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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.
c. 1914. Watercolor, gouache, blue crayon or pencil, and graphite pencil on blue wove paper. 62,2 x 47,9 cm. Fundació Barnes, Filadèlfia. BF292. Obra exposada: Room 10.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Fuji Pro 160s, Holga camera.
Grave of Amedeo Modigliani and Jeanne Hébuterne,
Cimetière du Père Lachaise,
Paris, France.
Amedeo Clemente Modigliani was an Italian painter and sculptor of the École de Paris who worked mainly in France. He is known for portraits and nudes in a modern style characterized by a surreal elongation of faces, necks, and figures — works that were not received well during his lifetime, but later became much sought-after. 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. -- Wikipedia
Oil on cardboard; 100 x 79 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.
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.
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.
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]
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.
Amedeo Modigliani - Italian, 1884 - 1920
Madame Kisling, c. 1917
East Building, Ground Level — Gallery 103-A
This vertical portrait painting shows the head and shoulders of a person with pale peach skin and an auburn, cheek-length bob hairstyle. The person has high cheek bones, deep pink lips, and an angular, pointed chin. The head is cocked to our left, and almond-shaped eyes are nearly blacked out. The black jacket has lapels over a white, collared, buttoned-up shirt with a crimson-red necktie. Shown against brick-red and black background, the portrait is painted with areas of relatively flat color but with loose brushstrokes that create a textured, mottled effect. The artist signed the work with black paint in the lower right corner: “modigliani.”
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
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
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
ho usato questa applicazione ( www.dcs.st-and.ac.uk/~morph/Transformer/ ) per trasformare una mia foto in un ritratto in stile modigliani, bellino vero?