Musée d’Art Moderne, Département des Aigles #3 (Paintings)
Musée d’Art Moderne, Département des Aigles #3 (Paintings) revisits Marcel Broodthaers’s eagle motif through a pictorial language shaped by historical reference, photographic mediation, and institutional reflection. Drawing on the conceptual lineage of Broodthaers, Gerhard Richter, and the artist-founded museum, the work transforms a recognizable image into a meditation on display, authorship, and the circulation of forms. Part of The Paintings Section from Davis Museum Barcelona, the painting situates itself within a broader inquiry into the museum as artistic form.
The Yellowstone Club Collection, Big Sky, Montana, USA.
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Davis Lisboa, Musée d’Art Moderne, Département des Aigles #3 (Paintings), 2012. Oil on canvas, 30 × 30 × 3.5 cm | 11.81 × 11.81 × 1.38 in.
Musée d’Art Moderne, Département des Aigles #3 (Paintings) takes as its point of departure Marcel Broodthaers’s sustained use of the eagle as both image and institutional sign. The work enters into dialogue with his Musée d’Art Moderne, Département des Aigles and, more specifically, with the exhibition Section des Figures: Der Adler vom Oligozän bis heute, presented at the Städtische Kunsthalle Düsseldorf in 1972. There, Broodthaers included Gerhard Richter’s Adler, establishing a conceptual and visual framework that this painting revisits forty years later through the same motif.
At the formal level, the work is also connected to Richter’s photographic paintings, in which found images are translated into painting through processes of projection, transcription, and painterly translation. Lisboa takes up this lineage not as quotation, but as a way of affirming the image through its mediated condition. The eagle thus emerges as a recognizable figure, charged with symbolic resonance and historical displacement.
The painting belongs to The Paintings Section from Davis Museum Barcelona, a project shaped by the genealogy of artists who conceived the museum as an artistic form. In resonance with Duchamp’s Boîte-en-valise, Filliou’s Galerie légitime, and Broodthaers’s Musée d’Art Moderne, Département des Aigles, the work situates painting within a broader reflection on collection, display, and institutional authorship.
Its square format establishes a direct relationship with the spatial and structural logic of Davis Museum Barcelona, while its grayscale palette reinforces its connection to the tradition of the photographic image and to a visual economy shaped by reproduction and memory. In this context, the painting operates not only as an autonomous image, but as part of a broader conceptual structure in which museum, artwork, and the act of exhibition remain inseparable.
The Yellowstone Club Collection, Big Sky, Montana, USA.
Additional information
| Weight | 2 kg |
|---|---|
| Dimensions | 30 × 30 × 3.5 cm |
