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Former Louvre director honors Detroit's 300th
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tench law mandates retire-
ment at age 65, but that has
not stopped the artistic
projects of Pierre
Rosenberg, who has just stepped down
from his almost seven-year tenure as
president-director of the Musee du
Louvre in Paris.
Rosenberg plans to continue cam-
paigning for a lottery that would raise
funds for the Louvre, serve as a board
member of the Palazzo Grassi in Venice,
write scholarly books and articles and
lecture at prestigious art centers.
One of his first retirement engage-
ments brings Rosenberg to Detroit on
July 14 for the fourth annual Coleman
Mopper Memorial Lecture. He will
discuss "Circa 1701: A Celebration of
French 17th-and 18th-Century
Paintings in the Detroit Institute of
Arts." Friends endowed an annual lec-
ture on European art to be given by an
internationally recognized specialist in
memory of Dr. Mopper, a longstand-
ing patron of the DIA.
Mopper and his wife, Shirley, made
generous gifts to the museum.
Recently, she endowed a gallery for
19th-century European sculpture and
decorative arts.
The lecture will be presented as part
of "A French Day at the DIA," which
celebrates Detroit's 300th birthday and
the French holiday of Bastille Day
Rosenberg's remarks will cover the
works of Poussin (his favorite), Le Nain,
Chardin, Fragonard and Boucher, all of
whom have been the subjects of exhibi-
tions he has organized.
"I'm very pleased to be in Detroit
on July 14, which is always a great
time for France," Rosenberg told the
Jewish News during a conversation
about his upcoming visit. "I've been
there at least a half dozen times, and it
has one Of the greatest collections in
America. There is a little bit of every-
thing. I've been there for exhibitions
and to see pictures I was trying to bor-
row.
Rosenberg freely talks about his
approach to the arts:

,

JN: When you visit a museum for the
first time, what do you look for?

PR: Always [paintings] and drawings.
It's my theme as a scholar. I'm looking
for what I'm interested in. Now, there
are very few museums that I'm visit-
ing for the first time. I've seen most of
the museums around the world.

JN: Can you look at works strictly
for their beauty or do you become
very analytical?
PR: I'm very attracted to the beauty
of the work, but being a scholar spe-
cializing in certain artists, while I'm
looking at pictures [by] these artists,
I'm looking at them from a very criti-
cal point of view — condition, how
they are framed. 'When I'm enjoying a
museum without any precise purpose,
I'm more able to enjoy the quality of
the work of art.

JN: What do you think are the most
critical issues facing museums today?
PR: There are many problems, and
I'm afraid [for] the future of muse-
urns. In our day, museums are very
fashionable, attracting crowds every-
where around the world, but one for-
gets that this fashion is very recent
and people are not very aware of the
fragility of the museums.

JN: What do you think of the status

of art education around the world?
PR: I think that in [most] schools,
one learns to read, but one does not
learn to look. The only country
where art history is taught in
schools is Italy. The Italians, because
they have been trained in art histo-
ry, have the familiarity, an approach
toward works of art that no one else
quite has.

JN: How were you affected by your
studies at Yale in the 1960s?
PR: They offered a discovery of a
country where I had never been
before, and it was especially a discov-
ery of American museums. In certain
fields, these museums were very
much in advance of Europe, and I
learned quite a lot that I tried to use
in Europe.

