View allAll Photos Tagged Modigliani,
a nice distraction. found via joopy, the face transformer did this to my face. here's the original photo.
1. mucha lau
2. botticelli lau
3. modigliani lau
4. manga lau
these one's are my favourites.
Artist: Amadeo Modigliani (Italian, Livorno 1884–1920 Paris)
Title: Head of a Woman, 1910/1911
Material: limestone
Venue: National Gallery of Art, Washington, D.C.
Created for the Digitalmania challenge where this week we are taking inspiration from the work of JENNY GRANT.
Credit to Modigliani for the girl (much altered) whilst the remainder are textures from my own stash.
Thank you for looking.
This suddenly popped up on Flickr from something I had done nine years ago but not tagged - before the iPhone caught on
Painting of Amedeo Modigliani after his photo, 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.
Corona-No 15
Amedeo Modigliani - video conference Portrait No A-3
Nude sitting on a divan. The beautiful Roman Woman [1917]
Nu assis sur un divan (La belle Romaine) [1917]
Sotheby's
Week 9 In Montparnasse The Emergence of Surrealism in Paris, from Duchamp to Dalí
Part 1 (1341-1345) 4/2/ – 4/6/2023
ID 1342
Amedeo Modigliani Itlaian 1884 -1920
Blue Eyes (Portrait of Madame Jeanne Hébuterne), 1917
Oil on canvas
The Samuel S. White 3rd and Vera White Collection,
19676-30-59
From the Placard: The Philadelphia Museum of Art, PA
That summer Modigliani had met a real Musidora—Jeanne Hébuterne, a nineteen year-old art student at the Académie Colarossi, a girl with long dark hair and huge eyes of piercing blue (or green, or brown, depending who was describing them); from their first meeting in July they were inseparable. She struck everyone who met her as a strange, other-worldly creature, silent, inscrutable; an intoxicating muse of Modigliani, she sat for some of his most arresting portraits, nude or clothed, fragile or voluptuous; chameleon-like, she seemed capable of becoming whatever he wanted her to be. She was deeply in love with him; their child (also Jeanne) was born in November the following year. In Spring 1918 they were on their way to Cannes with Jeanne’s mother, in retreat from the bombing. Since January that year, Paris had been under fire again, the city at its most dangerous since the start of the war, with sudden shattering explosions coming night after night. By spring Apollinaire was reporting for “L’Europ nouvell” on the exodus of the painters; those of the avant-garde who had not been called up seemed to be heading for the south of France. Those who remained included Picasso; Apollinaire, back in hospital with a near-fatal congestion of the lungs (after-effects of the poison-gas attack); poets Breton and Soupault, in Paris on leave, “dragging our soiled uniforms through the railway smoke on the outskirts, forgetting to salute officers, forgetting every kind of deportment, forgetting the hour and ourselves in the bitter cold”; and Cocteau, there for good.
Sue Roe In Montparnasse The Emergence of Surrealism in Paris, from Duchamp to Dalí Penguin Books, 2000 pg 54
River Cruise Ship Modigliani - Croisi Europe River Cruises.
Ship Specifications
Year Built:2001
Refurbished:2011
Length:110m
Width:11.4m
Decks:2
Cabins:78
Passengers:160
Thank you all for your visit !
Son le cose che non dici
che mi fanno più male
perché se non me le dici
vuoi tenertele per te
perché quando non le dici
non le vuoi dividere
Son le cose che non dici
che capisco anche di più
sono quelle che mi taci
che mi danno più fastidio!
perché se non me lo dici
non ti fidi più di me
LOVE
Le Cose Che Non Dici
Vasco Rossi
Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
“Hablaba poquísimo, hasta el punto de que algunos amigos de Modigliani no recordaban después haberle oído decir ni una sola palabra, y padecía cierta tendencia a la melancolía”
Rosa Montero
In 1918 Amedeo Modigliani (1884–1920) painted a portrait of his fellow artist Léopold Survage (1879–1968), who was a good friend.
Polymer clay paintings 15X21 cm
Jeanne Hébuterne met Modigliani at the end of 1916. This relationship would have a profound effect on her work as an artist. The two painters, based in a studio on rue de la Grande Chaumière, painted side by side and even shared models. Jeanne Hébuterne was asked to paint a portrait of Soutine, a friend of Modigliani. In this oil on canvas, rare in the artist's output, she gives us one of her most accomplished compositions. It is a portrait with an unsettling presence, in a palette that harmoniously blends warm, ochre tones with cooler ones, revealing many facets of her model's personality.
Jeanne Hébuterne (1898-1920)
Portrait de Chaïm Soutine [~1919]
Christie's
***********************************************************************************
Jeanne Hébuterne met Modigliani at the end of 1916. This relationship would have a profound effect on her work as an artist. The two painters, based in a studio on rue de la Grande Chaumière, painted side by side and even shared models. Jeanne Hébuterne was asked to paint a portrait of Soutine, a friend of Modigliani. In this oil on canvas, rare in the artist's output, she gives us one of her most accomplished compositions. It is a portrait with an unsettling presence, in a palette that harmoniously blends warm, ochre tones with cooler ones, revealing many facets of her model's personality.
*********************************************************************************
Jeanne Hébuterne rencontre Modigliani à la fin de l'année 1916. Cette relation marquera profondément son travail d'artiste. Les deux peintres, installés dans un atelier rue de la Grande Chaumière, peignent côte à côte et ont même des modèles en commun. C'est ainsi que Jeanne Hébuterne est amenée à exécuter le portrait de Soutine, ami de Modigliani. Avec cette huile sur toile, rare dans la production de l'artiste, cette dernière nous livre l'une de ses compositions les plus abouties. Un portrait à la présence troublante dans une palette où se côtoient harmonieusement des tons chauds, ocres et des tons plus froids, révélant comme autant de facettes de la personnalité de son modèle.
In 1920, after not hearing from him for several days, a neighbour checked on the family and found Modigliani in bed delirious and holding onto Hébuterne. A doctor was summoned, but little could be done because Modigliani was in the final stage of his disease, tubercular meningitis. He died on 24 January 1920, at the Hôpital de la Charité.
There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse. When Modigliani died, twenty-one-year-old Hébuterne was eight months pregnant with their second child.
A day later, Hébuterne was taken to her parents' home. There, inconsolable, she threw herself out of a fifth-floor window, two days after Modigliani's death, killing herself and her unborn child. Modigliani was buried in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani. A single tombstone honors them both. His epitaph reads: "Struck down by death at the moment of glory". Hers reads: "Devoted companion to the extreme sacrifice".
en.wikipedia.org/wiki/Amedeo_Modigliani
Père Lachaise Cemetery (French: Cimetière du Père-Lachaise [simtjɛʁ dy pɛʁ laʃɛːz]; formerly cimetière de l'Est, "Cemetery of the East") is the largest cemetery in Paris, France (44 hectares or 110 acres). With more than 3.5 million visitors annually, it is the most visited necropolis in the world.
The Père Lachaise is located in the 20th arrondissement and was the first garden cemetery, as well as the first municipal cemetery in Paris. It is also the site of three World War I memorials. The cemetery is located on the Boulevard de Ménilmontant. The Paris Métro station Philippe Auguste on Line 2 is next to the main entrance, while the station Père Lachaise, on both Line 2 and Line 3, is 500 meters away near a side entrance.
Home to many artists, including Salvador Dalí, Amedeo Modigliani, Claude Monet, Henri de Toulouse-Lautrec, Piet Mondrian, Pablo Picasso, Camille Pissarro and Vincent van Gogh to name a few, not many can afford to live there anymore these days. I highly recommend just getting lost (with a map to find your way out) in the steep and cobbled streets of one of the most historic and interesting neighborhoods in Paris.
© 2016 Alex Stoen, All rights reserved.
No Group Invites/Graphics Please.
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Il Fosso Reale di Livorno è un fossato (da non confondersi con canale) che in origine seguiva il perimetro della città fortificata e che, in seguito, con l'abbattimento dei bastioni, ha perso definitivamente la sua funzione difensiva.
Il sistema dei fossi e dei canali livornesi, seppur soggetto a numerose modifiche nel corso dei secoli, mantiene inalterato gran parte del proprio fascino, tanto è vero che in passato ne è stato caldeggiato l'inserimento nella lista dei Patrimoni dell'umanità.
Inoltre la tradizione vuole che Amedeo Modigliani, sconfortato dai poco lusinghieri giudizi degli amici, abbia gettato nel Fosso Reale, nel tratto antistante al Mercato delle vettovaglie, alcune sue sculture; nei primi anni ottanta, furono avviate le opere per la loro ricerca, con il ritrovamento di tre teste, inizialmente attribuite al maestro, ma che poi si rivelarono dei clamorosi falsi.
Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
Modigliani upended the tradition of the nude. Modern in their candid sensuality, his works in this genre are noticeably devoid of the modesty and mythological subtext present in many earlier depictions of nude figures. Because of these qualities - along with the artist's notorious womanizing - Modigliani's nudes were scandalously received at the time they were created. Modigliani's portraiture achieves a unique combination of specificity and generalization. His portraits convey his subjects' personalities, while his trademark stylization and use of recurring motifs - long necks and almond-shaped eyes - lends them uniformity. Modigliani's portraiture also serves as a vital art historic record, comprising a gallery of major figures of the Ecole de Paris circle, to which he belonged following his move to Paris in 1906. www.theartstory.org/artist-modigliani-amedeo.htm