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(detail) Portrait of the Artist's Wife, Jeanne Hebuterne, 1918. Oil on canvas (1884-1920) Norton Simon
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Fuji Pro 160s, Holga camera.
Grave of Amedeo Modigliani and Jeanne Hébuterne,
Cimetière du Père Lachaise,
Paris, France.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
East German postcard by VEB Progress Film-Vertrieb, Berlin, no. 159, 1956. Photo: Gerhard Puhlmann. Gérard Philipe and Jean Carmet on the set of Les aventures de Till L'Espiègle/Bold Adventure (Gérard Philipe, Joris Ivens, 1956).
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.
French postcard by Editions F. Nugeron, no. Star 139. Photo: Air France / Distribution VU. Caption: Gerard Philippe, 5 January 1958.
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.
At the request of a local art dealer, Modigliani painted some thirty female nudes in Paris. With their graceful lines and stylised forms they all resemble each other. Their elongated faces, pointed chins and almond-shaped eyes were inspired by objects produced by various African cultures. The exhibition of this series caused such a stir that the police had to remove the paintings.
The Peggy Guggenheim Collection
[Bibliography]
Peggy Guggenheim's career belongs in the history of 20th century art. Peggy used to say that it was her duty to protect the art of her own time, and she dedicated half of her life to this mission, as well as to the creation of the museum that still carries her name.
Peggy Guggenheim was born in New York on 26 August 1898, the daughter of Benjamin Guggenheim and Florette Seligman. Benjamin Guggenheim was one of seven brothers who, with their father, Meyer (of Swiss origin), created a family fortune in the late 19th century from the mining and smelting of metals, especially silver, copper and lead. The Seligmans were a leading banking family. Peggy grew up in New York. In April 1912 her father died heroically on the SS Titanic. (1)
In her early 20s, Peggy volunteered for work at a bookshop, the Sunwise Turn, in New York and thanks to this began making friends in intellectual and artistic circles, including the man who was to become her first husband in Paris in 1922, Laurence Vail. Vail was a writer and Dada collagist of great talent. He chronicled his tempestuous life with Peggy in a novel, Murder! Murder! of which Peggy wrote: "It was a sort of satire of our life together and, although it was extremely funny, I took offense at several things he said about me."
In 1921 Peggy Guggenheim traveled to Europe. Thanks to Laurence Vail (the father of her two children Sindbad and Pegeen, the painter), Peggy soon found herself at the heart of Parisian bohème and American ex-patriate society. Many of her acquaintances of the time, such as Constantin Brancusi, Djuna Barnes and Marcel Duchamp, were to become lifelong friends. Though she remained on good terms with Vail for the rest of his life, she left him in 1928 for an English intellectual, John Holms, who was the greatest love of her life. There is a lengthy description of John Holms, a war hero with writer's block, in chapter five of Edwin Muir's An Autobiography. Muir wrote: "Holms was the most remarkable man I ever met." Unfortunately, Holms died tragically young in 1934.
In 1937, encouraged by her friend Peggy Waldman, Peggy decided to open an art gallery in London. When she opened her Guggenheim Jeune gallery in January 1938, she was beginning, at 39 years old, a career which would significantly affect the course of post-war art. Her friend Samuel Beckett urged her to dedicate herself to contemporary art as it was âa living thing,â and Marcel Duchamp introduced her to the artists and taught her, as she put it, âthe difference between abstract and Surrealist art.â The first show presented works by Jean Cocteau, while the second was the first one-man show of Vasily Kandinsky in England.
In 1939, tired of her gallery, Peggy conceived âthe idea of opening a modern museum in London,â with her friend Herbert Read as its director (2). From the start the museum was to be formed on historical principles, and a list of all the artists that should be represented, drawn up by Read and later revised by Marcel Duchamp and Nellie van Doesburg, was to become the basis of her collection.
In 1939-40, apparently oblivious of the war, Peggy busily acquired works for the future museum, keeping to her resolve to âbuy a picture a day.â Some of the masterpieces of her collection, such as works by Francis Picabia, Georges Braque, Salvador DalÃ- and Piet Mondrian, were bought at that time. She astonished Fernand Léger by buying his Men in the City on the day that Hitler invaded Norway. She acquired Brancusiâs Bird in Space as the Germans approached Paris, and only then decided to flee the city.
In July 1941, Peggy fled Nazi-occupied France and returned to her native New York, together with Max Ernst, who was to become her second husband a few months later (they separated in 1943).
Peggy immediately began looking for a location for her modern art museum, while she continued to acquire works for her collection. In October 1942 she opened her museum/gallery Art of This Century. Designed by the Rumanian-Austrian architect Frederick Kiesler, the gallery was composed of extraordinarily innovative exhibition rooms and soon became the most stimulating venue for contemporary art in New York City. (3)
Of the opening night, she wrote: âI wore one of my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and Abstract Art" (4). There Peggy exhibited her collection of Cubist, abstract and Surrealist art, which was already substantially that which we see today in Venice. Peggy produced a remarkable catalogue, edited by André Breton, with a cover design by Max Ernst. She held temporary exhibitions of leading European artists, and of several then unknown young Americans such as Robert Motherwell, William Baziotes, Mark Rothko, David Hare, Janet Sobel, Robert de Niro Sr, Clyfford Still, and Jackson Pollock, the âstarâ of the gallery, who was given his first show by Peggy late in 1943. From July 1943 Peggy supported Pollock with a monthly stipend and actively promoted and sold his paintings. She commissioned his largest painting, a Mural, which she later gave to the University of Iowa.
Pollock and the others pioneered American Abstract Expressionism. One of the principal sources of this was Surrealism, which the artists encountered at Art of This Century. More important, however, was the encouragement and support that Peggy, together with her friend and assistant Howard Putzel, gave to the members of this nascent New York avant-garde. Peggy and her collection thus played a vital intermediary role in the development of Americaâs first art movement of international importance.
In 1947 Peggy decided to return in Europe, where her collection was shown for the first time at the 1948 Venice Biennale, in the Greek pavilion (5). In this way the works of artists such as Arshile Gorky, Jackson Pollock, and Mark Rothko were exhibited for the first time in Europe. The presence of Cubist, abstract, and Surrealist art made the pavilion the most coherent survey of Modernism yet to have been presented in Italy.
Soon after Peggy bought Palazzo Venier dei Leoni, on the Grand Canal in Venice, where she came to live. In 1949 she held an exhibition of sculptures in the garden (6) curated by Giuseppe Marchiori, and from 1951 she opened her collection to the public.
In 1950 Peggy organized the first exhibition of Jackson Pollock in Italy, in the Ala Napoleonica of the Museo Correr in Venice. Her collection was in the meantime exhibited in Florence and Milan, and later in Amsterdam, Brussels, and Zurich. From 1951 Peggy opened her house and her collection to the public annually in the summer months. During her 30-year Venetian life, Peggy Guggenheim continued to collect works of art and to support artists, such as Edmondo Bacci and Tancredi Parmeggiani, whom she met in 1951. In 1962 Peggy Guggenheim was nominated Honorary Citizen of Venice.
In 1969 the Solomon R. Guggenheim Museum in New York invited Peggy Guggenheim to show her collection there. In 1976 she donated her palace and works of art to the Solomon R. Guggenheim Foundation. The Foundation had been created in 1937 by Peggy Guggenheimâs uncle Solomon, in order to operate his collection and museum which, since 1959, has been housed in Frank Lloyd Wrightâs famous spiral structure on 5th Avenue.
Peggy died aged 81 on 23 December 1979. Her ashes are placed in a corner of the garden of Palazzo Venier dei Leoni, next to the place where she customarily buried her beloved dogs. Since this time, the Guggenheim Foundation has converted and expanded Peggy Guggenheim's private house into one of the finest small museums of modern art in the world.
[Info]
Address
Peggy Guggenheim Collection
Palazzo Venier dei Leoni
Dorsoduro 701
I-30123 Venezia
Opening hours
Daily 10 am - 6 pm
Closed Tuesdays and December 25
General information
tel: +39.041.2405.411
fax: +39.041.520.6885
e-mail: info@guggenheim-venice.it
Visitor services
tel: +39.041.2405.440/419
fax: +39.041.520.9083
e-mail: visitorinfo@guggenheim-venice.it
Photography
Photography is permitted without flash. You may not use tripods or monopods.
Animals
Animals of all sizes are not allowed in the galleries and in the gardens.
For information and assistance please contact "Sporting Dog Club".
Call Tel. +39 347 6242550 (Marie) or +39 347 4161321 (Roberto)
or write to sportingdoginvenice@gmail.com
Venice Art for All
The Peggy Guggenheim Collection joins the Venice Art for All project and becomes accessible to all, including people with limited mobility.
Palazzo Venier dei Leoni was probably begun in the 1750s by architect Lorenzo Boschetti, whose only other known building in Venice is the church of San Barnaba.
It is an unfinished palace. A model exists in the Museo Correr, Venice (1). Its magnificent classical façade would have matched that of Palazzo Corner, opposite, with the triple arch of the ground floor (which is the explanation of the ivy-covered pillars visible today) extended through both the piani nobili above. We do not know precisely why this Venier palace was left unfinished. Money may have run out, or some say that the powerful Corner family living opposite blocked the completion of a building that would have been grander than their own. Another explanation may rest with the unhappy fate of the next door Gothic palace which was demolished in the early 19th century: structural damage to this was blamed in part on the deep foundations of Palazzo Venier dei Leoni.
Nor is it known how the palace came to be associated with "leoni," lions. Although it is said that a lion was once kept in the garden, the name is more likely to have arisen from the yawning lion's heads of Istrian stone which decorate the façade at water level (2). The Venier family, who claimed descent from the gens Aurelia of ancient Rome (the Emperor Valerian and Gallienus were from this family), were among the oldest Venetian noble families. Over the centuries they provided eighteen Procurators of St Markâs and three Doges. Antonio Venier (Doge, 1382-1400) had such a strong sense of justice that he allowed his own son to languish and die in prison for his crimes. Francesco Venier (Doge, 1553-56) was the subject of a superb portrait by Titian (Madrid, Fundaciòn Thyssen-Bornemisza). Sebastiano Venier was a commander of the Venetian fleet at the Battle of Lepanto (1571) and later became Doge (1577-78). A lively strutting statue of him, by Antonio dal Zotto (1907), can be seen today in the church of Ss. Giovanni e Paolo, Venice.
From 1910 to c. 1924 the house was owned by the flamboyant Marchesa Luisa Casati, hostess to the Ballets Russes, and the subject of numerous portraits by artists as various as Boldini, Troubetzkoy, Man Ray and Augustus John. In 1949, Peggy Guggenheim purchased Palazzo Venier from the heirs of Viscountes Castlerosse and made it her home for the following thirty years. Early in 1951, Peggy Guggenheim opened her home and collection to the public and continued to do so every year until her death in 1979. (3) (4)
In 1980, the Peggy Guggenheim Collection opened for the first time under the management of the Solomon R. Guggenheim Foundation, to which Peggy Guggenheim had given her palazzo and collection during her lifetime.
Palazzo Venier dei Leoni's long low façade, made of Istrian stone and set off against the trees in the garden behind that soften its lines, forms a welcome "caesura" in the stately march of Grand Canal palaces from the Accademia to the Salute.
[Permanent collection]
The core mission of the museum is to present the personal collection of Peggy Guggenheim. The collection holds major works of Cubism, Futurism, Metaphysical painting, European abstraction, avant-garde sculpture, Surrealism, and American Abstract Expressionism, by some of the greatest artists of the 20th century. These include Picasso (The Poet, On the Beach), Braque (The Clarinet), Duchamp (Sad Young Man on a Train), Léger, Brancusi (Maiastra, Bird in Space), Severini (Sea=Dancer), Picabia (Very Rare Picture on Earth), de Chirico (The Red Tower, The Nostalgia of the Poet), Mondrian (Composition No. 1 with Grey and Red 1938 / Composition with Red 1939), Kandinsky (Landscape with Red Spots, No. 2, White Cross), Miró (Seated Woman II), Giacometti Woman with Her Throat Cut, Woman Walking), Klee (Magic Garden), Ernst (The Kiss, Attirement of the Bride), Magritte (Empire of Light), DalÃ- (Birth of Liquid Desires), Pollock (The Moon Woman, Alchemy), Gorky (Untitled), Calder (Arc of Petals) and Marini (Angel of the City).
The museum also exhibits works of art given to the Solomon R. Guggenheim Foundation for its Venetian museum since Peggy Guggenheim's death, as well as long-term loans from private collections.
Hannelore B. and Rudolph B. Schulhof Collection
In October 2012 eighty works of Italian, European and American art of the decades after 1945 were added to the collections of the Solomon R. Guggenheim Foundation in Venice. They were the bequest of Hannelore B. Schulhof, who collected the works with her late husband Rudolph B. Schulhof. They include paintings by Burri, Dubuffet, Fontana, Hofmann, Kelly, Kiefer, Noland, Rothko, and Twombly, as well as sculptures by Calder, Caro, Holzer, Judd and Hepworth. The Hannelore B. and Rudolph B. Schulhof Garden exhibits works from this collection.
Gianni Mattioli Collection
The museum exhibits twenty six masterpieces on long-term loan from the renowned Gianni Mattioli Collection, including famous images of Italian Futurism, such as Materia and Dynamism of a Cyclist by Boccioni, Interventionist Demonstration by Carrà , The Solidity of Fog by Russolo, works by Balla, Severini (Blue Dancer), Sironi, Soffici, Rosai, Depero. The collection includes important early paintings by Morandi and a rare portrait by Modigliani.
Patsy R. and Raymond D. Nasher Sculpture Garden
The Patsy R. and Raymond D. Nasher Sculpture Garden and other outdoor spaces at the Peggy Guggenheim Collection presents works from the permanent collections (by Arp, Duchamp-Villon, Ernst, Flanagan, Giacometti, Gilardi, Goldsworthy, Holzer, Marini, Minguzzi, Mirko, Merz, Moore, Ono, Paladino, Richier, Takis), as well as sculptures on temporary loan from foundations and private collections (by Calder, König , Marini, Nannucci, Smith).
Modigliani is the new crowd-pleaser at Tate Modern, so popular you have to negotiate the art through a wall of humanity. Photography was forbidden which tends to happen when the art is sponsored by a corporate, in this case, The Bank of America.
We Monks coped in different ways. Mrs Monk, in this case, used her sketch book and Mr Monk adopted his phone to sketch away with his index finger.
This was his first attempt at such an art form and I have to say it beats taking a photograph with the same device because then you are obliged to concentrate on the art for more than a nanosecond.
I love to dig through old calendars for ideas to sketch and paint. Today, Girl in a Green Blouse, a painting by Amedeo Modigliani caught my eye.
There is just SOMETHING so endlessly fascinating about red hair! I found his Girl with Braids afterward and I love it even more.
Watercolor and ink in the 11 by 14” ProArt sketchbook.
Blogged at: thehappypainter22.blogspot.com/
Amedeo Modigliani（1884 - 1920）
Oil on canvas
The Metropolitan Museum of Art, New York
Gift of Mr. and Mrs. Nate B. Spingold
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Modigliani was an especially gifted painter and sculptor. This painting exudes his passion for the female form and exhibitionist persona. He was Italian, and it shows!
ODC - Intentional Blur
If you look closely you can see Shizandra's face. It reminds me of something Amedeo Modigliani might paint. I moved the camera up and down to give this blur effect.
Amedeo Modigliani (1884-1920)
La Rousse au pendentif (Red-headed Woman wearing a Pendant), 1918
Alicia Koplowitz Collection
Jeanne Hébuterne is best known for being the frequent subject and common-law wife of Amedeo Modigliani. But her story with the famous artist is one of the most tragic love stories of the art world.
Jeanne was a beautiful girl, famous of her long and thick her. She was introduced to the artistic community in Montparnasse by her brother André Hébuterne who wanted to become a painter. She met several of the then-starving artists including Tsuguharu Foujita for whom she modelled.
However, Jeanne with her talent for drawing wanted to become an artist too and chose to study at the Académie Colarossi. It was there in the spring of 1917 that Jeanne Hébuterne was introduced to Amedeo Modigliani. He was a handsome man, and attracted much female attention. Jeanne began an affair with him and the two fell deeply in love. She soon moved in with him, despite strong objection from her parents.
Life with Modigliani must have been hard. He was an alcoholic and a drug addict. His escalating intake of drugs and alcohol may have been a means by which Modigliani masked his tuberculosis from his acquaintances, few of whom knew of his condition. The writer Charles-Albert Cingria described Jeanne as gentle, shy, quiet, and delicate. In the fall of 1918, the couple moved to the warmer climate of Nice on the French Riviera where Modigliani’s agent hoped he might raise his profile by selling some of his works to the wealthy art connoisseurs who wintered there. While they were in Nice, their daughter was born. The following spring, they returned to Paris and Jeanne became pregnant again.
On 24 January 1920 Amedeo Modigliani died of tuberculosis. Jeanne Hébuterne’s family brought her to their home but Jeanne threw herself out of the fifth-floor apartment window the day after Modigliani’s death, killing herself and her unborn child. Her family, blamed her demise on Modigliani and at the beginning interred her in the Cimetière de Bagneux. Nearly ten years later the family relented and allowed her remains to be transferred to Père Lachaise Cemetery to rest beside Modigliani. Her epitaph reads: “Devoted companion to the extreme sacrifice.”
[From Daily Art - Zuzanna Stanska]