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THE MAGAZINE MEETING Maurizio Canesso Paris Tableau organiser The exhibition dedicated to Old Masters will once more be filling the Palais de la Bourse, confirming the success of the first event last year, as though there were any need. Maurizio Canesso, one of the organisers of Paris Tableau, talks about some of the high points of the show. La <strong>Gazette</strong> <strong>Drouot</strong>: What lessons did you learn from the first Paris Tableau? Maurizio Canesso: In the first exhibition, we attracted a highly interested audience – six thousand visitors, with sixty paintings sold in five days… So the lesson we have learned is that there is undeniable enthusiasm for our profession. This encourages us to continue along the same path, to show what we like and what we do best. Our real aim today is to promote our trade. There are many generic exhibitions around, where antique and contemporary art are mixed. Paris Tableau, which is solely devoted to Old Masters, fills a gap. What's new in the 2012 vintage? We haven't planned any revolutions, as the results for 2011 were positive, so we'll carry on in the same way. This year, Paris Tableau will have twenty-one exhibitors – ten organisers, hosting eleven foreign galleries, and two frame dealers: Montanari (Paris), who is presenting a collection of old models from the 16th to the 20th century, and Enrico Ceci (Formigine), who has also specialised in the same period since 1985. In addition, we want to put the spotlight on the Mobilier National in the person of Arnaud Brejon de Lavergnée, the exhibition curator and the former director of the Mobilier National collections. 104 GAZETTE DROUOT INTERNATIONAL I N° 19 Last year, ten French galleries invited ten foreign galleries. This time around, the French dealers are hosting an eleventh gallery… Even if the Bourse is the perfect setting for our show, it cannot be extended infinitely, because we only have 1,500 m 2 available. We have reduced our stands so that we can welcome a new dealer, but it would be difficult to do much better! Paintings need a certain amount of space to be seen properly: if we reduced our surface area even more, it would be detrimental to the works on show. This venue, which we really like, is unique, and is beginning to get known because it also hosts the drawing exhibition, the Salon du Dessin. You have also announced the creation of a festival of Old Master-based films. In your view, are there enough works in the seventh art to feed this event, year after year? Yes, we think there are. Old Master paintings have inspired a large number of film directors, and we are spoilt for choice. Our aim is to reach out to an audience who are not necessarily connoisseurs by exploring the links between Old Masters and the cinema. The entrance ticket to Paris Tableau will provide admission to four film shows as well in the Palais de la Bourse auditorium: Rembrandt, Nightwatching, Bruegel, The Mill and the Cross and The Girl with a Pearl Earring. In 2011, a rich and educational presentation took us to "the other side of the picture". This year you are inviting the Mobilier National. We are always seeking links between institutions, because they often play a decisive role in our sales.
Michel Garnier (1753-1819), "Le Coup de vent sur le Pont Royal", 1799, oil on canvas, 45,3 x 37 cm. Gallery Didier Aaron. MEETING THE MAGAZINE N° 19 I GAZETTE DROUOT INTERNATIONAL HD 105
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