View allAll Photos Tagged Modigliani,
I have not posted "reference" photograph for a while.
This is an mazing sculpture of Modigliani in New York Metropolitan Museum
Huile sur toile, 81 x 54 cm, 1908.
Les nus de Modigliani, figures décoratives ordinairement passives, sensuelles et franchement sexuelles, sont ici transformés en une expression de la douleur, de la pauvreté et même de la maladie et de la dépravation. L'influence du style expressionniste, propre à des artistes comme Munch, se fait ici sentir. La couleur est appliquée grossièrement par touches et par endroits l’œuvre paraît inachevée. Le torse de la femme est allongé, squelettique, les seins sont légèrement de travers et les bras exagérément longs. Cette femme ressemble plus à une sainte martyrisée qu’à un objet sexuel, avec une tension entre les habituelles connotations sexuelles liées à la pose du modèle, tête légèrement penchée en arrière, yeux clos, bouche entrouverte, et l’expression de douleur et de saleté suggérée par le corps (cf. kerdonis).
.
"Sitting Algerian Almaiisa," 1916.
Original here: www.thefashioniste.com/DiorPaintings/3k-Amadeo_Modigliani...
Amedeo Modigliani (1884-1920)
Oil on canvas
59.9 x 92 cm
www.christies.com/lotfinder/paintings/amedeo-modigliani-n...
Christie's
The Artist's Muse : A Curated Evening Sale
New York, 9 Nov 2015
Huile sur toile, 100 x 81 cm, 1909.
Médecin et amateur d'art, Paul Alexandre fut l'unique acheteur de Modigliani jusqu’à la première guerre mondiale. Passionné d'art, il met à disposition des artistes qu'il affectionne des ateliers
dans un bâtiment voué à la destruction rue du Delta à Montmartre. Modigliani qui n'y réside pas mais y travaille y côtoie de nombreux artistes de l'École de Paris et peindra Paul Alexandre cinq fois en cinq ans, lui commandant également un
portrait de son père (Jean-Baptiste Alexandre au crucifix, 1909) et de son frère (Jean Alexandre, 1909). Peu fortuné, Paul arriva à convaincre sa famille de ces achats, ce qui explique la
facture classique de ces premiers portraits, facture qui évoluera au fur et à mesure que Modigliani se libérera de ces contraintes.
C'est également Paul Alexandre qui présente à Modigliani Constantin Brancusi dont la rencontreaura une influence décisive sur son œuvre de sculpteur.
Mother and daughter looking at Modigliani's Reclining Nude, MOMA
New York City, 2012
Only the street shots - thestreetzine.blogspot.com/view/mosaic
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Huile sur toile, 70 x 45 cm, 1917.
Lunia Czechowska (1894-1990), née Ludwika Makowska, est une Polonaise qui a été pendant plusieurs années le modèle et l'amie d'Amedeo Modigliani. Arrivée à Paris en 1913, elle est institutrice et épouse en 1915 Kazimierz Czechowski, son amie Stéphanie Łazarska étant témoin du mariage. Tous deux côtoient dans la capitale leurs compatriotes, parmi lesquels Léopold Zborowski et sa compagne Anna Zborowska. Le destin de Lunia croisant celui de Modigliani une amitié se créa et le peintre réalisera 14 portraits d'elle (cf. wikipédia).
Le Cimetière du Père Lachaise, Paris, France
On the face of it, Père Lachaise is not as interesting a cemetery as Montparnasse, but I had a number of reasons for coming here, not least because my Paris friends tell me that it is the most beautiful cemetery in the city, and I think they are right. It is true that you cannot be on your own wandering around here like you can at Montparnasse, but it is four times as big and its sloping site gives rise to winding little impasses that can be yours alone for the time you are in them.
If you are planning a visit yourself, it is worth noting that the best thing to do is to take the metro to Gambetta rather than to Père Lachaise. This brings you in at the top of the cemetery rather than the bottom. This is the quieter part of the cemetery, and very quickly I picked off Maria Callas, Stephane Grappelli and Gertrude Stein without being bothered too much by other visitors.
At this top end of the cemetery the visitor-magnet is the grave of Oscar Wilde. This is a fabulous sculpture by Jacob Epstein. The Irish government, which owns the grave and is responsible for maintaining it, has recently put a Perspex screen around it to stop visitors kissing it with lipstick kisses. Quite how anyone could think Wilde would want to be kissed by a girl is beyond me, though I suppose that all the lipstick kissers might not have been girls. Wilde's grave is easily found, being on a main avenue, but not all such significant figures are as accessible. I eventually found the tomb of Sarah Bernhardt after much searching, some distance from the nearest avenue. It did not appear to have been visited much at all in recent months.
In one quiet corner of the cemetery is a wall with a memorial to the Paris Commune. The communards had taken advantage of the siege of Paris during the Franco-Prussian War to declare a utopian republic, something along the lines of the one of seventy years earlier, but hopefully without the tens of thousands of opponents being guillotined this time. Incidentally, the French love to discuss and argue about politics so much that there is no chance of the country ever opting for a totalitarian regime. When the revolutionaries of the 1780s and 1790s started executing those who mildly disagreed with them, it was the start of a slippery slope at the bottom of which no one would have been left alive. Anyway, the communards hoped to avoid that. When the siege was over and the mess had been cleared up, they were brought to this wall in their hundreds and shot, their bodies dumped into conveniently adjacent mass graves.
This corner of the cemetery has become a pilgrimage site for Communists, and many of the graves around are for former leaders of the French Communist Party, in its day the largest and most powerful in Western Europe. In the 1980s, when I first started coming to Paris, they ran many of the towns and cities, especially in the industrial north.
Near here are some vast and terrifying memorials to the victims of the German occupation of France and Nazi concentration and death camps. Each camp has its own memorial, usually surmounted by an anguished sculpture, and with an inscription with frighteningly large numbers in it. There is a silence in this part of the cemetery. It is interesting to me that memorials in this part of France refer to 'the Nazi occupation and the Vichy government collaborators', while in the southern half of the country, which was under Vichy rule, the memorials usually talk about 'the German barbarity'.
I sat for a while, and then went off looking for more heroes. Marcel Proust and Frederick Chopin were easily found, Francis Poulenc less so. Wandering around I chanced by accident on the grave of the artist Théodore Géricault, which carries bronze relief versions of his Raft of the Medusa, starting point of the Musee d'Orsay, as well as other paintings. To be honest, the most interesting memorials are those to ordinary upper middle class Parisians who were raised to grandeur through art in death in a way that they cannot have known in life.
One of the saddest corners, and a rather sordid one, is to the American pop singer Jim Morrison, who died in Paris at the age of 27, burnt out and 20 stone after gorging himself on whisky, burgers and heroin. Well, so did Elvis, you might retort, but at least Elvis had some good tunes. The survival of Morrison's legend seems to rest entirely on the romance of his death and burial. Surely no one can be attracted by his music, those interminable organ solos and witless lyrics? His simple memorial (a bust was stolen in the 1980s) is cordoned off by barriers, and is the only one where a cemetery worker is permanently in attendance. I looked around at a crowd of about thirty people, all of whom were younger than me, and none of whom could have been alive when the selfish charlatan drank and drugged himself to death.
Shaking my head in incomprehension, (I didn't really, but I bet some people do) I finished off my visit by finding Colette, and bumping into Rossini on the way. Then I headed back into central Paris.
You can read my account of my travels at pariswander.blogspot.co.uk.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
National Gallery of Denmark, Copenhagen: Modigliani worked almost exclusively with the human figure and is particularly well known for his portraits. When he painted this picture his characteristic style of rendering figures was fully formed. The girl is portrayed from the front, and the planes have a geometric order that creates a sense of calm and harmony. African masks and medieval art were important sources of inspiration for Modigliani's painting. On that basis he developed an idiom made up of simplified elongated shapes, accentuated here by the tall, narrow frame.
Modigliani moved from Italy to Paris in 1906, and in 1908-09 he settled in Montparnasse where he became part of the international artists' scene. His eccentric lifestyle and early death has contributed greatly to the myth of the bohemian Paris art scene.
i didn't take this picture or nuthin'...i just saw it on the smoking gun, "link here" and thought the young lady looked like she could have been one of modigliani's models...with that lovely neck of hers.....
PERE LACHAISE CEMETERY in PARIS ! photographed by ADDA DADA ! ~
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image of Gypsy Woman with Baby
Amedeo Modigliani (artist)
Italian, 1884 - 1920
Gypsy Woman with Baby, 1919
oil on canvas
Overall: 115.9 x 73 cm (45 5/8 x 28 3/4 in.) framed: 134.6 x 93.3 x 9.5 cm (53 x 36 3/4 x 3 3/4 in.)
Chester Dale Collection
1963.10.174
Huile sur toile, 50 x 30 cm, 1919.
Lunia Czechowska (1894-1990), née Ludwika Makowska, est une Polonaise qui a été pendant plusieurs années le modèle et l'amie d'Amedeo Modigliani. Arrivée à Paris en 1913, elle est institutrice et épouse en 1915 Kazimierz Czechowski, son amie Stéphanie Łazarska étant témoin du mariage. Tous deux côtoient dans la capitale leurs compatriotes, parmi lesquels Léopold Zborowski et sa compagne Anna (Hanka Czechowska, cf. ce tableau) Zborowska. Le destin de Lunia croisant celui de Modigliani une amitié se créa et le peintre réalisera 14 portraits d'elle (cf. wikipédia).
Cette œuvre de Modigliani, réalisée en 1919, représente le portrait d’une de ses proches. Peu de temps avant son décès, l'artiste y peint sa propre souffrance, ses modèles se déformant de plus en plus : visages fermés, cou long et étiré, minceur effrayante, air grave et absence d’expression. Les formes du visage comprennent des lignes sombres et la gamme chromatique se restreint à trois couleurs, n’étant là que pour agrémenter le dessin et dégagent la tristesse, la souffrance et la maladie. Le visage aux couleurs chaudes se découpe sur un fond froid et terne. Comme dans la majorité des oeuvres peintes les derniers mois de la vie de l'artiste, le fond est uni et le portrait très léché. La majorité des personnages y sont de face, coupés à la mi-cuisse ou aux épaules devant un fond presque uni. A la fin de sa vie, perturbées par sa maladie, toutes ses peintures sont des représentations de ses proches : Jeanne, Zborowski, Lunia et Hanka. De ces portraits de la vie quotidienne, de la lassitude et des tourments qu’elle entraîne, l’artiste semble lire au travers de ses modèles, mais ce sont plutôt ses émotions personnelles qui s'y dégagent le plus (cf. fam1500.uqam.ca).
The Postcard
A carte postale published by C.M. Let us hope that the cross in the photograph was retrieved intact from the ashes of the 2019 fire that destroyed the roof of Notre-Dame.
The card was posted in Paris on Saturday the 24th. January 1920 to:
Mrs. Woodman,
136, Estcourt Road,
Woodside,
London S.E. 25,
Angleterre.
The message on the divided back of the card was as follows:
"24.1.20.
My Dear Auntie,
I received a card from
Uncle last night.
I am so glad to hear the
money arrived safely
from W.O.
I heard from Miss R.
that she had sent it.
We shall in all probability
be home before the end
of next week, but they
say we shall return in six
weeks which is more
cheerful.
Hope you are all A1, and
Edith's teeth satisfactorily
dealt with.
You can still write as we
shan't go until Wednesday
or Thursday.
Lots of love to all,
From Norah".
The Notre-Dame Fire
On the 15th. April 2019, fire broke out in the attic beneath the cathedral's roof at 18:18. At 18:20 the fire alarm sounded and guards evacuated the cathedral. A guard was sent to investigate, but to the wrong location – the attic of the adjoining sacristy – where he found no fire. About fifteen minutes later the error was discovered, but by the time guards had climbed the three hundred steps to the cathedral attic the fire was well advanced.
The alarm system was not designed to automatically notify the fire brigade, which was summoned at 18:51 after the guards had returned. Firefighters arrived within ten minutes.
Fighting the Notre-Dame Fire
More than 400 firefighters were engaged. A hundred government employees along with police and municipal workers moved precious artefacts to safety via a human chain.
The fire was primarily fought from inside the structure, which was more dangerous for personnel, but reduced potential damage to the cathedral - applying water from outside risked deflecting flames and hot gases (at temperatures up to 800 °C) inwards. Deluge guns were used at lower-than-usual pressures to minimise damage to the cathedral and its contents. Water was supplied by pump-boat from the Seine.
Aerial firefighting was not used because water dropped from heights could have caused structural damage, and heated stone can crack if suddenly cooled. Helicopters were also not used because of dangerous updrafts, but drones were used for visual and thermal imaging, and robots for visual imaging and directing water streams. Molten lead falling from the roof posed a special hazard for firefighters.
By 18:52, smoke was visible from the outside; flames appeared within the next ten minutes. The spire of the cathedral collapsed at 19:50, creating a draft that slammed all the doors and sent a fireball through the attic. Firefighters then retreated from within the attic.
Shortly before the spire fell, the fire had spread to the wooden framework inside the north tower, which supported eight very large bells. Had the bells fallen, it was thought that the damage done as they fell could have collapsed the towers, and with them the entire cathedral.
At 20:30, firefighters abandoned attempts to extinguish the roof and concentrated on saving the towers, fighting from within and between the towers. By 21:45 the fire was under control.
Adjacent apartment buildings were evacuated due to concern about possible collapse, but on the 19th. April the fire brigade ruled out that risk. One firefighter and two police officers were injured.
Damage to Notre-Dame
Most of the wood/metal roof and the spire of the cathedral was destroyed, with about one third of the roof remaining. The remnants of the roof and spire fell atop the stone vault underneath, which forms the ceiling of the cathedral's interior. Some sections of this vaulting collapsed in turn, allowing debris from the burning roof to fall to the marble floor below, but most sections remained intact due to the use of rib vaulting, greatly reducing damage to the cathedral's interior and objects within.
The cathedral contained a large number of artworks, religious relics, and other irreplaceable treasures, including a crown of thorns said to be the one Jesus wore at his crucifixion. Other items were a purported piece of the cross on which Jesus was crucified, the Tunic of St. Louis, a pipe organ by Aristide Cavaillé-Coll, and the 14th.-century Virgin of Paris statue.
Some artwork had been removed in preparation for the renovations, and most of the cathedral's sacred relics were held in the adjoining sacristy, which the fire did not reach; all the cathedral's relics survived. Many valuables that were not removed also survived.
Lead joints in some of the 19th.-century stained-glass windows melted, but the three major rose windows, dating back to the 13th. century, were undamaged. Several pews were destroyed, and the vaulted arches were blackened by smoke, though the cathedral's main cross and altar survived, along with the statues surrounding it.
Some paintings, apparently only smoke-damaged, are expected to be transported to the Louvre for restoration. The rooster-shaped reliquary atop the spire was found damaged but intact among the debris. The three pipe organs were not significantly damaged. The largest of the cathedral's bells, the bourdon, was also not damaged. The liturgical treasury of the cathedral and the "Grands Mays" paintings were moved to safety.
Environmental Damage
Airparif said that winds rapidly dispersed the smoke, carrying it away aloft along the Seine corridor. It did not find elevated levels of particulate air pollution at monitoring stations nearby. The Paris police stated that there was no danger from breathing the air around the fire.
The burned-down roof had been covered with over 400 metric tons of lead. Settling dust substantially raised surface lead levels in some places nearby, notably the cordoned-off area and places left open during the fire. Wet cleaning for surfaces and blood tests for children and pregnant women were recommended in the immediate area.
People working on the cathedral after the fire did not initially take the lead precautions required for their own protection; materials leaving the site were decontaminated, but some clothing was not, and some precautions were not correctly followed; as a result, the worksite failed some inspections and was temporarily shut down.
There was also more widespread contamination; testing, clean-up, and public health advisories were delayed for months, and the neighbourhood was not decontaminated for four months, prompting widespread criticism.
Reactions to the Notre-Dame Fire
President of France Emmanuel Macron, postponing a speech to address the Yellow Vests Movement planned for that evening, went to Notre-Dame and gave a brief address there. Numerous world religious and government leaders extended condolences.
Through the night of the fire and into the next day, people gathered along the Seine to hold vigils, sing and pray.
White tarpaulins over metal beams were quickly rigged to protect the interior from the elements. Nettings protect the de-stabilised exterior.
The following Sunday at Saint-Eustache Church, the Archbishop of Paris, Michel Aupetit, honoured the firefighters with the presentation of a book of scriptures saved from the fire.
Investigation Into The Notre-Dame Fire
On the 16th. April, the Paris prosecutor said that there was no evidence of a deliberate act.
The fire has been compared to the similar 1992 Windsor Castle fire and the Uppark fire, among others, and has raised old questions about the safety of similar structures and the techniques used to restore them. Renovation works increase the risk of fire, and a police source reported that they are looking into whether such work had caused this incident.
The renovations presented a fire risk from sparks, short-circuits, and heat from welding (roof repairs involved cutting, and welding lead sheets resting on timber). Normally, no electrical installations were allowed in the roof space due to the extreme fire risk.
The roof framing was of very dry timber, often powdery with age. After the fire, the architect responsible for fire safety at the cathedral acknowledged that the rate at which fire might spread had been underestimated, and experts said it was well known that a fire in the roof would be almost impossible to control.
Of the firms working on the restoration, a Europe Echafaudage team was the only one working there on the day of the fire; the company said no soldering or welding was underway before the fire. The scaffolding was receiving electrical supply for temporary elevators and lighting.
The roofers, Le Bras Frères, said it had followed procedure, and that none of its personnel were on site when the fire broke out. Time-lapse images taken by a camera installed by them showed smoke first rising from the base of the spire.
On the 25th. April, the structure was considered safe enough for investigators to enter. They unofficially stated that they were considering theories involving malfunction of electric bell-ringing apparatus, and cigarette ends discovered on the renovation scaffolding.
Le Bras Frères confirmed its workers had smoked cigarettes, contrary to regulations, but denied that a cigarette butt could have started the fire. The Paris prosecutor's office announced on the 26th. June that no evidence had been found to suggest a criminal motive.
The security employee monitoring the alarm system was new on the job, and was on a second eight-hour shift that day because his relief had not arrived. Additionally, the fire security system used confusing terminology in its referencing parts of the cathedral, which contributed to the initial confusion as to the location of the fire.
As of September, five months after the fire, investigators thought the cause of the fire was more likely an electrical fault than a cigarette. Determining the exact place in which the fire started was expected to take a great deal more time and work. By the 15th. April 2020, investigators stated:
"We believe the fire to have been
started by either a cigarette or a
short circuit in the electrical system".
Reconstruction of Notre-Dame Cathedral
On the night of the fire Macron said that the cathedral, which is owned by the state, would be rebuilt, and launched an international fundraising campaign. France's cathedrals have been owned by the state since 1905, and are not privately insured.
The heritage conservation organisation Fondation du Patrimoine estimated the damage in the hundreds of millions of euros, but losses from the fire are not expected to substantially impact the private insurance industry.
European art insurers stated that the cost would be similar to ongoing renovations at the Palace of Westminster in London, which currently is estimated to be around €7 billion.
This cost does not include damage to any of the artwork or artefacts within the cathedral. Any pieces on loan from other museums would have been insured, but the works owned by the cathedral would not have been insurable.
While Macron hoped the cathedral could be restored in time for the 2024 Paris Summer Olympics, architects expect the work could take from twenty to forty years, as any new structure would need to balance restoring the look of the original building, using wood and stone sourced from the same regions used in the original construction, with the structural reinforcement required for preventing a similar disaster in the future.
There is discussion of whether to reconstruct the cathedral in modified form. Rebuilding the roof with titanium sheets and steel trusses has been suggested; other options include rebuilding in the original lead and wood, or rebuilding with modern materials not visible from the outside (like the reinforced concrete trusses at Reims Cathedral).
Another option would be to use a combination of restored old elements and newly designed ones. Chartres Cathedral was rebuilt with wrought iron trusses and copper sheeting after an 1836 fire.
French prime minister Édouard Philippe announced an architectural design competition for a new spire that would be:
"Adapted to the techniques
and the challenges of our era."
The spire replacement project has gathered a variety of designs and some controversy, particularly its legal exemption from environmental and heritage rules. After the design competition was announced, the French senate amended the government's restoration bill to require the roof to be restored to how it was before the fire.
On the 16th. July, 95 days after the fire, the law that will govern the restoration of the cathedral was finally approved by the French parliament. It recognises its UNESCO World Heritage Site status and the need to respect existing international charters and practices, to:
"Preserve the historic, artistic and architectural
history of the monument, and to limit any
derogations to the existing heritage, planning,
environmental and construction codes to a
minimum".
On the 15th. April 2020, Germany offered to restore some of the large clerestory windows located far above eye level with three expert tradesmen who specialize in rebuilding cathedrals. Monika Grütters, Germany's Commissioner for Culture was quoted as saying that her country would shoulder the costs.
As of the 30th. November all of the tangled scaffolding was removed from the spire area, and was therefore no longer a threat to the building.
The world will now have to wait for Notre-Dame de Paris to be restored to its former magnificence.
Amedeo Modigliani
So what else happened on the day that Norah posted the card?
Well, the 24th. January 1920 was not a good day for Amedeo Clemente Modigliani, because he died aged 35 on that day in Paris of tubercular meningitis.
Modigliani, who was born in Livorno on the 12th. July 1884, was an Italian Jewish painter and sculptor who worked mainly in France.
He is known for portraits and nudes in a modern style characterized by elongation of faces, necks, and figures. The unique style was not well received during his lifetime, but later found great popularity.
Modigliani spent his youth in Italy, where he studied the art of antiquity and of the Renaissance. In 1906 he moved to Paris, where he came into contact with such artists as Pablo Picasso and Constantin Brâncuși.
By 1912 Modigliani was exhibiting highly stylized sculptures with Cubists of the Section d'Or group at the Salon d'Automne.
Modigliani's œuvre includes paintings and drawings. From 1909 to 1914 he devoted himself mainly to sculpture.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Amedeo Modigliani（1884 - 1920）
Black crayon on paper
26.7 by 20 cm
www.sothebys.com/en/auctions/ecatalogue/lot.175.html/2014...
Estimate : 250,000 - 350,000 USD
Sold : 394,000 USD
Sotheby's
Impressionist & Modern Art Day Sale
New York, 6 Nov 2015
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Modigliani - Volti di donna - Bicchieri.
Bicchiere in ceramica lavorato e decorato a mano, per acqua, vino, thè, bibite, etc.
I decori, su fondo bianco, si ispirano o riprendono i particolari di famosi dipinti di Amedeo Modigliani.
Le irregolarità, nelle forme e nei colori, sono un segno distintivo del lavoro manuale.
Misure: h 11 x 7,5 cm.
Decoro: Donna con i capelli rossi.
Amedeo Modigliani:
Un artista famoso per le sue figure allungate e per i suoi nudi voluttuosi.
Nato in Italia, ma vissuto a Parigi, concentrò il proprio interesse sulle sculture e sulle maschere africane, come si rende evidente nella raffigurazione dei visi dei suoi modelli, piatti e simili a una maschera, con occhi a mandorla e lineamenti distorti.
A differenza delle opere degli altri pittori appartenenti alla Scuola di Parigi, i dipinti di Modigliani non raffiguravano nulla del contesto circostante alla persona che veniva raffigurata. I personaggi apparivano autonomi e rivelavano poco del loro tempo e del loro ambiente, se non per i dettagli che si potevano dedurre dalle acconciature e dall’abbigliamento. I modelli di Modigliani si trovavano in un rapporto frontale rispetto allo sguardo del pittore e dell’osservatore. Nei nudi, solitamente, le modelle posavano con un atteggiamento esibizionista, scoprendo il seno, il ventre e il pube.
Per arrivare a un risultato soddisfacente Modigliani passava attraverso numerose fasi preparatorie, come dimostrano i disegni, a volte più di cento, che faceva prima di iniziare a dipingere sulla tela. Modigliani disegnava con grande rapidità, senza mai ritoccare le linee. Piuttosto che tornare sulla linea appena tracciata preferiva ricominciare, finché non riusciva a ottenere il profilo desiderato attraverso un unico getto.
Nella rappresentazione delle sue aggraziate distorsioni figurative e delle ampie aree piatte colorate, Modigliani risente fortemente dell’influsso di Cezanne.
Morì all’età di 35 anni di tubercolosi, il cui decorso fu accelerato dall’abuso di alcool, droghe e dalla povertà.
Modigliani - Woman faces - Glasses.
Glass ceramic crafted and decorated by hand, for water, wine, tea, soft drinks, etc.
The decorations on a white background, are inspired or take the details of famous paintings by Amedeo Modigliani.
Irregularities, shapes and colors, are a hallmark of manual labor.
Measurements: h 11 x 7,5 cm.
Decoration: Woman with red hair.
Amedeo Modigliani:
An artist famous for his elongated figures and his voluptuous nudes.
Born in Italy, but lived in Paris, she focused their interest on the sculptures and African masks, as is evident in the depiction of the faces of his models, dishes and mask-like, with almond eyes and twisted features.
Unlike the works of other painters belonging to the School of Paris, the paintings of Modigliani not depict anything about the context surrounding the person who was depicted. The characters appeared autonomous and revealed little of their time and their environment, if not for details that could be inferred from clothing and hairdos. The models of Modigliani were in a relationship front compared to the look of the artist and the observer. Nudes, usually, the models rested with an attitude exhibitionist, discovering the breast, stomach and groin.
To arrive at a satisfactory result Modigliani went through several preparatory stages, as shown by the drawings, sometimes more than a hundred, that was before you begin painting on canvas. Modigliani drew very rapidly, never touch the lines. Rather than go back on line soon traced preferred to start again, until he could get the desired profile through a single jet.
In the representation of its graceful figurative distortions and large flat areas of color, Modigliani were strongly influenced by Cezanne.
He died at age 35 of tuberculosis, whose course was accelerated by the abuse of alcohol, drugs and poverty.
Passage Dantzig | La Ruche 29/09/2011 15h14
La Ruche is an artists' residence in the Passage Dantzig in the 15ème arrondissement.
Located in the "Passage Dantzig," in the 15th arrondissement of Paris, La Ruche was an old three-storey circular structure that got its name because it looked more like a large beehive than any dwelling for humans. Originally a temporary building designed by Gustave Eiffel for use as a wine rotunda at the Great Exposition of 1900, the structure was dismantled and re-erected as low-cost studios for artists by Alfred Boucher (1850–1934), a fireman and sculptor, who wanted to help young artists by providing them with shared models and with an exhibition space open to all residents. As well as to artists, La Ruche became a home to the usual array of drunks, misfits, and almost every penniless soul needing a roof over their head.
At La Ruche the rent was dirt cheap; and no one was evicted for non-payment. When hungry, many would wander over to artist Marie Vassilieff's soup kitchen (more genteely called her "Cantine") for a meal and conversation with fellow starving artists. The Russian painter Pinchus Kremegne got off the train at the Gare de l'Est with three rubles in his pocket. The only words in French he knew was the phrase "Passage Dantzig"; but that was all he needed to get him there.
In the history of mankind, like Montparnasse or Montmartre, few places have ever housed such talent as could be found at La Ruche. At one time or another in those early years of the 20th century, Guillaume Apollinaire, Alexander Archipenko, Alexandre Altmann, Ossip Zadkine, Moise Kisling, Marc Chagall, Max Pechstein, Nina Hamnett, Fernand Léger, Jacques Lipchitz, Pinchus Kremegne, Max Jacob, Blaise Cendrars, Chaim Soutine, Robert Delaunay, Amedeo Modigliani, Constantin Brâncuşi, Amshey Nurenberg, Diego Rivera, Marevna, Luigi Guardigli and others, called the place home or frequented it. Today, works by some of these desperately poor residents and their close friends sell well, even in the millions of dollars.
La Ruche went into decline during World War II; and by the time of the 1968 real estate boom, it was threatened with demolition by developers. However, with the support of luminaries such as Jean-Paul Sartre, Alexander Calder, Jean Renoir, and René Char, new management with a preservation mission took over in 1971, turning it into a collection of working studios.
Its interior is not open to the general public, although the exterior of La Ruche alone is worth a visit. Paintings, sculptures, photographs from its heyday and films showing some of its residents may be viewed at the Musée du Montparnasse, 21 av du Maine.
[ Source and more: La Ruche - Wikipedia ]
On the outside wall you can find a micro art object by Jérôme Gulon dedicated to painter and sculptor Amedeo Modigliani (1884 - 1920). Click on the 'note' on the photo to learn more about this mosaïc made of micro tiles.
More information about Jérôme Gulon. His work is all over Paris. Precise locations can be found here.
I recently had the honor of creating an art jewelry collection for the Barnes Foundation Gallery in PA! This mini reproduction is taken from the famous painting by Modigliani. She's captured on a brass locket which hangs from a rolo chain. This collection is currently being sold in their museum gift shop. Enjoy!
Boat Street Antibes French Riviera Rue du Bateau Antibes
Picasso Museum Place Mariejol 06600 Antibes
opened
10:00 a.m. to 12:00 p.m.
2:00 p.m. to 6:00 p.m.
Based on the ancient acropolis of the Greek city of Antipolis, Roman castrum, residence of the bishops of the Middle Ages (from 442-1385), the Grimaldi castle was inhabited from 1385 by the Monegasque family who gave it its name. King became mansion of the governor, then from 1792, City Hall, the building is transformed into a barracks in 1820, marking the taking possession of the premises by military engineers until 1924.
PicassoProfessor of French, Greek and Latin at Lycee Carnot in Cannes, Romuald Dor de la Souchère began in 1923 archaeological research in Antibes. On March 29, 1924, the Dor Souchère created the company of friends who Antibes museum is to establish a historical and archaeological museum and to work to publicize the history of the region.
In 1925, the Grimaldi castle was bought by the city of Antibes and becomes the first to Grimaldi museum curator, Romuald Dor de la Souchère. In September 1945, Pablo Picasso went to Grimaldi museum in 1946, Romuald Dor de la Souchère asked him to use part of the castle as a workshop.
Picasso ....
Picasso, enthusiastic, works at the castle and created numerous works, drawings and paintings. Following his stay in 1946, Pablo Picasso left on deposit at the Antibes 23 paintings and 44 drawings. Among the most famous paintings: La Joie de vivre, Satyr, centaur fauna and trident, Slimer The sea urchin, sea urchin Woman, Still life with owl and three urchins, The Goat ...
The September 22, 1947 saw the official opening of the Picasso room on the first floor, together with a first hooking works of Antibes.
The September 7, 1948, an exhibition confirms the significant enrichment of 78 ceramics workshop conducted in Madura Vallauris.
On September 13, 1949, on the occasion of the inauguration of the "French Paintings" exhibition, new rooms devoted to paintings, ceramics and drawings by Picasso are open to the public. And December 27, 1966, the city of Antibes makes new tribute to Pablo Picasso and Grimaldi Castle officially became the Picasso Museum, the first museum dedicated to the artist. Finally, in 1991, the giving Jacqueline Picasso authorizes a new enrichment of Picasso collections.
... To Nicolas de Stael
Picasso1The works of Nicolas de Staël also presented in the museum bear witness to the painter's stay in Antibes, from September 1954 to March 1955. A first donation made by his widow to the Picasso museum after the exhibition devoted to the artist in 1955 and from 1982, the city acquired important works of his last period.
To modern art
In 2001, a donation made by Hans Hartung Foundation and Anna-Eva Bergman allows the opening of two rooms, the ground floor of the museum. A permanent attachment offers a journey in the work of each of these artists.
Finally, the modern art collection, begun in 1951 by Dor La Souchère was created from exceptional donations from the artists. Important artists from the mainstream art of the twentieth and twenty-first centuries are represented: Arman, Atlan, Balthus, Ben, Bioules, Bloch, Buraglio, Bury, Calder, Cane, Castellas, Caesar, Chillida, Clavé, Combas, Cornelius , Crotti, Debre, Dezeuze, Ernst, Gleizes, Goetz, Hantaï, Hartung, Jaccard, Klein, Leppien, Magnelli, Malaval Mansouroff, Mathieu, Meurice, Modigliani, Music, Picabia, Pincemin, Raynaud, Raysse, Sarkis, Spoerri, Viallat ...
Cathedral of Our Lady of Immaculate Conception
1 Rue du Saint-Esprit
06600 Antibes
The Notre-Dame-de-la-Platea is the former cathedral of the Diocese of Antibes and the largest church in the city of Antibes , in Alpes-Maritimes ( France ). Its doors, the xviii th century, are the work of sculptor Joseph Dolle Antibes.
History
The Cathedral was destroyed by the Saracens in 1124 and rebuilt in 1125. The facade was damaged in 1746 and restored by Louis XV with funds from the Royal cassette. The door made in 1710 by Joseph Dolle a Antibois includes figurines of St. Roch and St. Sebastian, which are both protective of Antibes. Inside are the altarpiece of Our Lady of the Rosary, painted in 1515, a marble Virgin of the xix th century, a baptismal font xvi e , a wooden Christ of 1447, lying in a wood xvi th century, the baptismal font from 1772 and a 1860 organ master Jungh.
Chronology
442
Saint Hermaire, monk of the Abbey of Lérins is the first bishop.
5th century
A cathedral is now at the foot of the Roman castrum. The second bishop of Antibes Valerius is murdered.
476
Fall of the Western Roman Empire.
6th century
Construction of a new cathedral whose remains are visible in the chapel of the Holy Spirit.
9th century
Rodoard family takes possession of the diocese.
1113
Election of the Bishop Manfred, former monk of Lérins monastery.
1124
Incursion of barbarian. They destroy the cathedral. All that remains of the previous cathedral a wall element near the Chapel of the Rosary.
1125
The Count of Provence Raimond Beranger made a significant donation to the Bishop Manfred to rebuild the cathedral.
1155
An act mentions the cloister of the canons.
1155 - 1181
The bishops get the counts of Provence suzerainty of all property held by the family of Grasse.
late 12th century early 13th century
Construction of the present cathedral with three naves. The plan of the Romanesque cathedral is similar to the churches of the order of Chalais, particularly in Valbonne located between Antibes and Grasse. Construction of the tower-hut 40 m high before the church.
1208 - 1237
The Count of Provence gives the bishop all the useful field.
1244
The bishop's seat was transferred to Grasse. From 1244 to 1385, the Apostolic Vicariate dependent on the bishopric of Grasse.
1385
Construction of the chapel of the Holy Spirit against the north side of the church for the White Penitents on the remains of the ancient cathedral of the 6th century. Excavations have revealed the remains of the 5th century cathedral.
1385 - 1732
The Apostolic Vicariate of Antibes depends on the Holy See. It becomes a collegiate diocesis nullius.
1593
Consecration of the chapel of the Holy Spirit.
1608
King Henry IV bought the city to the Grimaldi family. The cathedral is rebuilt.
1710
The portal is run by Jacques Dolle.
1746
The cathedral suffered extensive damage during a bombing of the city during the war of succession of Austria.
18th century
Construction of the four bays of the nave, aisles and the current facade.
1848
The Romanesque facade was modernized in Italian style.
Saracen Towers in Antibes
The tower near the cathedral housing the bells , 40 meters high
Located on the town walls of Antibes, the towers "said Saracen" which dates back to the eleventh and early twelfth century, had a protective role for the city of Antibes.
Indeed the devastating Saracen invasions forced the city to protect themselves.
One of the towers; next to the cathedral measures 40 meters high and houses the cathedral bells said.
Her neighbor is integrated into the Picasso Museum overlooking the waterfront.
To access either pass by the old city and the Provencal market or Promenade Admiral de Grasse, and mounted the Souchère Dor (near the cathedral).