and intimacy. He sought a connectedness not only to the past, not
only to a new kind of tradition (the “primitive”), but to animal life, to nature, and to that new place, the
unconscious, that is, to all that is larger than himself.
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ROUTE OF THE EXHIBITION
THE BEGINNINGS – EARLY WORKS
Jackson Pollock’s career did not get off to an auspicious start. First he was a student of the regionalist
painter Thomas Hart Benton, then he became a disciple of the Mexican muralists like José
Clemente Orozco; all of his mentors were anti-modernists who did not appear to place much trust
in the young artist’s talent. However, despite these modest beginning, there came about the birth
and flowering of the best American modern art forms.
Composition with vertical stripe,
c. 1934-1938 (détail)
Composition with Vertical Stripe shows the
modest beginnings of Pollock’s Mexican period.
The painting suggests two seated women, pointing
up what in Orozco, a Mexican mural painter,
would be a marching army but which here
is similar to a horned animal, perhaps a bull,
a recurring symbol for Pollock.
Statue of a cut Totem, wood, Nootka
This statue,representing a seated figure,hands
crossed on its knees, with an elaborate hairstyle
and headwear, was one of the elements of a Nootka totem.The Nootkas are one
of the North- Amerindian peoples living in British Columbia.
SACRIFICE AND DEATH
Although he was influenced by Orozco’s style, Pollock soon found his own favorite subjects in
Shamanism – a type of religious ecstasy during which the initiated is thrust into a altered state of
consciousness.The increase of his alcoholism, the threat of war, the years of Jungian therapy, and
finally his interest in Amerindian art and culture led the painter to grasp at this animist religion, bearer
of a promise of recovery simultaneously for himself and for society at large. Shamanism implies
that the Initiate sacrifice his profane “self” during a ritual simulating the violence of chaos and of
death.
Bald Woman with Skeleton, c. 1938-1941
The theme of sacrifice and death goes one step further in this major painting, setting out both a ritual
sacrifice and the promise of rebirth. Around these two forms of life and death, a crowd of silhouettes
apparently in a trance, celebrate the event. Behind the crowd, there appears a wall of flames, a Shamanic
symbol both of creation and of destruction.Two guardians – whose skeletons are shown as though in an
X-ray – as well as creatures in the shape of a sword, overshadow the composition.This Shamanic pictorial
technique has as its aim to summon “chaos” or “death”.
A fighting knife, Tlingit
A Tlingit knife with a steel blade whose handle, in sculpted wood, is ornamented with a bird of prey's head,
- an eagle more than likely – is reinforced by skin straps.The bird’s open beak shows sharp little teeth.The
orbits are finely carved, the ovoid eyes are surmounted by large curved ears. Decorated with incrustations
in elm bark on the nostrils, pupils and the ears, the head is covered in a heavy brown patina.
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THE FUSION OF MAN AND THE ANIMAL
If he wants to be re-born after the sacrifice, the aspiring Shaman must fuse with the animals, in other
words,come back to nature.The bird,the wild beast,the serpent,allows the “self”to grow and to increase
his capacities during the ritual known as “incorporation”. Man then ceases to be limited to his sole function
as a rational thinker, he is endowed with new physical and spiritual connections with the universe.
Man, Bull, Bird, c. 1938-1941
A bull, a horse, an eagle’s skeleton, a bird’s fetus, serpents, in Man, Bull, Bird, Pollock displays a whole
range of Shamanic symbols, related to the concept of “incorporation”. Sometimes he fuses them, sometimes
he scatters them in the manner of “soul catchers” engraved with human or animal effigies.They
also suggest a search for balance between different constitutional elements in man, a recurring theme
for Pollock.The animal representation is there to remind us that man must get closer to nature and to
the animal realm to which he belongs.
Untitled, c. 1939-1940
Colored pencils and crayons, 36,2x27,9 cm
Collection Mandy and Jonathan O’Hara, New York
The upper motif of the work shows a human being and an
angular animal’s head that might belong to a horse or, more
likely, to a bird.The lower half shows a kneeling man, also
assimilated to a horse.The drawing suggests the man dozing,
or in a trance, gives birth to a totemic figure, and is thus
subjected to a transformation, allowing him to attain
a superior level of elevation.
Amulet, Soul catcher
A “soul catcher” Shamanic
Tlingit amulet, carved in a
whale’s tooth.The Shaman is
shown with his hands crossed between two figures of supernatural
spirits: at one end, a salmon or more probably, a humpbacked whale,
at the other a bird.The Shaman’s head is placed on the whale’s breathing
apparatus. Along the sides, we can make out fins, as well as the
whale’s spine, recurring symbols in the totem-spirit.The eyes are
incrusted with elm bark.
THE FUSION OF MAN AND WOMAN
So as to achieve this alteration of being, the man and the woman must be symbolically coupled.
Coupling is another form of fusion.The Shamanic ritual of fusing the masculine and feminine principles
allows life to be engendered, i.e. the recovery and renewal of the human being.
Composition on paper 1, c. 1946
This painting, unusual in the artist’s output, nonetheless retains a familiar composition. In the centre,
the horizontal shape penetrating the large silhouette suggests copulation – a frequent theme in Pollock’s
œuvre. However, it is not the Freudian sensual symbolism that is broached here, but rather the
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“primitive” ritual of fertility, called “birth” by Pollock.A “proto-plasmic” shape seems to emerge from the
female form.The “masculine” form in erection stands out against a silhouette made up of intertwed shapes,
suggesting vital energy. Like the Shamanic figures in the Lascaux caverns, the figure in erection
appears to be in ecstasy. On the opposite side, and facing the female and male figures, a little shape turned
in upon itself appears to celebrate the ritual act of copulation, as a prelude to the renewal of life.
Fertility mask in painted wood
British Columbia
The Arts Manual by Jackson Pollock, 1951 (detail)
GERMINATION – BIRTH
The result of fusion is renewal. For Pollock, like for the between the wars philosopher
Henri Bergson, procreation and creation were synonymous. To
death and to sacrifice, Pollock and his mentor,André Masson, preferred the
renewal of life. Shamanic ritual art,
such as it interpreted by Pollock suggest
a positive transformation
Birth, c. 1938-41
Tate, London
A major painting among the early
works, Birth quite obviously reflects
the process of Shamanic spiritual
transformation that Pollock had
appropriated. Here the painter has
created one of the key images of his
primitivism, a fictional figure, an
assembly of forms, of functions, and
of expression, creating the illusion of
an “Indian Totem”.
A totemic house mast
Hïda or Nootka
British Columbia
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André Masson, Germination, 1942
Nature is not only a place of confrontation,
a source of threatening instincts, or
a beneficial place, the necessary counter-balance
to triumphant rationalism,
it is also the incarnation of creativity that
characterizes mankind and the world.
If, for Pollock it was symbolized by procreation,
for Masson it wore natural
forms – fish, birds, and seed – in other
words, the luxuriant colors of tropical
fauna and flora of the Caribbean where
he had lived, and that are found in his
Germination. For Masson, like for Pollock,
to recreate the world, it was necessary
to impregnate it.
Fish box, Eskimo
An Eskimo box in the shape of a
fish, probably a halibut.The head,
the body and the tail are encrusted
with mother of pearl, the fin
has a turquoise mother of pearl,
and the remains of a fiber thread
with which to open it.This box
might have contained ritual
objects as well as more everyday
things. It probably belonged to a
member of an important family,
because it is of extremely delicate
and refined workmanship.
GRAPHIC PAINTING – PICTOGRAMS
Transformation is not a pictorial subject, it is also a style. Pollock sought to develop a pictographic
style, unusual and concrete, enabling him to reproduce as closely as possible, even allowing him to
relive the Shamanic ecstasy and the vital renewal.
Untitled 1074, 1078, 1082, 1944-1945, etching and dry-point
Adding to the fashionable graphic language of the times, Pollock’s line became more dynamic. Around
the mid-forties, the painter learnt printing in Stanley Hayter’s workshop, who had left Paris for New
York, bringing along with him a goodly number of artists and particularly the Surrealists. As can be seen
in Untitled 1074, 1078, 1082, and other unfinished works from 1944-45, Pollock was not very gifted for
etching. As has already been said, these works were not printed during his lifetime. However, it is nonetheless
clear that handling the chisel helped the artist to strengthen his strokes; the outlines became
more fluid, the shapes intermingled.The subjects of the etchings and of the dry-points are on the whole
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indecipherable.They may be variations on studies of classical masters, apart from one work, the most
fragmentary of all, N°1082 that recalls body parts as though carried away by a whirlwind, and that
seems like an echo to the etchings and drawings that Pollock called his war works. During the forties,
his line was no longer simply brief, graphic and vigorous, it became definitively expressive..
THE ABSTRACTIONS
By means of these graphic simplifications, Pollock was trying to summon up directly on the canvas
the universe’s vital forces and not only to represent them in symbolic form. In the Shamanic ritual,
dance and trance allowed one to attain ecstasy.
Untitled vertical IV, 1949
Number 21, 1950
Pollock and his contemporaries sought to attain a magical world that, like a heap of supernatural forces,
would allow access to an uninterrupted flow of fecundity and transformation, to ritual accomplishments
as preludes to the emergence of a new, solar being. Whereas destruction was rampant both in
the outside world and in his private life, it was within an inner renewal, the quest for what Kandinsky
termed “the spiritual”, that Pollock drew his energy and his art. Pollock’s “drippings” gave a visual shape
to the psychic transformation of Western man towards myth and the sacred. Pollock had made his own
the Shamanic belief according to which everything is alive, all the beings being linked to each other by
a network of interactive forces that mould the universe.This dynamic network makes up, in a way, the
boundless reservoir of spiritual forces and powers which can be transmitted to the natural world and
in which the Shaman or “blessed being” can delve. In the Shamanic concept of a cosmic renewal, every
object possesses an infinite potential for transformation. Nature, earth, and sky are not dead substances,
but on the contrary are entities endowed with a magical vital power.
THE DANCE
Shortly before killing himself in a driving accident, Pollock had painted canvases in which he once
again took up his favorite themes – proof that he had never abandoned them even if at times they
vanished under a turmoil of strokes; His last works are an echo of the early ones, suggesting that
his quest was never over.
Triad, 1948
In the so-called drippings period, (1947-1950), he
mostly used the new technique of the cutout, to summon
up the single silhouette of the celebrant and
that of the human crowd. Triad,shows three dynamic
“silhouettes” cut out on a dark background.The two
torsos that can be seen on the right seem to be
enjoying a mating ritual in homage to the isolated
silhouette on the left. It must be pointed out that
these figures are among the most representative of
the cutout technique, which Pollock regularly used
throughout his career. Here again, the “figurative” fragments
are suggested through colored planes that let
us see one or more silhouettes, evocative of the vital
forces animating the body and soul of the Shamanic
figures.
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SEEKING THE MAGICAL TRANSFORMATION – THE ECSTASY
Pollock’s men and women are born again thanks to the magic of the shamanic ritual.They set out
to seek the symbol that will embody the new “me” presented in the guise of ritual primitive
Amerindian masks.
André Masson, Constellation, Nébuleuse, 1949
Constellation owes a lot to Miro and to his colored
landscapes from the 1920s, which summon
up the cosmic presence and the quest for the
universe’s supernatural powers, two recurring
themes in Pollock’s paintings. Even if the shapes
and the space surrounding them are biomorphic,
in both painters’ works, we note that nature is
never reduced to itself, but is used as a metaphor
for the broader reality in which are inscribed
the determinants of the human condition.
Masson also altered the scale of natural creatures
and of the space surrounding them to represent
a new world that would be designed no
longer by politics but by metaphysics.
Projection of anthropological movies on Amerindian populations
To discover the Amerindians’ way of life including the Shamanic ritual ceremonies. Extract of the movies
presented:
The Kwakiutl of British Columbia by F. Boas and B. Holm, 16mm, N&B, 55’, 1930. Aspects of the Kwakiutl
Indians’ traditional culture.
The Land of the war canoes by Eduard Curtis. 16 mm, N&B, 50’, 1914-1972. A romantic saga with the
Kwakiutls on the Pacific North-western coast.
The Spirit of Navajos by T. Maxine & Mary J. Benally Susi, 20’32. The film illustrates a Navajo therapy session
thanks, among others, to sand paintings. Like in several other films in the series, this one starts with the
gathering of plants that will then be used to make pigments used to carry out the painting.
These differing views allow, apart from the discovery of this population, to understand Jackson Pollock’s
work, who was influenced throughout his entire artistic career by the Shamanic world.
These films are extracted from the catalog of the SFAV (Société Française d’Anthropologie Visuelle).
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Simplistic representation of the route of the exhibition
Artistic director
Marc RESTELLINI
assisted by
Hélène DESMAZIÈRES
Scientific commissioner
Stephen POLCARI
Scientific Committee
Samuel SACHS II, President of the Pollock-Krasner Foundation
Susan DAVIDSON, curator of the Solomon R. Guggenheim Museum
Joan WASHBURN, Pollock Estate
Encounters and debates around the exhibition:
Conference “Jackson Pollock and Shamanism”,Tuesday February 4, 2009, in partnership
with Connaissances des arts, in the Pinacothèque de Paris.
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AVAILABLE PICTURES FOR THE PRESS
Jackson Pollock
Composition with cubic forms, c. 1934-1938
Oil on canvas; 57,1 x 77,4 cm
Private collection
Jackson Pollock
Man, Bull, Bird, c. 1938-1941
Oil on canvas; 60,9 x 91,4 cm
Berry-Hill Galleries, New York
Jackson Pollock
Composition with oval forms, c. 1934-1938
Oil on masonite; 26,7x42,5 cm
José Mestre Collection
Dance Hatchet, Haïda
Wood, pigment; L. : 25,5 cm
Under the wings is inscribed: made by the Indians of Queen
Charlotte Island, British Columbia:Victoria Vancouver Island,
April 25th, 18959 (probably the place and date of the
object’s purchase).
Provenance Franklin D.Austin, born in 1918, president of the
New York mining Company (gold mines)
Private collection
© Pinacothèque de Paris - Fabrice Gousset
Shaman’s death mask, bird-falcon spirit,
c. 1840-1870
Sculpted and painted wood, with teeth in elm
bark; 20,5 cm
Steven Michaan Collection
© Steven Tucker
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Jackson Pollock
Untitled (composition with ritual scene),
c. 1938-1941
Oil on canvas mounted on masonite; 45.7 x 120 cm.
Sheldon Museum of Art, University of Nebraska-
Lincoln NAA-Nebraska Art Association Collection,
through the gifts of Mrs Henry C. Woods,
Sr., Mr and Mrs Frank Woods, Mr and Mrs Thomas C.Woods,
and Mr and Mrs Frank Woods, Jr. By exchange: Woods
Charitable Fund in memory of Thomas c. (Chip) Woods, III,
and other generous donors.
Soul catcher Amulet,Tlingit
(probably Tantakwan,Tlingits from the south),
c. 1850-1870
Bear’s femur, hollowed out and sculpted in relief,
set with decorations in sea urchins’ shells. Leather
strap; 17,2 cm
Steven Michaan Collection
© Steven Tucker
Jackson Pollock
Figure kneeling before arch with skulls, c. 1934-1938
Oil on canvas; 68,58 x 53,66 cm
Courtesy Washburn Gallery New York and the
Pollock-Krasner Foundation Inc.
Jackson Pollock
Composition with Horse at Center, c. 1934-1938
Oil on panel; 26,4 x 52,7 cm
Gerald and Kathleen Peters Collection
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Jackson Pollock
Untitled, c. 1939-1942
Front; pen, ink and pencil on paper
45,7 x 35,2 cm
Courtesy Washburn Gallery, New York
and the Pollock- Krasner Foundation Inc.
Jackson Pollock
Untitled (Number 25), c. 1939-1940
Colored pencils and crayons; 36,2 x 27,9 cm
Collection Mandy and Jonathan O’Hara, New York
Soul Catcher Amulet in ivory,Tlingit
Whales’ tooth pierced and sculpted, set with
decorations in elm’s bark
Steven Michaan Collection
© Steven Tucker
Jackson Pollock
Birth, c. 1938-1941
Oil on canvas; 116,4 x 55,1 cm
Tate, London
© Pollock-Krasner Foundation Inc.
Photo © Tate, London 2008
15

Frontal with a falcon’s head, Covarubias
Painted wood and elm’s bark; 21,5 cm
Steven Michaan Collection
© Steven Tucker
Ritual Shamanic rattle in carved wood
and stag's hoof,Tlingit, c. 1850-1880
Carved and painted wood. Black stag's hoof and
spur sewn with natural fiber threads;
H. 23 cm
Steven Michaan Collection
© Steven Tucker
Jackon Pollock
Equine - series IV, c. 1944
Oil on canvas; 50.8 x 61 cm.
Jan Ghisalberti Collection
Face Mask,Tlingit, North-Western coast
Blue-green polychrome highlighted in red, black
and white pigments.The head’s outline set with
hairs made from horsehair; H. : 24 cm
Steven Michaan Collection
© Pinacothèque de Paris
16

Jackson Pollock
Composition on Paper I, 1946
Oil on paper mounted on canvas;
40,6 x 32,4 cm
Private collection,
Courtesy Guggenhein Asher Associates
Jackson Pollock
Number 21, 1950
Oil on masonite; 56.5 x 56.5 cm
Private collection New York,
Courtesy Ikkan Art International, Inc., New York
Jackson Pollock
Untitled,1949
Oil and enamel on canvas mounted on masonite;
45,7 x 58,4 cm
Private collection,
Courtesy Knoedler & Compagny, New York
Totem Mast (detail)
Wood.
Steven Michaan Collection
© Steven Tucker
17

André Masson
Le fil d’Ariane, 1938
Sand, gouache, tempera on wood; 22 x 27 cm
Private collection, Paris
André Masson
Germination, 1942
Oil and sand on canvas; 43,5 x 48 cm
Private collection,
Courtesy Galerie Cazeau-Béraudière, Paris
MANDATORY MENTIONS FOR THE MEDIA
(JACKSON POLLOCK AND ANDRÉ MASSON WORKS) :
All or part of the works mentioned in the press kit is protected by the authors’
copyright.Works from ADAGP (www.adagp.fr) may be published on the following
conditions:
• For the press publications who have signed an agreement with ADAGP: refer to the latter’s
stipulations.
• For the other press publications:
- Exoneration of the first two reproductions illustrating an article devoted to a current event
and with a maximum size of 1/4 page;
- Beyond that number or format the reproductions will be subject to reproduction rights.
Any reproduction on a cover or on the front page must be requested from the Presse
Service at ADAGP;
- The copyright to be mentioned alongside every reproduction will be: author’s name, title
and date of the work followed by © ADAGP, Paris 200... (date of publication), and that notwithstanding
the image’s provenance or place of conservation of the work.
18

LIST OF WORKS ON SHOW
PAINTINGS BY JACKSON POLLOCK
Seascape, 1934
Oil on canvas; 30,4 x 40,6 cm
Santa Fe Art Foundation
Composition with cubic forms, c. 1934-1938
Oil on canvas; 57,1 x 77,4 cm
Private collection
Composition with Vertical Stripe, c. 1934-1938
Oil on canvas; 57,1 x 76,2 cm
Gerald Peters Gallery
Figure kneeling before arch with skulls, c. 1934-1938
Oil on canvas; 68,58 x 53,66 cm
Courtesy Washburn Gallery New York and the
Pollock-Krasner Foundation Inc.
Composition with horse at right, c. 1934-1938
Oil on masonite; 15,8 x 46,3 cm
Courtesy Washburn Gallery New York and the
Pollock-Krasner Foundation Inc.
Composition with Horse at Center, c. 1934-1938
Oil on panel; 26,4 x 52,7 cm
Collection Gerald and Kathleen Peters
Composition with oval forms, c. 1934-1938
Oil on masonite; 26,7 x 42,5 cm
Collection José Mestre
Man, Bull, Bird, c. 1938-1941
Oil on canvas; 60,9 x 91,4 cm
Berry-Hill Galleries, New York
Untitled (composition with ritual scene),
c. 1938-1941
Oil on canvas mounted on masonite; 45.7 x 120 cm.
Sheldon Museum of Art, University of Nebraska-
Lincoln NAA-Nebraska Art Association Collection,
through the gifts of Mrs Henry C. Woods, Sr., Mr and Mrs
Frank Woods, Mr and Mrs Thomas C.Woods, and Mr and
Mrs Frank Woods, Jr. By exchange: Woods Charitable Fund in
memory of Thomas c. (chip) Woods,III, and other generous
donors.
Untitled (Bald Woman with Skeleton), c. 1938-1941
Oil on masonite placed on a support;
50,8 x 60,9 cm
Hood Museum Of Art Dartmouth College
Hanover, New Hampshire
Purchased through the Miriam and Sidney Stoneman
Acquisitions Fund
Untitled (panel A), c. 1934-1938
Oil on masonite; 18,2 x 13,4 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled (panel B), c. 1934-1938
Oil on masonite; 18,2 x 13 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled (panel C), c. 1934-1938
Oil on masonite; 18,2 x 13,4 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled (panel D), c. 1934-1938
Oil on masonite; 18,4 x 12,3 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled (panel G), c. 1934-1938
Oil on masonite; 10,9 x 18,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled, c. 1934-1941
Gouache on gray cardboard; 28 x 49 cm
Gerald Peters Gallery
Untitled (Number 25), c. 1939-1940
Pencil and orange crayon on paper;
35,5 x 27,9 cm.
Collection Mandy and Jonathan O’Hara, New York
Untitled (number 37), c. 1939-1940
Pen, ink, black pencil and colored pencil on coated
paper; 35,6 x 27,9 cm
Hood Museum of Art, Dartmouth College,
Hanover, New Hampshire
Purchased through a gift from Olivia H. and John O. Parker,
class of 1958, the Guernsey Center Moore 1904 Memorial
Fund, and the Hood Museum of Art Acquisitions Fund.
19

Untitled, c. 1939-1942
Front: pen, ink and pencil on paper
Back: pen, ink and color wash on paper
45,7 x 35,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Mosaic on concrete, c. 1938-1941
Frame in brass; 137,2 x 61 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Birth, c. 1938-1941
Oil on canvas; 116,4 x 55,1 cm
Tate, London
© Pollock-Krasner Foundation Inc.
Photo © Tate, London 2008
Male and Female in Search of a symbol, 1943
Oil on canvas; 109,2 x 170,1 cm
Private collection
Untitled, c. 1943
Ink, gouache, and watercolor on collage mounted
on blue paper;
40,6 x 30,5 cm
Kasser Art Foundation, Montclair, New Jersey
Untitled, c. 1943
Pen, ink and colored pencil on paper;
30,4 x 22,2 cm
Private collection, Munich
Equine - series IV, c. 1944
Oil on canvas; 50.8 x 61 cm.
Collection Jan Ghisalberti
Composition on Paper I, 1946
Oil on paper mounted on canvas;
40,6 x 32,4 cm
Private collection,
Courtesy Guggenhein Asher Associates
Composition on Paper II, 1946
Oil on paper mounted on canvas; 41,9 x 33 cm
Private collection,
Courtesy Guggenhein Asher Associates
Triad, 1948
Oil and enamel on paper mounted on cardboard;
52,1 x 65,4 cm
Art Enterprises, Ltd, Chicago, Illinois
Untitled (vertical #4), 1949
Oil on canvas; 69,3 x 30,4 cm
Private collection, Miami, FL
Number 21, 1950
Oil on masonite; 56.5 x 56.5 cm
Private collection New York,
Courtesy Ikkan Art International, Inc., New York
Untitled, Drawing (795), c. 1950
Black ink on paper; 52 x 66 cm
Private collection,Toronto, Canada
The Arts Manual by Jackson Pollock, 1951
Ink and color wash on Howell paper;
45,1 x 54,6 cm
Private collection, New York,
Courtesy Jason Mc Coy Inc., New York
Untitled,1949
Oil and enamel on canvas mounted on masonite;
45,7 x 58,4 cm
Private collection,
Courtesy Knoedler & Compagny, New York
Untitled 1082, c. 1944-1945
(Posthumous edition by Emiliano Sorini in 1967)
Etching and dry-point on Italian paper n° 11/50;
21,2 x 28,6 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled 1078, c. 1944-1945
(Posthumous edition by Emiliano Sorini in 1967)
Etching and dry-point on Italian paper n° 11/50;
36,2 x 43,9 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled 1074, c. 1944
(Posthumous edition by Emiliano Sorini in 1967)
Etching and dry-point on Italian paper n° 11/50;
28,9 x 25,4 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled, 1951
(Posthumous edition 1964)
Silkscreen; 73,6 x 58,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
20

Untitled, 1951
(Posthumous edition 1964)
Silkscreen; 73,6 x 58,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled, 1951
(Posthumous edition 1964)
Silkscreen;73,6 x 58,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled, 1951
(Posthumous edition 1964)
Silkscreen; 73,6 x 58,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled, 1951
(Posthumous edition 1964)
Silkscreen; 73,6 x 58,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Untitled, 1951
(Posthumous edition 1964)
Silkscreen; 73,6 x 58,2 cm
Courtesy Washburn Gallery, New York
and the Pollock-Krasner Foundation Inc.
Paysage en forme de poisson, 1941
Oil on canvas; 36 x 46 cm
Private collection, Paris
Le fil d’Ariane, 1938
Sand, gouache, tempera on wood; 22 x 27 cm
Private collection, Paris
Figure Personnage Animal, 1927
Sand and tempera on canvas ; 41 x 16 cm
Private collection
Rapt, c. 1942
Dry point; 30,5 x 40,5 cm
Private collection, Paris
Massacre, 1931
Oil on canvas; 32,5 x 41,2 cm
Private collection, Paris
Germination, 1942
Oil and sand on canvas; 43,5 x 48 cm
Private collection,
Courtesy Galerie Cazeau-Béraudière, Paris
OBJECTS
PAINTINGS BY ANDRÉ MASSON
Coptic Miror, 1942
Tempera and sand on canvas; 50,7 x 63,5 cm
Private collection
La sorcière, 1942
Oil and tempera on canvas; 72 x 51 cm
Private collection, Paris
Constellation nébuleuse, 1942
Sand and tempera on cardboard; 31 x 24,5 cm
Private collection
Chantier d’oiseaux, 1941
Oil on canvas; 36,5 x 45,5 cm
Private collection,
Courtesy Galerie Philippe Cazeau, Paris
Fish club
Wood; 55 cm
Steven Michaan Collection
Shaman’s Atlatl
Wood; 36 cm
Steven Michaan Collection
Soul catcher Amulet,Tlingit
(probably Tantakwan, southern Tlingits),
c 1850-1870
Bear’s femur, emptied and carved in relief, set with
decorations in sea-urchin’s shells. Leather band ;
17,2 cm
Steven Michaan Collection
Soul catcher Amulet in ivory,Tlingit
Whale’s tooth pierced and carved , set with
decorations in elm bark
Steven Michaan Collection
21

Sheishoo, little rattle figuring a crow, Amerindians
from the North-Western coast, c. 1780-1800.
Painted hard wood, band in deerskin; 26 cm
Steven Michaan Collection
Bowl shaped like a sea otter,
Kwakwaka’wakw, Gwats’Inuxw tribe, 1750-1800
Wood (probably pine), the sea otter’s head in this
Kwakiutl bowl has little teeth in mother of pearl
and the body is incrusted with glass beads.
Steven Michaan Collection
Shaman’s ritual rattle in carved wood
and deer’s hoof.
Tlingit, circa 1850-1880
Carved and painted wood . Black deer’s hoof and
claws sewn with natural fiber threads;
H. 23 cm
Steven Michaan Collection
Killer whale rattle,
Haïda, c. 1880
Carved hard wood; 23,5 cm
Steven Michaan Collection
Shaman’s death mask, hawk bird spirit,
c. 1840-1870. Carved and painted wood,
with teeth in elm bark; 20,5 cm
Steven Michaan Collection
Make-up bowl
Wood; 10,2 cm
Steven Michaan Collection
« War » Helmet
Wood; 25,7 x 22,5 cm
Steven Michaan Collection
Frontal with a hawk’s head, Covarubias
Painted wood and elm bark; 21,5 cm
Steven Michaan Collection
Soapberry spoon
Wood; 39,5 cm
Steven Michaan Collection
Little head, Eskimo
Wood; 3,5 cm
Steven Michaan Collection
Fighting knife,Tlingit, c. 1820
Steel blade, handle decorated with incrustations
in elm bark, tied by leather straps; 38,5 cm
Steven Michaan Collection
Amulet
Wood; 9 cm
Steven Michaan Collection
Fish box, Eskimo
Wood and pearl; 16,5 cm
Steven Michaan Collection
Ivory sea-otter, c. 1850
Carved walrus ivory showing little perforations
as well as inscriptions; 11,5 cm
Steven Michaan Collection
Comb
Wood; 15,3 x 5,6 cm
Steven Michaan Collection
Mask with a human face, Eskimo Inupiak,
(Uncertain provenance : Pt Hope or Pt Barrow),
c 1830-1870
Wood; 21,5 cm
Steven Michaan Collection
Mask, c. 1880
Wood with incrustations walrus teeth;
H. : 21,5 cm
Steven Michaan Collection
Little mask, Eskimo
11,5 cm
Steven Michaan Collection
Mask, Eskimo
23 cm
Steven Michaan Collection
Small head, Eskimo, c. 1850
Wood incrusted with ivory; 8,4 cm
Steven Michaan Collection
Mask, Eskimo
Wood; 23,5 cm
Steven Michaan Collection
22

Mask, c. 1850
Carved wood; 7,5 cm
Steven Michaan Collection
Totem mast
Wood.
Steven Michaan Collection
Cut totem statue, Nootka
Wood.
Steven Michaan Collection
Facial mask ,Tlingit, North-Western coast
Blue-green polychrome highlighted with red, black
and white pigments.The head is surrounded with
hair made of horsehair; H. : 24 cm
Steven Michaan Collection
Totemic figure, British Colombia
Private collection, Paris
Fertility mask, British Colombia
Painted wood.
Private collection, Paris
Household totem mast, Haïda or Nootka,
British Colombia
Private collection, Paris
Dance rattle, Haïda
Wood, pigments; L. : 25,5 cm
Under the wings is written: made by the indians
of Queen Charlotte Island, British Columbia
and : Victoria, Vancouver Island, April 25th 1859
(probably the place and date of purchase of the
object) Provenance : Franklin D. Austin, born in 1918,
President of the New York mining Company (gold
mines). Private collection
Small totem in clay
Private collection
Dance rattle
Wood and pigments; L. : 30 cm
Private collection
Shaman’s blanket, Chilkat,Tlingit
L. : 161 cm
Private collection
Spoon, Haïda
Goat’s horn; 26,5 cm
Alain Schoffel Collection
Spoon, Haïda
Goat’s horn; 22,5 cm
Alain Schoffel Collection
Spoon, Haïda
Goat’s horn; 26 cm
Alain Schoffel Collection
Spoon, Haïda
Goat’s horn; 31,5 cm
Alain Schoffel Collection
Spoon, Haïda
Goat’s horn; 25 cm
Alain Schoffel Collection
Box, Inuit
Wood with decorations in ivory or bone;
44,5 cm
Alain Schoffel Collection
Animal, Inuit
Ivory; 11,8 cm
Alain Schoffel Collection
Little box, Inuit
Ivory, wood, copper, ornamented with a figure
and a crow’s head; H. : 10 cm
Alain Schoffel Collection
Statuette of a woman carrying a child on her back
Thule Culture (1000-1700), Alaska
Ivory; H. : 10 cm
Private collection
23

CATALOG AND PUBLICATIONS
On the occasion of the exhibition «Jackson Pollock and Shamanism», the Éditions Pinacothèque de
Paris have published an illustrated book and a portfolio.
Jackson Pollock et le chamanisme
By Stephen Polcari, professor of art history at Chapman University, author of the major essay « Abstract
Expressionism and the Modern Experience ».
Adaptation of Stephen Polcari’s texts by Maïca Sanconie and Martine Desoille.
« Jackson Pollock’s evolution is totally in tune within the hypotheses, culture and the values of his time.
His art comes from a group of ritual and psychological transformations, which occurred as a reaction
to the destructive conflicts between 1930 and 1940, and to the socio-cultural context deemed to have
produced them. Jackson Pollock denounced the society that had engendered a mass mankind, even
before the creation of the totalitarian system that led to Nuremberg. Anxious to represent the dangerous
emptiness of that society and to point to the possible means of transforming it, Pollock was inspired
by the powers and the images of the subconscious, and he sought it out in the world’s cultural
wealth, in its past as well as in its modernity. He called upon new sources of transformation, ignored by
the urban industrial society. »
Stephen POLCARI
The portfolio « Jackson Pollock et le chamanisme » offers in a
large format a selection of the most beautiful paintings and
Shamanic objects.The portfolio is accompanied by a documentary
on Jackson Pollock in the collection « Portrait d’artiste »
The portfolio « Jackson Pollock et le chamanisme »
Number of pages: 36
Format: 23,8 x 32 cm
Number of illustrations: 40
DVD: 50 mn (zone2). Editions AKAVIDEO
Price: 12,50 euros
ISBN: 9782953054682
Publisher: Pinacothèque de Paris
In this fascinating essay Stephen Polcari casts a new look on the
body of work of one of the major artists of the 20th century.
Contents:
- Contexts, influences, references
- Jackson Pollock’s «Idea of Shamanism»
- The impact of World War Two
- The search: Pollock and man’s re-awakening
- The final result: dripping or the invisible image
- « I am nature »
Number of pages: 260
Format: 28 x 23,5 cm
Number of illustrations: 160
Price: 40 euros
ISBN : 9782953054675
Publisher: Pinacothèque
de Paris
24

THE PINACOTHÈQUE
THE ADDRESS
Place de la Madeleine... one of the most famous squares in the world. History and prestige made an
appointment around the pillars of the Madeleine : cross-roads where the international trends in fashion,
and gastronomy, references of a certain French way of life. Art, leaving the well-trodden paths, is shown
in a new place, unusual, and generous, contemporary and happening, lending itself as much to discovery
as to re-discovery.
THE PLACE
An extravagant gamble in the heartland of luxury where the price per square meter is calculated in
terms of trade, where every closure of a « Parisian » space is followed by the apparition of a fashion
boutique or of a fine caterer. Going against all possible bargaining, the choice of the Crédit Agricole,
owners of the site, to welcome the Pinacothèque de Paris, is part of a new approach to the cultural
spaces and of their aims.
28 place de la Madeleine provides the public about two thousand square meters spread out over three
levels:
- A basement like a puzzle in the mysterious innards of the city
- A ground floor at pavement level with Parisian daily life
- A first floor enlivened by the unusual architecture of the runways along the 19th century store rooms.
DIRECTION: Marc RESTELLINI
Art historian, organizer and exhibition curator throughout the world, since the 90s (Modigliani, Renoir,
Picasso...), Marc Restellini inaugurated the Pinacothèque de Paris in November 2003 with an outstanding
exhibition: “Picasso Intime, la collection de Jacqueline”.The museum was given a new lease of life
in June 2007, place de la Madeleine, and since its opening it has hosted major exhibitions like Roy
Lichtenstein, Chaïm Soutine, Man Ray, les Soldats de l’Éternité….
OVERALL DESIGNER: Laurent GUINAMARD-CASATI, heritage architect.
THE WEB SITE
A permanent link with the museum: the news, the booking of tickets, the contacts...
During the exhibition, the exclusive videos, podcasts, archival INA.
www.pinacotheque.com
http://essentielblog@pinacotheque.com
25

THE CHILDREN’S WORKSHOPS
Workshops for children between 5 and 12
years old
« Totem » Workshop
Making of a totem by taking over an animal
from the Shamanic culture.This totem will be
made in the very specific style from the
North-Western American region. Using colored
paper, collage and stained, silk…
« Lucky charm » Workshop
For the Shamans, many animals possessed a
power, thanks to many-colored feathers, as well
as various wooden objects, the child can make
his own lucky charm.
« Dripping » Workshop
Using the same technique of pouring and dripping
to paint like Jackson Pollock.
.
Pollock children’s program – Useful information:
- « Lucky charm » Workshops, every Wednesday at 4 pm
From Wednesday October 22, 2008 until Wednesday February 11, 2009
- « Totem » Workshop, every Saturday at 2 pm
From Saturday October 18, 2008 until Saturday February 14, 2009
- « Dripping » Workshop, every Saturday at 4pm
From Saturday October 18, 2008 until Saturday February 14, 2009
Price: 9 euros
Workshops for a minimum of 5 children and maximum of 10
Length of the workshops: 1h30 (30 mn visit + 1h workshop)
Mandatory bookings
Information and reservations at the Service Jeunesse
28 place de la Madeleine - 75008 PARIS
Véronique BESLUAU
Tel. : 01 42 68 35 40
Fax : 01 42 68 02 09
jeunesse@pinacotheque.com
26

THE PINACOTHÈQUE BOUTIQUE
An unusual and resolutely contemporary space, measuring 80m 2 emphasizing French and European
creativity, little known to the French public. There you can find works on the current exhibitions,
a youth space (works on art history, card games, memory, wooden games...), a luxurious paper shop,
decorative objects (contemporary mobiles, original creations in origami...) and splendid jewels
designed by ever more inventive creators.
In the context of the exhibition
“Jackson Pollock et le chamanisme”,
The Pinacothèque boutique offers :
Pollock Manga Rosa Roost
In exclusivity and in a limited edition
Raphaëlle Barbet creates genuine moving jewels, to be hung up,
clipped on, to be attached... inspired by the exhibition “Jackson
Pollock et le chamanisme”.
Price: from 22 euros
Perchoir Pollock ©réation 2008 Raphaëlle Barbet-Manga Rosa
Still in connection with the exhibition, the boutique offers
a fine selection of books on Jackson Pollock, an original collection
of teacups and original posters.
28 place de la Madeleine - 75008 PARIS
Open every day from 10h30 to 18h30
Tel. : 01 42 68 81 05
boutique@pinacotheque.com
27

USEFUL INFORMATION
OPENING HOURS
The Pinacothèque de Paris is open every day from 10h30 until 18h
Tuesday December 25 and January 1st, open between 14h to 18h
Ticket office closes at 17h15
Late openings every first Wednesday in the month until 21h00 (ticket office closes at 20h15)
Full Rate: 9 euros
Reduced rates (on presentation of a document): 7 euros
From 12 to 25 year olds, students, job seekers (document less than one year old),
large families, Améthyste and Emeraude cards, Maison des artistes, priority card
for handicapped people, guides and lecturers, art teachers and visual art teachers
Free entrance (on presentation of a document)
For under 12 years, journalists, ICOM, RMI, ASS and minimum old age pensioners,
Conference Guides and professors with a group reservation, invalid card holders.
Group Rate: 8,50 euros
Children’s workshops
Mandatory reservation, workshops on Wednesdays and Saturdays.
Length of time 1h30 – Rate: 9 euros
R U E D E R O M E
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Pyramides
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R U E D E R I V O L I R U E D E R I V O L I
R U E D E C A S T I G L I O N E
HAUSSMANN
SAINT-LAZARE
AUBER
TUILERIES
AVENUE DU GÉNÉRAL LEMONNIER
TRINITÉ
D’ESTIENNE-D’ORVES
CHAUSSÉE-D’ANTIN
LA FAYETTE
PYRAMIDES
R U E S A I N T H O N O R É
© G.Guinamard
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DIRECTION
Director : Marc RESTELLINI
Assistant
Hélène DESMAZIÈRES
Tel. : 01 46 34 74 40
Fax : 01 46 34 61 62
hd@restellini.com
ADMINISTRATION
Céline THOUROUDE
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Fax : 01 42 68 02 09
administration@pinacotheque.com
PRESS OFFICE - KALIMA
Tygénia SAUSTIER
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Fax : 01 45 26 20 07
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PUBLIC SERVICE
Chloé GUILLEROT
Tel. : 01 42 68 81 07
Fax : 01 42 68 02 09
servicedespublics@pinacotheque.com
GROUP SERVICE
Chloé GUILLEROT
Raïma KOUFEIDJI
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Fax : 01 42 68 02 09
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YOUTH SERVICE
Véronique BESLUAU
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Marc RESTELLINI
Alexandre CURNIER
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Assistant: Frédérique LAVIGNE
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Fax : 01 42 68 02 09
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INTERNET SITE
Alexandre CURNIER
Frédérique LAVIGNE
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BOUTIQUE
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Benjamine FIEVET
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