View allAll Photos Tagged Modigliani,
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.
Oil on panel; 67 x 51.5 cm.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
Modigliani depicted his mistress, Jeanne Hébuterne (1898-1920), in more than twenty works but never in the nude. Her casual white chemise suggests modesty while also hiding her pregnancy. When Modigliani died from tuberculosis in 1920, Jeanne committed suicide the following day.
[Oil on canvas, 91.4 x 73 cm]
gandalfsgallery.blogspot.co.uk/2012/08/amedeo-modigliani-...
Oil on canvas; 65.4 x 46.3 cm.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
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.
Mabel spent the day trying on a Zetti persona .... she thought it would be much more interesting than doing the housework.
Credit to TumblefishStudio and a little bit from Modigliani also.
Thanks for looking.
French postcard in the Collection Image Noire by Editions Hazan, no. 6030, 1988. Photo: Raymond Voinquel. Caption: Gérard Philipe, 1946.
The legendary idol of the French cinema Gérard Philipe (1922–1959) was adored for his good looks, but he was also a very talented actor. He played roles as diverse as Faust and Modigliani and he was sought out by France's preeminent directors for his versatility and professionalism.
Gérard Philipe (sometimes written as Philippe) was born Gérard Philip in Cannes, France in 1922. In 1940, Gérard left school and his parents wanted him to become a lawyer. His mother noticed that he was only interested in acting, but his father was against the idea. Gérard's father, a successful businessman, was a right-wing extremist and collaborated with the Nazis. After the war, he was forced to exile to Spain to escape a death sentence. Gérard himself was his whole life a staunch social liberal politically wise. Actor Claude Dauphin introduced the young Philippe in 1942 to the stage. One of his first parts was as the angel in 'Sodome et Gomorrhe' by Jean Giraudoux in 1943. Director Marc Allégret decided that he showed some promise and gave him a small part in his film Les petites du quai aux fleurs/The Girls From the Quai aux Fleurs (Marc Allégret, 1944) starring Odette Joyeux. With the support of his admirer Jean Cocteau, he entered the Paris Conservatory where under the tutelage of Georges Le Roy he discovered his passion for live theatre. In 1945 he received rave reviews for his performance in the stage production of Albert Camus’ 'Caligula'. This success further opened the doors to the cinema. His first leading part in Le pays sans étoiles/Land Without Stars (Georges Lacombe, 1946) opposite Jany Holt got so many favourable reviews that he became a star.
In 1947, Gérard Philipe exploded upon the European film scene in Le diable au corps/Devil in the Flesh (Claude Autant-Lara, 1947), playing Francois Jaubert, a callow youth in love with much older and very married Micheline Presle. Superstardom followed almost immediately: female filmgoers doted upon Philippe's sensitive, handsome features and strapping physique, while men identified with his soulfulness and introspection. Next, he would take on prominent roles in such classic films as Une si jolie petite plage/Such a Pretty Little Beach (Yves Allégret, 1949), and La beauté du diable/Beauty and the Devil (René Clair, 1950) as Faust. He was an international success as the tongue-in-cheek titular swashbuckler Fanfan la Tulipe/Fan-Fan the Tulip (Christian-Jaque, 1952), one of the most popular historical-adventure films made in France. At Films de France, James Travers reviews: "Not only is the film impeccably made, with lavish production values, stunning cinematography and impressively choreographed fight scenes, but it has a timeless quality which will no doubt ensure it will remain a popular classic for years to come. Philipe excels in this film in what is regarded by many as his finest film role, the indefatigable womaniser and agile swordsman Fanfan la Tulipe. Philipe is simply brilliant in the role, tackling the numerous swordfights and Henri Jeanson’s sparkling dialogue with equal relish." He appeared with such great stars of the European cinema as Italian beauty Gina Lollobrigida in Les belles de nuit/Beauties of the Night (René Clair, 1952), with Michèle Morgan in both Les orgueilleux/The Proud Ones (Yves Allégret, 1953) and Les grandes manœuvres/The Grand Maneuver (René Clair, 1955). In 1956, Philipe starred in and directed a filmization of the old folk tale Till Eulenspiegel, Les Aventures de Till L'Espiègle/Bold Adventure (Gérard Philipe, Joris Ivens, 1956). The French-East-German coproduction was not a success. He simultaneously pursued his stage career, with a keen involvement in the Théatre National de Paris, which would endure up until his death. Whilst working at the TNP, Philipe, a strong believer in egalitarianism, would draw exactly the same salary as junior actors. He would also become president of the French actors union, actively promoting the rights of actors.
Gérard Philipe continued his string of film successes throughout the 1950s. Among these films were the Fyodor Dostoevsky adaptation Le joueur/The Gambler (Claude Autant-Lara, 1958) with Liselotte Pulver, and Les liaisons dangereuses/Dangerous Liaisons (Roger Vadim, 1959) opposite Jeanne Moreau. In 1959 doctors told Philippe that he had liver cancer. On 25 November that year, while working on Luis Buñuel's Le Fievre Monte a El Pao/Fever Mounts at El Pao (Luis Buñuel, 1959), he died at the peak of his popularity. He was just 36 years old. The news provoked an immediate and intense outpouring of grief. His early death elevated him to a near-legendary status in France. Since 1951, Philipe was married to actress and writer Nicole Fourcade, with whom he had two children, writer and actor Anne-Marie Philipe (1954) and Olivier Philipe (1957). Nicole adopted the pseudonym Anne Philipe and wrote two books about her husband, Souvenirs (1960) and Le Temps d'un soupir (1963, No Longer Than a Sigh). In 1961, Gérard's portrait appeared on a French commemorative postage stamp. There is a film festival named in his honour as well as a number of theatres, schools and colleges in various parts of France. He was also very popular in Germany, and a Berlin theatre has been named after him.
Sources: James Travers (Le Film Guide), AllMovie, Films de France, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
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.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 158, 1956. Photo: Gerhard Puhlmann. Caption: Gerard Philipe is always pursued by autograph hunters.
The legendary idol of the French cinema Gérard Philipe (1922–1959) was adored for his good looks, but he was also a very talented actor. He played roles as diverse as Faust and Modigliani and he was sought out by France's preeminent directors for his versatility and professionalism.
Gérard Philipe (sometimes written as Philippe) was born Gérard Philip in Cannes, France in 1922. In 1940, Gérard left school and his parents wanted him to become a lawyer. His mother noticed that he was only interested in acting, but his father was against the idea. Gérard's father, a successful businessman, was a right-wing extremist and collaborated with the Nazis. After the war, he was forced to exile to Spain to escape a death sentence. Gérard himself was his whole life a staunch social liberal politically wise. Actor Claude Dauphin introduced the young Philippe in 1942 to the stage. One of his first parts was as the angel in 'Sodome et Gomorrhe' by Jean Giraudoux in 1943. Director Marc Allégret decided that he showed some promise and gave him a small part in his film Les petites du quai aux fleurs/The Girls From the Quai aux Fleurs (Marc Allégret, 1944) starring Odette Joyeux. With the support of his admirer Jean Cocteau, he entered the Paris Conservatory where, under the tutelage of Georges Le Roy he discovered his passion for live theatre. In 1945 he received rave reviews for his performance in the stage production of Albert Camus’ 'Caligula'. This success further opened the doors to the cinema. His first leading part in Le pays sans étoiles/Land Without Stars (Georges Lacombe, 1946) opposite Jany Holt got so many favourable reviews that he became a star.
In 1947, Gérard Philipe exploded upon the European film scene in Le diable au corps/Devil in the Flesh (Claude Autant-Lara, 1947), playing Francois Jaubert, a callow youth in love with much older and very married Micheline Presle. Superstardom followed almost immediately: female filmgoers doted upon Philippe's sensitive, handsome features and strapping physique, while men identified with his soulfulness and introspection. Next, he would take on prominent roles in such classic films as Une si jolie petite plage/Such a Pretty Little Beach (Yves Allégret, 1949), and La beauté du diable/Beauty and the Devil (René Clair, 1950) as Faust. He was an international success as the tongue-in-cheek titular swashbuckler Fanfan la Tulipe/Fan-Fan the Tulip (Christian-Jaque, 1952), one of the most popular historical-adventure films made in France. At Films de France, James Travers reviews: "Not only is the film impeccably made, with lavish production values, stunning cinematography and impressively choreographed fight scenes, but it has a timeless quality which will no doubt ensure it will remain a popular classic for years to come. Philipe excels in this film in what is regarded by many as his finest film role, the indefatigable womaniser and agile swordsman Fanfan la Tulipe. Philipe is simply brilliant in the role, tackling the numerous swordfights and Henri Jeanson’s sparkling dialogue with equal relish." He appeared with such great stars of the European cinema as Italian beauty Gina Lollobrigida in Les belles de nuit/Beauties of the Night (René Clair, 1952), with Michèle Morgan in both Les orgueilleux/The Proud Ones (Yves Allégret, 1953) and Les grandes manœuvres/The Grand Maneuver (René Clair, 1955). In 1956, Philipe starred in and directed a filmization of the old folk tale Till Eulenspiegel, Les Aventures de Till L'Espiègle/Bold Adventure (Gérard Philipe, Joris Ivens, 1956). The French-East-German coproduction was not a success. He simultaneously pursued his stage career, with a keen involvement in the Théatre National de Paris, which would endure up until his death. Whilst working at the TNP, Philipe, a strong believer in egalitarianism, would draw exactly the same salary as junior actors. He would also become president of the French actors union, actively promoting the rights of actors.
Gérard Philipe continued his string of film successes throughout the 1950s. Among these films were the Fyodor Dostoevsky adaptation Le joueur/The Gambler (Claude Autant-Lara, 1958) with Liselotte Pulver, and Les liaisons dangereuses/Dangerous Liaisons (Roger Vadim, 1959) opposite Jeanne Moreau. In 1959 doctors told Philippe that he had liver cancer. On 25 November that year, while working on Luis Buñuel's Le Fievre Monte a El Pao/Fever Mounts at El Pao (Luis Buñuel, 1959), he died at the peak of his popularity. He was just 36 years old. The news provoked an immediate and intense outpouring of grief. His early death elevated him to a near-legendary status in France. Since 1951, Philipe was married to actress and writer Nicole Fourcade, with whom he had two children, writer and actor Anne-Marie Philipe (1954) and Olivier Philipe (1957). Nicole adopted the pseudonym Anne Philipe, and wrote two books about her husband, Souvenirs (1960) and Le Temps d'un soupir (1963, No Longer Than a Sigh). In 1961, Gérard's portrait appeared on a French commemorative postage stamp. There is a film festival named in his honour as well as a number of theatres, schools and colleges in various parts of France. He was also very popular in Germany, and a Berlin theatre has been named after him.
Sources: James Travers (Le Film Guide), AllMovie, Films de France, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
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.
Female nude, Amedeo Modigliani, oil on canvas, circa 1916, height: 92.4 cm (canvas); width: 59.8 cm (canvas); height: 118.2 cm (frame); width: 86.3 cm (frame); depth: 8.2 cm (frame); The Courtauld Gallery, London, England, UK.
Beautiful Image Oil On Canvas. Portrait of a woman in a hat. Free copy based on the famous painting by Amedeo Modigliani.
Created from a watercolour double portrait from the 1980s, this digitally finished and recomposed piece offers a reinterpretation of the Piero de la Francesca double profile portraits of the Renaissance humanists, the Duke and Duchess of Montefeltro/Urbino (1470) The originals (executed in profile showing the Duke's magnificent Roman nose and painted richly on the back) exude the dual power of this couple - military and intellectual terms. He was the classic soldier/scholar and patron of many superb renaissance artists and scholars at the ducal palace in Urbino in Umbria.
This modernist version attempts to pay homage to the original work and also to express this typical high renaissance combination of scholarly intellectualism, patronage and raw military power, in a modernistic manner. This series of pieces is strongly influenced in style by Modigliani's elegant elongated portraits and Picasso's Afrtican mask cubism.
"Federico da Montefeltro, also known as Federico III da Montefeltro (Castello di Petroia, June 7, 1422 – Ferrara, September 10, 1482), was one of the most successful condottieri of the Italian Renaissance, and lord of Urbino from 1444 (as Duke from 1474) until his death. In Urbino he commissioned the construction of a great library, perhaps the largest of Italy after the Vatican, with his own team of scribes in his scriptorium, and assembled around him a great humanistic court in one of the great architectural gems of the early Renaissance, the Ducal Palace of Urbino, designed by Luciano Laurana and Francesco di Giorgio Martini." From: en.wikipedia.org/wiki/Federico_da_Montefeltro
Oil on canvas; 65 x 54 cm.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
Oil on canvas; 55 x 38 cm.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
Oil on canvas; 46 x 38 cm.
Eugeniusz Zak was born to a family of assimilated Polish Jews. In 1902 he left Warsaw for Paris to undertake studies at the École des Beaux-Arts under academician Jean-Léon Gérôme. In 1903, he traveled to Italy and Munich to study returning in 1904. In the same year his debut took place at the Autumn Salon. On the Seine he was involved in the life of the Polish colony, participating in the Society of Polish Artists in Paris. His fame grew rapidly. The French government purchased one of his paintings for the Luxembourg Museum (1910), he organized a one-man show at Galerie Druet (1911), and he was connected with important personalities of Parisian cultural life. In 1912 he became a professor at the Académie La Palette.
In 1916 he returned with his family to Poland, settling in his wife’s hometown of Częstochowa. He associated with the Formists. Upon his frequent visits to Warsaw, he collaborated with the future members of Rhythm, a group he co-founded in 1921. In 1922 he left Poland for good. First, he went to Germany, where he had already been known and esteemed before the World War I. He visited Berlin and later Bonn, where he carried out a commission to decorate the interior of the villa of the architect Fritz August Breuhaus with paintings. He co-operated with the periodical Deutsche Kunst und Dekoration. In 1923 he settled once again in Paris, where he joined his friends Zygmunt Menkes and Marc Chagall. His growing artistic fame and financial successes ended suddenly when he died of a heart attack.
From the beginning, Żak expressed his artistic temperament through a sophisticated application of line, referring in his sanguine portraits to works by Leonardo, Botticelli, Holbein and Dürer. In the early stage of his career, he approached the style of the Nabis, through the manipulation of flat areas, enclosed within distinct contours and faded, slightly matte colors. For a brief period, he succumbed – like so many of his Parisian colleagues – to the exoticism and folk atmosphere of Brittany. He also borrowed certain motifs from Chinese porcelain and Persian miniatures. He painted views of Parisian back streets and boulevards on the Seine and, sporadically, took up New Testament themes.
Even before World War I, some of his compositions were in line with the idyllic tradition represented by works of such artists as Poussin, Watteau, and most of all Puvis de Chavannes, whose Poor Fisherman at the Louvre inspired a number of Żak’s paintings. Zak began to intensify the stylization of his figural silhouettes and faces. Żak’s Arcadia, inspired by nature and landscapes by European masters, was inhabited by people with a hermaphroditic beauty, undoubtedly linked to Żak’s fascination with the Renaissance. Their physiognomies recall the profiles of ancient Greek art, with the nose angled straight from the forehead and distinctly outlined eyes, while the faces bear a languorous, nostalgic expression. . Żak, like Modigliani, by means of sophisticated drawing and a poetic imagination with a romantic tint, created a very special “human race” found only in the figures of his pictures.
His cubified houses and masses of rocks were always composed with a decorative rhythm. Their refined combinations of broken colors and reserved expression distinguish these paintings. They enter an interesting dialogue with achievements of certain representatives of the German New Objectivity, and also some of the Italians from the Valori Plastici group, though by no means can we speak here of direct influences.
Around 1917-1920 social outsiders, the nostalgic loners who spend their lives in saloons or interiors with scanty furniture, replaced the earlier fishermen and their families, sailors, and merchants. Here we have a clear connection with the “miserable” trend of the young Picasso, such as his Saltimbanques of the blue period. At the same time, these sad themes are counterbalanced by representations of happy families in various configurations: a mother playing with a smiling child, a family playing with a puppet-theatre, etc. The paintings from his last period gain more light and life, while the artist does not eschew dissonances. Contours dissolve on the edges of bordering color areas and spot-lighting melts the surfaces of stylized forms. Żak’s repertoire of forms may not be rich, but it is characteristic enough due to make his works immediately recognizable. His style inspired many Polish artists gathered around “Rhythm,” a group which co-created a Polish version of Art Deco. The important feature of Żak’s grammar of forms was his treatment of the human silhouette, which the painter endowed with elongated proportions that had little in common with those of the real models, a mannerist over-emphasis on contrapposto, and dance-like postures usually ascribed to marionettes or dummies rather than to people.
His late paintings seemed to open a new chapter in his oeuvre: he now began to draw on the color and painterly effects of the Impressionists (primarily those of Renoir) once so much despised by him.
I was buying a humus at the best humus stall in Jerusalem
(as you can understand, like any Israeli, I consider myself an expert in humus).
She approached the next stall and, also, asked for a hums.
It was clear she is a gentle tourist.
I wondered if I should warn her that she is missing the best humus when
She is buying at the wrong stall,
but as in introvert, shy photographer,
(that doesn't want to be conceived like a rude Israeli male chauvinist)
I said nothing.
Instead I hide myself behind the camera,
and concentrated in capturing her as good as I can.
I was rather satisfied with the result;
I hope she too…
What do you say:
Should I warn her?
Known for Painting, sculpture
Amedeo Clemente Modigliani (12 July 1884 – 24 January 1920) 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 that were not received well during his lifetime but later found acceptance. Modigliani spent his youth in Italy, where he studied the art of antiquity and 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 oeuvre includes paintings and drawings. From 1909 to 1914 he devoted himself mainly to sculpture. His main subject was portraits and full figures, both in the images and in the sculptures. Modigliani had little success while alive, but after his death achieved great popularity. He died of tubercular meningitis, at the age of 35, in Paris.
en.wikipedia.org/wiki/Amedeo_Modigliani
Modigliani was born into a Sephardic Jewish family in Via Roma 38, close to Piazza Attias, in Livorno's city centre, Tuscany, Italy
Orginal picture Unknown author: Amedeo Modigliani, Photo made for the identification in Nice, dated 1918.
commons.wikimedia.org/wiki/File:Amedeo-modigliani-identif...
Artwork by TudioJepegii
Il rione, chiamato "la Venezia " per i canali che l'attraversano, nella città di Livorno, una zona ricca di storia e di fermenti di vita, di anarchici, di intellettuali. Il disegno si trova sul muro di un vecchio carcere che nel ventennio fascista ospitò molti patrioti italiani e stranieri.
The district, known as the "Venice" for channels that cross in the city of Livorno, an area rich in history and turmoil of life, anarchists, intellectuals. The design is on the wall of an old prison in the fascist period hosted many Italian patriots
Modigliani (1884 - 1920) 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 format.
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.
gandalfsgallery.blogspot.co.uk/2012/06/amadeo-modigliani-...
Alla mostra di Modigliani (Palazzo Ducale, Genova) non si potevano scattare foto, questa è una borsa sulla quale è stato stampato il bozzetto di una cariatide.
Il bozzetto risale all'epoca in cui Modigliani avrebbe voluto dedicarsi alla scultura, aspirazione che dovette abbandonare poiché scolpire la pietra significava inalare polveri che i suoi polmoni cagionevoli non avrebbero tollerato.
Nella mia foto ci sono discrepanze rispetto all'opera originale, la borsa esposta nella boutique non era tesa...
-----------------------
PS: Mi scuso con gli amici e i visitatori, ma sono costretta a venirvi a trovare solo un po' per volta, oggi un pacchetto di voi, domani un altro eccetera...
------------------------
Sorry, to me is very difficult to visit people that always only leave a fav without commenting...
Do not use any of my images on websites, blogs or other media without my explicit written permission.
All rights reserved - Copyright © fotomie2009 - Nora Caracci
Man Ray (born Emmanuel Radnitzky) ]was an American modernist artist who spent most of his career in Paris, France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known in the art world for his avant-garde photography, and he was a renowned fashion and portrait photographer. Ray is also noted for his work with photograms, which he called "rayographs" in reference to himself.[1]
Ray's work was not appreciated during his lifetime, with the exception of his fashion and portrait photography; especially in his native United States. Nevertheless, his reputation has grown steadily in the decades since.
Amedeo Modigliani. Un peintre et son marchand
www.musee-orangerie.fr/fr/agenda/expositions/amedeo-modig...