View allAll Photos Tagged Neoimpressionism
Die Erbsenernte, Éragny | La cueillette des pois, Éragny
Camille Pissarro
Oil on wood
46,2 × 55,3 cm
Museum Langmatt, Baden (Switzerland)
Currently at the exhibition "Cézanne, Monet, Renoir. French Impressionism from the Museum Langmatt" in the Lower Belvedere in Vienna.
www.belvedere.at/en/cezanne-monet-renoir
Camille Pissarro (1830 - 1903) "was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. [...]
Pissarro died in Paris on 13 November 1903 and was buried in Père Lachaise Cemetery." en.wikipedia.org/wiki/Camille_Pissarro
This is my take from where I stand at the Art Institute of Chicago on Georges Seurat's A Sunday on La Grande Jatte (1884).
Giovanni Segantini (Arco, 15 January 1858 - Schafberg mountain, 28 September 1899) - Savognino in winter (1890) - Oil on canvas 35 x 40 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
from nouvelles en trois lignes by félix fénéon, first published in le matin, a paris newspaper, later in book form translated by luc sante. fénéon was an art critic, promoter, editor, anarchist and minor clerk in the department of war.
Giovanni Battista Ciolina (Toceno, 15 May 1870 - Toceno, 29 May 1955) - The washerwoman (1897-99) - oil on canvas 71 x100 cm. - Exhibition Divisionism The revolution of light - Novara Castle
from nouvelles en trois lignes by félix fénéon, first published in le matin, a paris newspaper, later in book form translated by luc sante. fénéon was an art critic, promoter, editor, anarchist and minor clerk in the department of war.
Emilio Longoni (Barlassina, 9 July 1859 - Milan, 29 November 1932) - Girl with a cat (1892-93) - Oil on panel 24 x 33 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
George Seurat's painting "A Sunday Afternoon on La Grande Jatte" is his largest and most famous. When completed after two years of work in 1886, the painting was widely criticized by critics and others. It went largely unseen until purchased and gifted to the Art Institute of Chicago in 1924. Today it is hugely popular and considered a "must-see" on any tour of the AIC. (www.artic.edu/aic/collections/artwork/27992)
Matteo Pietro Olivero (Pratorotondo, 15 June 1879 - Saluzzo, 28 April 1932) - first rays (1904) - oil on canvas 110 x 75 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Giovanni Segantini (Arco, 15 January 1858 - Mount Schafberg, 28 September 1899) - Ave Maria on the mountains (1890) - drawing on paper, hard and colored pencils 38 x 59 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
Angelo Morbelli (Alessandria, 18 July 1853 - Milan, 7 November 1919) - Meditation (1913) - Oil on canvas 80 x 55.5 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Plinio Nomellini (Livorno, 6 August 1866 - Florence, 8 August 1943) - Sun and frost (1908-10) - Oil on canvas 125 x 125 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
Emilio Longoni (Barlassina, 9 July 1859 - Milan, 29 November 1932) - Child with trumpet and horse (1893-96) - Oil on canvas applied on cardboard 41 x 18 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
Carlo Fornara (Prestinone, 21 October 1871 - Prestinone, 15 September 1968) - Vespero in winter (1912-14) - Oil on canvas applied on cardboard 125 x 204 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
Plinio Nomellini (Livorno, 6 August 1866 - Florence, 8 August 1943) - Fishing (1891) - Oil on canvas 40 x 60 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
Plinio Nomellini (Livorno, 6 August 1866 - Florence, 8 August 1943) - The Diana of work (1891) - Oil on canvas 60 x 93 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Vincent van Gogh, né le 30 mars 1853 à Zundert, aux Pays-Bas, et mort le 29 juillet 1890 à Auvers-sur-Oise, en France, à l'âge de 37 ans, est un peintre et dessinateur néerlandais. Son œuvre pleine de naturalisme, inspirée par l'impressionnisme et le pointillisme, annonce le fauvisme et l'expressionnisme.
L’Italienne (1887)
Huile sur Toile
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Le tableau, intitulé L’Italienne (aussi appelé The Italian Woman ou Portrait d’Agostina Segatori), date de 1887
Dimensions : 81,5 × 60,5 cm
La figure est généralement identifiée à Agostina Segatori, tenancière d’un célèbre cabaret parisien (le Tambourin), immigrée italienne dont Van Gogh a fait plusieurs portraits pendant son séjour à Paris. Cette identification est discutée dans la bibliographie sur les modèles « italiens » de Paris à la fin du XIXᵉ siècle.
Contexte artistique (Paris, 1886–1888)
En 1886–1888 Van Gogh séjourne à Paris, fréquente les ateliers, les expositions impressionnistes et néo-impressionnistes, et découvre fortement l’esthétique japonaise (ukiyo-e). L’Italienne se situe dans cette période d’expérimentations : Van Gogh mêle les leçons des pointillistes/néo-impressionnistes (recherche de contraste chromatique) et l’influence japonaise (composition plane, bordures) tout en gardant une forte expressivité personnelle.
Composition et structure
Plan serré, frontal : la femme est assise face à nous, le buste centré, regard calme la pose est presque cérémonielle.
Arrière-plan très plat et presque monochrome (jaune doré), encadré par une bordure verticale à droite : cet arrière-plan supprime la profondeur spatiale traditionnelle et met l’accent sur la silhouette comme “objet graphique”. La bordure asymétrique renvoie directement aux compositions des estampes japonaises.
Couleur et facture picturale
Contraste chromatique violent et volontaire : Van Gogh juxtapose des complémentaires (rouges/verts, bleus/oranges) pour obtenir une intensité visuelle procédé apparent chez les néo-impressionnistes mais ici rendu par des hachures nerveuses plutôt que par le pointillisme strict.
Trait/texture : la touche est franche, en hachures croisées qui scandent la surface (sur le fond, la robe, le siège). Ce travail énergique transforme la surface en réseau rythmique une énergie plastique qui préfigure le fauvisme par son primat de la couleur expressive.
Traits du visage et psychologie
Van Gogh stylise le visage : il n’y a pas de modelé doux mais plutôt des plages de couleur et des touches contrastées qui sculptent le visage. Le regard, la bouche fermée et l’attitude des mains (cription des doigts sur les genoux) donnent une impression de retenue, de dignité et peut-être de mélancolie contenue. L’emploi des rouges et verts sur le visage répond à sa conception d’exprimer les « passions » par la couleur.
Signification possible & interprétations
Japonisme vs brutalité expressive : Van Gogh reprend des éléments d’esthétique orientale (planéité, bordure, stylisation) mais les convertit en une langue plus rugueuse et expressive « raffinements orientaux » transformés en une puissance presque primitive (formulation du musée).
Identité sociale : représenter Agostina (si c’est elle) rappelle la fascination parisienne pour les immigrations et les types populaires ; Van Gogh choisit de ne pas idéaliser la femme mais de la rendre humaine, attachante et énergique par sa peinture.
Technique & matériaux
Peinture à l’huile, application en couches rapides et hachées ; la construction par lignes et petits coups de pinceau donne simultanément motif décoratif et modelé psychologique. L’absence d’ombres localisées (ou leur effacement au profit de couleurs juxtaposées) renforce l’effet bidimensionnel décoratif.
Place dans l’œuvre de Van Gogh
Ce tableau illustre très bien la phase parisienne d’expérimentation avant son installation en Provence. On y voit l’apprentissage du langage coloré et la poussée expressive qui, un peu plus tard, aboutira aux œuvres d’Arles où la couleur deviendra un outil émotionnel majeur.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
Plinio Nomellini (Livorno, 6 August 1866 - Florence, 8 August 1943) - Sun and frost (1908-10) - Oil on canvas 125 x 125 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
A digital photo painting. Neo-Impressionism.
View the large original size, or you will likely miss what is going on with the textures (these are the old-fashioned applied variety, not layered in with any commercial program). This is designed to reproduce as a print, at least 30" square.
One of my favorite painting from August Renoir (1841 - 1919.) August did this painting in a studio with this beautiful model not knowing years later she eventually became his wife. I especially love the back drop which appears to be a seaside. An amazing artist from the era of neoimpressionism when life was difficult.
Giovanni Segantini (Arco, 15 January 1858 - Mount Schafberg, 28 September 1899) - Galloping horses (1889-1890) - Charcoal, gold and blood dust on canvas 48 x 69 - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
Carlo Fornara (Prestinone, 21 October 1871 - Prestinone, 15 September 1968) - Radiant hour (1924-25) - Oil on canvas 75 x 95 cm. - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
Cesare Maggi (Rome, 13 January 1881 - Turin, 1961) - The sled (1903) - Oil on canvas 110.5 x 100 cm - Exhibition of Divisionism The revolution of light - Novara Castle
En mer, portrait de Paul Signac, dit aussi Paul Signac à la barre de son bateau l'Olympia
Oeuvre de Théo Van Rysselberghe (1862-1926)
L'artiste est un belge, ami de Signac avec lequel il a navigué, il a adopté la technique divisionniste inventée par Seurat
1896
Huile sur toile
Archives Signac
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
Giovanni Segantini (Arco, 15 January 1858 - Mount Schafberg, 28 September 1899) - White cow in the drinking trough (1890) - Colored chalks, hard pencil and charcoal on cardboard - Exhibition Divisionism The revolution of light - Novara Castle
Il Divisionismo nasce a Milano, sulla stessa premessa del Neo-Impressionnisme francese, meglio noto come Pointillisme, senza tuttavia che si possa parlare di influenza diretta. Muove dall’idea che lo studio dei trattati d’ottica, che hanno rivoluzionato il concetto di colore, debba determinare la tecnica del pittore moderno. Si sviluppa nel Nord d’Italia, grazie soprattutto al sostegno di Vittore Grubicy de Dragon, mercante d’arte, critico, pubblicista e a sua volta pittore, che con il fratello Alberto gestisce a partire del 1876 una galleria d’arte a Milano. E’ Vittore a diffondere tra i pittori della sua scuderia il principio della sostituzione della miscela chimica dei colori tradizionalmente ottenuta sulla tavolozza, con un approccio diretto all’accostamento dei toni complementari sulla tela. Da dato chimico, il colore diventa fenomeno ottico e alla dovuta distanza l’occhio dello spettatore può ricomporre le pennellate staccate in una sintesi tonale, percependo una maggior luminosità nel dipinto.
Divisionism was born in Milan, on the same premise as the French Neo-Impressionnisme, better known as Pointillisme, without however being able to speak of direct influence. It starts from the idea that the study of optical treatises, which have revolutionized the concept of color, should determine the technique of the modern painter. It develops in Northern Italy, thanks above all to the support of Vittore Grubicy de Dragon, art dealer, critic, publicist and in turn painter, who with his brother Alberto has been managing an art gallery in Milan since 1876. Vittore spreads the principle of replacing the chemical mixture of colors traditionally obtained on the palette among the painters in his stable, with a direct approach to the combination of complementary tones on the canvas. From chemical data, the color becomes an optical phenomenon and at the necessary distance the viewer's eye can recompose the detached brush strokes in a tonal synthesis, perceiving a greater brightness in the painting.
La Ferme (soir)
Une étonnante composition pointilliste colorée avec une tendance japonisante
Oeuvre Henri-Edmond Cross (1856-1910)
vers mai 1892 - avant mars 1893
Huile sur toile
collection particulière
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
Giuseppe Pellizza da Volpedo (Volpedo, 28 July 1868 - Volpedo, 14 June 1907) - The bridge (1892) - Oil on canvas 26.5 x 39.2 cm. - Exhibition Divisionism The revolution of light - Novara Castle
A digital painting. Dry-brush-style technique. Neo-Impressionism.
Because I thought I saw "something".
Title derived from classical mythology. A dryad (pronounced "DRY-udd") is a fleeting nymph, dwelling in or presiding over woods and trees. Sometimes called a "wood nymph". A "sprite", "wisp", or "fairie".
I say I saw,
a vision raw.
Unaided.
Not the slightest faded.
Then you say you saw the same.
And said, "Aw, naw."
It's over-rated.
Paul Signac, Avignon. Soir (Le château des Papes), 1909, Huile sur toile, 73,3 x 91,9 [73,3] cm, Musée d’Orsay, Paris
A digital photo painting; a photo rendering; an illustrated photo; an offense of photographic purity. The choice of terms is yours. A stylized technique like this either makes sense . . . or it doesn't.
Arizona Painted Desert National Park.
Neo-Impressionism.
A little bit of visual tapestry for you. View large for best realization of painterly technique/textures.
Saint-Tropez. La Bouée rouge
Oeuvre de Paul Signac (1863-1935)
En 1895
Huile sur toile
H. 81,2 ; L. 65,0 cm.
Donation sous réserve d'usufruit du Dr Pierre Hébert, 1957
Musée d'Orsay, Paris
Notice complète du catalogue du musée d'Orsay, Paris
www.musee-orsay.fr/fr/oeuvres/saint-tropez-la-bouee-rouge...
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
Chahut, seconde esquisse
Oeuvre de Georges Seurat (1859-1891)
1889
Huile sur toile
Buffalo (New York)
Collection Albright-Knox Art Gallery
General Purchase Funds, 1943
Les femmes et les hommes de ce tableau dansent assidûment le chahut, ou cancan, une danse audacieuse pour l'époque dans laquelle les femmes soulèvent leurs jupes et balancent leurs jambes haut. (Extrait du site du musée
Kröller-Muller où se trouve l'oeuvre définitive)
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
L'arbre en fleur
Oeuvre d'Achille Laugé (1861-1944)
1893
Huile sur toile
Collection particulière
Ami de Bourdelle, le peintre Achille Laugé a rejoint la mouvance néo-impressionniste fondée par Seurat, Signac et Pissarro. Avec ce tableau "l'arbre en fleur", il a réussi à capter la lumière de manière magistrale en utilisant la technique de séparation des couleurs.
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Oeuvre présentée dans l'exposition "Signac, les harmonies colorées" au musée Jacquemart-André à Paris
L’ensemble de l’exposition suit un parcours chronologique, depuis les premiers tableaux impressionnistes peints par Signac sous l’influence de Claude Monet jusqu’aux oeuvres vivement colorées réalisées par l’artiste au XXe siècle, en passant par sa rencontre avec Georges Seurat en 1884. L’exposition, qui retrace la vie de Signac et son travail de libération de la couleur, évoque également l’histoire du néo-impressionnisme. Extrait du site de l'exposition
Please go gentle into that
good night
and don't wake the animals....
www.jango.com/stations/214063943/tunein?song_id=50119
Once in a Lifetime/ Talking Heads
By the Belgian artist, Anna Boch (1848-1936). Her father made his wealth from porcelain manufacturing, while her brother Eugène became an artist too. Adopting a neo-Impressionist painting style, Anna Boch and Eugène befriended other artists, including Vincent Van Gogh. She was thought to have been the only person to have bought a Van Gogh painting during his lifetime.
Les Andelys. La Berge
Une toile réalisée par l'artiste avec la technique divisionniste inventée par Georges Seurat
Oeuvre de Paul Signac (1863-1935)
En 1886
Huile sur toile
Musée d'Orsay, Paris
Notice complète dans le catalogue du musée d'Orsay, Paris
www.musee-orsay.fr/fr/oeuvres/les-andelys-la-berge-78700
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
A digital photo painting. Designed to be a mounted print, no less than 48 inches square. The texture details do not really materialize until a substantial dimension is reached (larger than the standard view here). So, view large or you will miss the whole idea.
Neo-Impressionism
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Paul Signac (1863-1935) was a French Neo-Impressionist painter. Together with Georges Seurat, Signac developed the Pointillism style. He was a passionate sailor, bringing back watercolor sketches of ports and nature from his travels, then turning them into large studio canvases with mosaic-like squares of color. He abandoned the short brushstrokes and intuitive dabs of color of the impressionists for a more exact scientific approach to applying dots with the intention to combine and blend not on the canvas, but in the viewer's eye. We have digitally enhanced some of his landscapes and seascapes, both from sketches and paintings into high resolution quality. They are free to download and use under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1328402/paul-signac-artworks-i-high-resolution-cc0-paintings-sketches?sort=curated&mode=shop&page=1
Au temps d'harmonie : l'âge d'or n'est pas dans le passé, il est dans l'avenir
Ce tableau est une réplique d'une peinture décorative monumentale réalisée par Paul Signac, durant l'été 1893, à la mairie de Montreuil en région parisienne.
Oeuvre de Paul Signac (1863-1935)
1896
Huile sur toile
Monclair, New Jersey, The Kasser Mochary Foundation
La composition de cette peinture illustre l'idéal social qui était celui des anarchistes de l'époque, un mouvement politique, souvent violent avec la pose de bombes, auquel adhéraient de nombreux peintres dont Paul Signac et des écrivains ou critiques d'art comme Félix Fénéon.
C'est un des principaux mérites de cette exposition sur Félix Fénéon d'avoir mis l'accent sur l'importance de l'anarchisme pour une partie des artistes en cette fin du 19ème siècle.
Oeuvre présentée dans l'exposition "Félix Fénéon. Les temps nouveaux, de Seurat à Matisse" au musée de l'Orangerie à Paris
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Aucune exposition n’a encore rendu hommage à Félix Fénéon (1861-1944), acteur majeur de la scène artistique de la fin du XIXe siècle et du tournant du XXe siècle. Le musée de l’Orangerie en association avec le musée du Quai Branly-Jacques Chirac et The Museum of Modern Art, New York (MoMA) propose de célébrer sa personnalité hors du commun, encore injustement méconnue. Extrait du site de l'Exposition "Félix Fénéon. Les temps nouveaux, de Seurat à Matisse" au musée de l'Orangerie à Paris
www.musee-orangerie.fr/fr/evenement/felix-feneon-les-temp...
L' Aciérie
Oeuvre de Maximilien Luce (1858-1941)
fr.wikipedia.org/wiki/Maximilien_Luce
le peintre est un ami de Paul Signac
1895
Huile sur toile
Genève, association des amis du petit Palais
Oeuvre présentée dans l'exposition "Enfin le cinéma ! Arts, images et spectacles en France (1833-1907)", Musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/enfin-le-cinema-arts-im...
Ne cherchant pas à présenter une chronologie des inventions, l’exposition « Enfin le cinéma ! » est volontairement synchronique et thématique. Elle fait dialoguer la production cinématographique française des années 1895-1907 avec l’histoire des arts, depuis l’invention de la photographie aux premières années du XXe siècle, au fil de quelques grands sujets que sont la fascination pour le spectacle de la ville, la volonté d’enregistrer les rythmes de la nature, le désir de mise à l’épreuve et d’exhibition des corps, le rêve d’une réalité « augmentée » par la restitution de la couleur, du son et du relief ou par l’immersion, et enfin le goût pour l’histoire.... Extrait du site de l'exposition
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Paul Signac (1863-1935) was a French Neo-Impressionist painter. Together with Georges Seurat, Signac developed the Pointillism style. He was a passionate sailor, bringing back watercolor sketches of ports and nature from his travels, then turning them into large studio canvases with mosaic-like squares of color. He abandoned the short brushstrokes and intuitive dabs of color of the impressionists for a more exact scientific approach to applying dots with the intention to combine and blend not on the canvas, but in the viewer's eye. We have digitally enhanced some of his landscapes and seascapes, both from sketches and paintings into high resolution quality. They are free to download and use under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1328402/paul-signac-artworks-i-high-resolution-cc0-paintings-sketches?sort=curated&mode=shop&page=1
Huile sur toile, 54 x 66 cm, 1883 (PDRS 729).
La première campagne de C Pissarro à Rouen en 1883 (plus le tableau néoimpressionniste PDRS 855 de 1888) consiste en la découverte de la ville et de ses environs à pied. C'est une peinture impressionniste de plein air.
Plutôt connu comme représentant de "l'impressionnisme rural", C Pissarro n'en est pas moins le peintre de Rouen par le nombre et l'importance de ses oeuvres (69 huiles sur toile, 54 pour C Monet dont 32 pour la série des Cathédrales en 1892-93).
Il va même, durant les dix dernières années de sa vie, se concentrer sur les vues urbaines de trois ports normands : Rouen (69), Dieppe (30) et Le Havre (24), soit environ 120 peintures, se hissant en définitive au rang du plus urbain des peintres impressionnistes avec plus de 300 tableaux, si l'on ajoute les 39 composés à Londres et surtout les 146 à Paris (C Durand-Ruel Snollaerts).
Merci Michelangelo pour la photo :
www.flickr.com/photos/47934977@N03/33383262010/in/datepos...
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Paul Signac (1863-1935) was a French Neo-Impressionist painter. Together with Georges Seurat, Signac developed the Pointillism style. He was a passionate sailor, bringing back watercolor sketches of ports and nature from his travels, then turning them into large studio canvases with mosaic-like squares of color. He abandoned the short brushstrokes and intuitive dabs of color of the impressionists for a more exact scientific approach to applying dots with the intention to combine and blend not on the canvas, but in the viewer's eye. We have digitally enhanced some of his landscapes and seascapes, both from sketches and paintings into high resolution quality. They are free to download and use under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1328402/paul-signac-artworks-i-high-resolution-cc0-paintings-sketches?sort=curated&mode=shop&page=1
Côte provencale, le four des Maures
« Cross dépeint ici l'un de ses sites préférés de la côte des Maures, aux pieds de l'Esterel : une baie sauvage dont les rivages sont plantés d'arbustes multicolores : « Vous imaginez la gaieté dont nous jouissons par ce ciel pur, le rose attendri des amandiers, le jaune exalté des mimosas se mariant au cobalt de la mer et au bleu émeraude (légèrement) du ciel » écrit-il à Angrand le 31 janvier 1906. (Extrait du site des musées du nord, rédactrice F. Baligand)
webmuseo.com/ws/musenor/app/collection/record/2405?vc=ePk...
Oeuvre Henri-Edmond Cross (1856-1910)
Juin 1906-février 1907
Huile sur toile
Acquisition 1985
Douai, musée de la Chartreuse
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.