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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), Paul Guillaume, Novo Pilota, 1915, oil on cardboard, 105 x 75 cm, Musée de l'Orangerie
Portrait of Paul Guillaume.
Paul Guillaume was a French art dealer, who rented a studio for Modigliani in Montmartre and became his patron.
111 first street from paris to jersey city they showed no love
movie premiere
Jersey City Free Public Library
Biblioteca Criolla
“Who remembers the building owners or politicians in 1920’s Paris, where artists such as Modigliani, Chagall, Lipchitz, Soutine, Brancusi, Rivera, Man Ray, Kisling, Picasso, Juan Gris, Matisse, Apollinaire, Braque, and the rest..., made their art flourish?”
“Nobody”
“The same will happen, as the legend of the artists of 111 First Street grows. Their art quality, will make them eternal.”
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
1919. Oli sobre tela. 55,2 x 38,5 cm. The Barnes Foundation, Filadèlfia. BF261. Obra exposada: Sala 19.
Title: Weiblicher Akt, stehend (Elvira) or Nu debout (Elvira)
Artist: Amedeo Modigliani
Year: 1918
Oil on canvas
The Museum of Fine Arts Bern (or Kunstmuseum Bern in German), established in 1879 in Bern, the capital of Switzerland, is the oldest art museum in the country with a permanent collection.
Its holdings run from the Middle Ages to the present. The collection consists of over 3,000 paintings and sculptures as well as 48,000 drawings, prints, photographs, videos and films.
Information from: en.wikipedia.org/wiki/Museum_of_Fine_Arts_Bern
Los Angeles County Museum of Art.
Young Woman of the People
Amedeo Modigliani (Italy, Livorno, 1884-1920)
Italy, 1918
Paintings
Oil on canvas
35 1/4 x 25 1/4 in. (89.535 x 64.135 cm) Frame: 51 × 37 × 4 in. (129.54 × 93.98 × 10.16 cm)
Oil on canvas
H. 36, W. 28-3/4 inches (91.4 x 73 cm.)
Jeanne Hébuterne - Amedeo Modigliani 1919
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
Brushes app on my iThing.
20 minutes
From photos of Modigliani's paintings, mostly Jeanne Hebuterne with Hat and Necklace, 1917, and from imagination. My colors, of course, not Modigliani's.
This picture was drawn the moment before I took my chapeau off to Brushes for being part of the iPad announcement, and to Apple for at least acknowledging artists as a category by including Brushes, even if we *still* don't have a section in the App store.
I wonder if we'll end up considering iPads part of the iThing family so far as all these flickr groups are concerned, or will we need new iPad groups?
This is part of my Daily Portrait Project, in which I make a non-photographic image of myself every day and post it on the web. This series of self-portraits can be viewed in it's entirety at studiojuliakay.com/portraitproject.
São Paulo, MASP - Exhibition: PICTURE GALLERY IN TRANSFORMATION
Amedeo Modigliani (1884-1920)
Retrato de Leopold Zborowski
Leopold Zborowski
(1916-1919)
Watercolor study on paper, based on Modigliani's Lunia Czechowska.
See the original art here:
snaakks.tumblr.com/post/2921705681/amedeo-modigliani-port...
Portrait, Modigliani, 1909, Musée des Beaux-Arts de Rouen, visite du 27 mai 2009
© gaelle kermen 2010
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 - Italian, 1884 - 1920
Café Singer, 1917
East Building, Ground Level — Gallery 103-A
Shown from the knees up, a woman wearing a black dress is painted with areas of mottled color in this vertical painting. The woman’s body faces us, her shoulders sloping steeply down from her elongated neck. She sits with her hands in her lap, and she looks down and to our left. Her peach-colored, long, narrow face comes to a point at her chin, and her cheeks are flushed pink. Her almond-shaped eyes, curved brows, long nose, and closed lips are outlined with gray. Her brown hair is pulled up and back, and short bangs brush her forehead. A gold-colored disk at the point of the dress’s V-neck could be a brooch. Two parallel black lines suggest a chair rail running behind the woman’s elbows. The background is painted with visible strokes of fog gray and moss green above the rail and darker, elephant gray below. The artist signed the upper right corner, “modigliani.”
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Cimetière Père Lachaise
Modigliani's grave - separated from Edith Piaf by an alley - everybody wants to see Piaf's grave, nobody knows that Modigliani is here except some rare fans (see all the flowers).
Copyright © giovdim 2007. All rights reserved.
Musée d’Art moderne de la Ville de Paris ~MODIGLIANI (Oil on canvas) * giovdim
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 - Anna Zborowska 1917
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was an Italian artist who worked mainly in France. Primarily a figurative artist, he became known for paintings and sculptures in a modern style characterized by mask-like faces and elongation of form. He died in Paris of tubercular meningitis, exacerbated by poverty, overwork, and addiction to alcohol and narcotics.
_______________________________
Amedeo Clemente Modigliani (Livorno, 12 de julho de 1884 — Paris, 24 de janeiro de 1920) foi um artista plástico e escultor italiano que viveu em Paris. Um artista principalmente figurativo, ele se tornou conhecido por pinturas e esculturas em estilo moderno caracterizado por faces mascara e alongamento da forma. Morreu de meningite tuberculosa, agravada pela pobreza, excesso de trabalho, alcool e drogas (haxixe).
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.
Oil on canvas
H. 36, W. 28-3/4 inches (91.4 x 73 cm.)
Jeanne Hébuterne - Amedeo Modigliani 1919
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
Portrait of the Painter Frank Haviland
(Ritratto del pittore Frank Haviland), 1914
Oil on cardboard, 73 x 60 cm
Gianni Mattioli Collection
Long-term loan to the Peggy Guggenheim Collection, Venice
This vivid portrait, painted in Paris in the second half of 1914, marks Amedeo Modigliani’s return to painting after a period of five years dedicated to sculpture. The sitter, Frank Burty Haviland, was a wealthy English amateur: a poet, a collector of African art, and a painter of small talent, who occupied a large studio near to Picasso’s and was known disparagingly to his friends as “Le Riche.” The red cravat and brown (velvet?) jacket, the aquiline noise, small mouth, and central parting of the hair, with curls, generate the aura of a Wildean aesthete. Standing before a window and with lowered eyes, he contemplates his pipe. Modigliani has surely elongated the curiously bell-shaped head.