TOURISM PRESS 2014/2015 EDITION Provence-Alps-Cote d Azur PROVENCE GALLERY APPLICATION
Press release 3 What is the Provence Gallery Application? 4 How does it work? 5 Two Illustrations 7 Appendix List of works and geographical locations 9 Impact of cultural events on the number of tourists 11 2
PRESS RELEASE The Provence-Alps-Cote d Azur region is a genuine open-air museum! You can now discover the motifs Cézanne and other great artists painted in their masterpieces - for real! Using the Provence Gallery application, you can compare the works of the masters to the actual landscapes that inspired them! The Provence Gallery application allows you to: - geolocate yourself, to track down the nearby locations that inspired world-famous masterpieces, - discover the various works in high-definition! You can move around each painting and zoom in on the details while listening to an expert interpretation, plus details on the life of the artist and the techniques used, - search for a particular work or geographical area, - activate the Companion alert, so you ll know when you re near a famous site, - join the masters by taking photos of the various scenes they painted, and win a holiday in Provence-Alps-Cote d Azur thanks to your masterpiece! With Provence Gallery, you can enjoy exploring the region in the footsteps of the world s greatest artists! FLASHCODE Scanner pour télécharger l application I-Phone Android IPHONE http://itunes.apple.com/gb/app/gallerypaca/id500994945 ANDROID https://play.google.com/store/apps/details?id=com.voxinzebox.provencegalleryus 3
WHAT IS THE PROVENCE GALLERY APPLICATION? Provence-Alps-Cote d Azur region is a genuine open-air museum, home to the landscapes that have inspired the world s greatest artists! Today, the Provence-Alps-Cote d Azur Tourist Board invites you to enjoy a walk in their footsteps with the Provence Gallery application! Available as a free iphone and Android download, this application offers mobile internet users tailored itineraries covering 68 sites painted by the masters. The Provence-Alps-Cote d Azur region has been a creative hub for centuries. Its powerful natural beauty, intense light and stunning colours seduced the world s finest motif painters from the 19 th century onwards. Some, like Cézanne, were born here, while others, like Dufy, just passed through, but all turned the local scenery into masterpieces! It is Provence s unique quality of light that attracts artists. I go into the country every day. The motifs are beautiful and I spend my days better here than elsewhere. These are the words Cézanne used to describe his work in his homeland countryside around Aix-en-Provence. Many 19 th -century artists were drawn to the region s magnificent landscapes. Vincent Van Gogh set up his South of France studio in Arles, and it was here that he painted his fabulous sunflowers! He also stayed in Saint-Rémy-de- Provence, where he portrayed the magnificent local olive groves. His friend Gauguin joined him in Provence, also in the aim of working on colour. Picasso - a fervent admirer of Cézanne - bought up Château de Vauvenargues so he could wake up in the morning facing Sainte Victoire mountain! The mythical light that instils the Côte d Azur coast and inland areas is genuinely unique....the boats with their white sails, and little barks of many colours. But above all the light was how Derain described the little port of L Estaque in Marseille, also frequented by Braques, Cézanne, Dufy and Marquet. Martigues, nicknamed the Venice of Provence, attracted Ziem, Dufy and De Staël. Numerous artists involved in the Art Nouveau movement looked to the Côte d Azur as a source of inspiration for their finest works. Signac launched the Pointillist movement in Saint-Tropez, while Matisse set up home in Nice to portray the town s luxuriant gardens. Chagall, Fernand Léger and Picasso also came to the Côte d Azur to seek material for their work. You will love exploring the wonderful artistic heritage of Provence-Alps-Cote d Azur and discovering these fabulous landscapes for real! 4
HOW DOES IT WORK? Available as a free download on iphone and Android, the Provence Gallery application offers tailored art itineraries throughout the region. Using the geolocation tool, mobile internet users receive an alert each time they re near a site painted by one of the masters. They can also prepare their trip using the search options (by artist or geographical area). If you activate the Companion geolocation tool, your smartphone alerts you each time you re near a landscape painted by one of the masters! The 68 paintings contained in the application were selected on the basis of three criteria: Site open to the public. Painted by a famous artist. Reproduction authorized. We have designed an itinerary covering the whole region, so visitors can appreciate its diversity and countless sightseeing opportunities. How to use the Provence Gallery application The application uses Augmented Reality so you can appreciate the landscape and associated painting to the full. The search function allows you to search for a specific work or geographical area. The drop-down menu is easy to use. Mobile internet users can also look up the various sites on a map. 5
HOW DOES IT WORK? All works are reproduced in high definition. You can move around each painting and zoom in on the details while listening to an expert interpretation, plus details on the life of the artist and the techniques used. An audio transcript is also available. You can use the Companion geolocation tool to notify your position and spot the nearby sites. Create your own masterpiece! Take a picture of the landscape corresponding to one of the 68 paintings, rework it if you want, then submit it to our jury to win a holiday in the Provence-Alps-Cote d Azur region! VIEW THE WORKS SENT IN BY THE PROVENCE GALLERY COMMUNITY 6
TWO ILLUSTRATIONS Signac: La Bouée rouge (The Red Buoy) 1895, Paris, musée d Orsay The little port of Saint-Tropez portrayed here by Signac was a peaceful and virtually forgotten place at the time. The artist set up home here because it offered a sheltered anchorage for his sailboat, the Olympia. This work shows a place that was very familiar to him - Quai Jean Jaurès - which he depicted in several works. After various preliminary sketches, he finally opted for this unusual vertical composition. The reflection takes up over half of the canvas, whereas the town and sailboats are pushed to the top of the scene, hence focusing the attention on how the sun plays on the water and on the touch of red introduced by the buoy in the foreground. The artist uses all his knowledge of colour here, which was inspired by the latest scientific research. By dividing the various shades, he manages to maintain the intensity of each colour without mixing them together, then heightens them using complementary colours. The whole canvas is actually built on contrasts: blues and yellows explode everywhere on the sunny house frontages reflected in the blue bay. The red buoy echoes the softer orange of the little sailboat in the background, emphasised by the use of green - its complementary colour. The play on reflection predominates and the liquid surface vibrates through the use of wider and wider brush strokes, which Signac successfully uses to soften this very geometric composition, based on vertical lines. Exhibited in Brussels at the Salon de la Libre Esthétique fair, it met with general acclaim. The poet Verhaeren saw the clearest and most marvellous waters of the Fair in it. Through his spontaneous gestures, the artist was said to have expressed the vibrant song of colour and gentle, sunny lifestyle of the South of France. 7
TWO ILLUSTRATIONS Georges Braque: Le Viaduc à l Estaque 1908, Paris, musée national d Art moderne, centre Georges Pompidou After an initial Fauvist period, Braque returned to L Estaque in summer 1908, in the footsteps of Cézanne. It was here that he painted a series of landscapes, which he systematically sought to simplify through the use of geometrical shapes. Far removed from the Fauvist approach, those works strived to render objects tangible, within a space he qualified as tactile. They focused on perspective, and turned their back on panoramic scenes. Here, the strong geometrical shapes of the roofs and aqueduct goes hand in hand with a simplified colour scheme, far more realistic than that of his Fauvist period. The brush stroke is also deliberately inspired by Cézanne, with smooth gestures for the architectural items and vibrant little parallel lines for the trees and sky. The blue shadows are outlined, further highlighting this simplified geometry. The accumulation of rooftops and the cubes use to evoke the houses in the centre of the composition accentuate their physical presence to the detriment of spatial realism: this dislocation of space is also inspired by Cézanne. But Braque intensifies it even further, as though an earthquake had raised the houses skywards. Oh his return to L Estaque, his canvasses were refused by the Salon d Automne art fair; Matisse himself - who was a member of the jury - spoke ironically about the painting done with little cubes. Braque nevertheless exhibited the fruit of his research in the gallery of a young art dealer, Henri Kahnweiler. Apollinaire wrote the preface to the catalogue and the Cubist movement was born! 8
APPENDIX List of works and geographical locations in the Provence Gallery application 1 Paul Signac Le château des Papes à Avignon 1909 2 Vincent Van Gogh L asile Saint-Paul à Saint-Rémy 1889 3 Vincent Van Gogh Vue d Arles 1888 4 Vincent Van Gogh Terrasse du café le soir, Place du Forum 1888 5 Vincent Van Gogh La nuit étoilée, Arles 1888 6 Paul Gauguin Les Alyscamps 1888 7 Paul Cézanne La Montagne Sainte-Victoire Vers 1887-1890 8 François Marius Granet La récolte des citrouilles à la bastide de Malvalat 1896 9 Paul Cézanne Château-Noir 1903-1904 10 Félix Ziem Le vieux Port vu du fort Saint-Jean 1840-1850 11 Raoul Dufy Les Martigues 1903 12 Henri Manguin Marseille, fenêtre sur le Vieux-Port 1925 13 Emile Loubon Vue de Marseille, prise des Aygalades, un jour de marché 1853 14 Paul-Camile Guigou Paysage de Provence, vue de Saint-Saturnin les Apt 1867 15 Jean-Baptiste Olive La corniche à Marseille 1880-1890 16 Louis-Mathieu Verdilhan Le canal Saint-Jean 1920 17 Pierre Puvis de Chavannes Marseille Porte de l Orient 1869 18 Paul Signac L entrée du Port de Marseille 1918 19 Paul Cézanne L Estaque, vue du Golfe de Marseille Vers 1878-1879 20 Georges Braque Le Port de la Ciotat 1906 21 Georges Braque Le viaduc à l Estaque 1908 22 Paul Signac La bouée Rouge, Saint-Tropez 1895 23 Henri Matisse Luxe, calme et volupté 1904 24 Paul Signac Saint-Tropez, le quai 1899 25 Charles Camoin La place aux herbes, Saint-Tropez 1905 26 Pierre Bonnard Paysage, Le Cannet 1924 27 Pablo Picasso La Baie de Cannes 1958 28 Raoul Dufy Vence 1919-1920 29 Marc Chagall Couple au-dessus de Saint-Paul-de-Vence 1970-1971 30 Nicolas de Staël Le Fort Carré d Antibes 1955 31 Claude Monet Le Fort d Antibes 1888 32 Claude Monet Cap Martin 1884 33 Claude Monet Antibes, vue du plateau Notre-Dame 1888 34 Pablo Picasso Paysage de Juan-les-Pins 1920 35 Edvard Munch Promenade des Anglais 1891 9
APPENDIX 36 Henri Matisse Tempête à Nice 1919-1920 37 Jules Flour Les sources de Vaucluse 1901 38 Paul Signac Castellane 1903 9 Paul Signac Sisteron 1902 40 Charles Malfroy Place animée à Céreste 1891 41 Charles Alexandre Bertier Une rue à Barcelonnette 1880-1890 42 Victor Cassien Château-Queyras 1830-1840 43 Victor Cassien La Grave - La Meije 1830-1840 44 Alexandre Debelle Embrun 1830-1840 45 Alexandre Debelle Guillestre 1830-1840 46 Nicolas de Staël Ménerbes 1954 47 Nicolas de Staël Les Martigues 1954 48 Paul Camille Guigou La rivière Aiguebrune à Lourmarin 1867 49 Paul Camille Guigou La Durance près de Puyvert (en fait vers Lauris) 1867 50 André Lhote Vue de Gordes 1912 51 Vincent Van Gogh Champ de blé, vue sur Arles 1888 52 Louis Valtat La Famille Bompard sur les rochers à Agay au soleil 1898 53 André Derain Paysage au bord de la mer, la Côte d Azur près d Agay 1905 54 Émile Othon Friesz Le Bec de l Aigle à la Ciotat 1907 55 Pierre Auguste Renoir La Montagne Sainte-Victoire 1888 56 Paul Cézanne Les Marronniers du Jas de Bouffan v. 1885 57 André Lhote Vue d Avignon et du fort Saint-André 1930 58 Jean-Joseph Bidauld Vue de Carpentras, côté nord 1809 59 Louis-Auguste Aiguier Soirée d automne aux Catalans 1855 60 Raphaël Ponson Matinée à Sausset dernier ¼ du XIX e siècle 61 Jean Puy Marché à Sanary 1925 62 Félix Ziem Pêcheurs à la Fouëne - 63 Vincent Van Gogh Les Oliviers 1889 64 Vincent Van Gogh Paysage à Saint-Rémy 1889 65 Vincent Van Gogh Les paveurs de Saint-Rémy-de-Provence 1889 66 Théo van Rysselberghe Baigneuses au cap Bénat 1910 67 Leo von Klenze Vue de Notre-Dame-des-Doms et du palais des Papes 1850 68 Louis Nattero Port de Toulon v. 1900 10
APPENDIX Impact of cultural events on the number of tourists There are many factors linking tourism and culture, and the interest shown by famous artists in the landscapes of Provence and the Riviera is a key facet of cultural tourism in our Region. Every year, 2.7 million tourists attend one or more cultural events (source: Enquête Régionale des Clientèles Touristiques de PACA 2010/2011). Acting both as generators of economic benefits and as communication vectors, major cultural events are multiform. Depending on their nature, they have a wide range of repercussions on the tourist economy and the destinations renown... Through the media hype they raise, these flagship events boost tourist appeal. European clientele are becoming increasingly interested in cultural tourism (in particular the great painters): although it is generally a secondary motivation in choosing a destination, it is in constant progression. 60 % of Europeans are interested in cultural discovery during their stays. Cultural stays and short urban visits are particularly attractive to foreign clientele. More than 7 out of every 10 tourists participate in an activity related to culture or the local heritage during their stay in the PACA Region; more than 8 out of 10 for foreign or first-time visitors. Demand from tourism promotes cultural development, in particular through urban stays and major exhibitions. Painters, festivals and cultural heritage have a major role in attracting visitors to our region, whether they are motivated mainly by culture or it is simply an extra reason to visit. SOME FIGURES ON NUMBERS OF VISITORS PICASSO YEAR (2009) in the Provence-Cote d Azur Region 1 million visitors 61 millions of direct and indirect benefits and 277 jobs PICASSO-CÉZANNE EXHIBITION (2009) 371 936 visitors to the Granet Museum EXHIBITION César, le Rhône pour Mémoire (2011) 400 000 visitors to the Museum of Arles in Antiquity AVIGNON FESTIVAL 400 000 visitors (2014) around the Off Festival 130,000 for the In Festival MARSEILLE PROVENCE (2013) EUROPEAN CAPITAL OF CULTURE 2013 10 million visitors 11
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