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French painter and printmaker. Originally destined for a legal career, he studied law for some time before working as a solicitor’s clerk. Uninterested in law, he then began to study Asian and African languages and obtained a diploma from the Ecole des Langues Orientales in Paris in 1906. Soon afterwards he began making infrequent visits to the Académie Julian in Paris, working in the studio of Jean-Paul Laurens, and there met and befriended Jean-Louis Boussingault and André Dunoyer de Segonzac. He then spent a short period at the Académie de la Palette where he received lessons from Charles Guérin, Georges-Olivier Desvallières and Pierre Laprade. In 1907 he worked with Boussingault and Dunoyer de Segonzac at a villa in St Tropez rented from Paul Signac. He first exhibited at the Salon d’Automne in 1908 and at the Salon des Indépendants in 1909.
1894. Litografia en sis colors. 27,5 x 36,7 cm. The Metropolitan Museum of Art, Nova York. 22.82.1-69. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
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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
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
my first visit in this wonderful museum. here are some highlights, especially of the Courbod collection.
Paul Signac - Entrance to the Harbour of Saint Tropaz, 1902 at Sammlung Rosengart Art Museum Lucerne Switzerland
Paul Signac（1863 - 1935）
Conté crayon on paper
12.7 x 19.2 cm
www.christies.com/lotfinder/drawings-watercolors/paul-sig...
Estimate : £ 2,000 - £ 3,000
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Christie's
Impressionist & Modern Works on Paper
London, 3 Feb 2016
Paul Signac (1863-1935)
The Road to Gennevilliers
dit aussi Faubourg de Paris (1883)
From the beginning of the 1880s, the young Paul Signac had revealed a taste for urban landscapes, painting views of Montmartre and the Paris suburbs, and in particular Asnières where he lived with his mother. This view of the northern suburb of Paris is an example of this interest, even if the industrialised area is pushed back into the distance, on to the horizon. The wide area given over to the road, the signposts and the few gaunt trees, all describe a landscape entirely shaped by human activity.
In this Road to Gennevilliers, Monet's influence is still visible. Signac had been able to admire works by the Impressionist master in the offices of the review La Vie Moderne in 1880 and during his private exhibition at the Durand-Ruel Gallery in 1883. The composition of the foreground in areas of flat colour is reminiscent of the landscapes Monet painted in the 1870s, particularly during his stay in Argenteuil (1871-1878).
This landscape also has thematic and stylistic affinities with the suburban scenes painted by Sisley, Pissarro and Caillebotte some ten years earlier, making it one of Signac's last, manifestly Impressionist paintings. The following year he started to work with Seurat, and discovered the Divisionist technique that he then adopted definitively.
Imágenes relacionadas con las zonas del Boulevard de Clichy.
(Los números en amarillo del plano se corresponden a las zonas con bloque de imágenes).
En las proximidades de la Place de Clichy (1), en la Avenue de Clichy, dos puntos rojos marcan el lugar del Café Moncey y el Père Lathuille. En la mitad del primer tramo del bulevar se marcan las direcciones de los estudios de Signac y Seurat, donde también lo tuvo Picasso en 1901. Justo en el ángulo del bulevar (2), antes del trazado de la rue y puente de Caulaincourt sobre el Cementerio de Montmartre, se encontraba el Jardín del Père Forest, en un terreno colindante al cementerio, donde después se levantaría el Hippopalace. En el segundo tramo del bulevar, en las proximidades de la entrada a la Rue Rachel, estuvo el segundo Taller de Cormon (en el 104 del Bd), y a poca distancia del Moulin Rouge, ya en la Place Blanche (3). Frente a éste, en el 6 de la Rue de Bruxeles también tuvo su estudio Gêrome. En dos grandes calles que desembocan el la citada plaza, hacia el norte, en el 54 de la Rue Lépic, residió Van Gogh con su hermano Theo, (muy cerca se encontraba el antiguo Atelier Cormon de la Rue Constance) y hacia el sur en la Rue Fontaine, en el nº5 se fundó la Academia Julian, en el 19 y 21 de tuvieron estudios colindantes Toulouse-Lautrec y Degas. En la prolongación del bulevar hacia la Place de Pigalle, también tuvieron su ubicación lugares tan famosos como el Chat-Noir (68), Le Tambourin (después Quat´Z´Art)(62), Le Ciel et l´Enfern (53), el Casino de Montmartre (47) o el Café des Arts. Ya en la Place de Pigalle (4), se encontraba el famoso Passage del l’Elysée-des-Beaux-Arts (hoy André-Antoine), paralelo a la Rue Houdon, donde entre otros, tuvieron sus talleres Zandomenegi, Seurat y Modigliani. Al otro lado de la Plaza, habitó Boldini, primero en la Avenue de Frochot y después en 1871, en el edificio con los estudios para artistas que en el número 11, formaba esquina con la plaza, la rue de Pigalle y Duperré. Allí también lo tuvieron antes Dreux, Isabey, Henner y Puvis de Chabannes. La semiluna de la Place de Pigalle estaba flanqueada por establecimientos unidos a la historia de la pintura parisina de esta época, así: en el número 1, se hallaba el inmueble construido por Díaz de la Peña, "l´Abbaye de Théléme", donde se reunían pintores paisajistas de la escuela de Barbizon. En él tuvo su taller Fromentin. En el nº7 estaba "Le Rat Mort" antes café de Pigalle, y en el 9, "La Nouvelle-Athènes" tan unido al grupo impresionista. Ambos establecimientos se encontraban separados por la Rue Frochot, donde en el nº 15 también tuvo por un tiempo taller Toulouse-Lautrec. En la prolongación de la Rue Frochot, en el 21 de la Rue de Breda (hoy Henri Monnier) residió Goeneutte, quien también lo había hecho en el 23 de la cercana Rue Laval (hoy Victor Massé), donde en el 36 estuvo el "Bal Tabarin". En el último tramo del bulevar de Clichy, en el nº 6 tuvo su última residencia Degas, muy cerca de la desembocadura de la Rue des Martyrs que actua de límite entre los bulevares de Clichy y Rochechouart. En su ángulo, se encuentra aún en el nº2 el sitio del antiguo Restaurant y Teatro de La Cigale, muy próximo al Gaité Rochechouart. En la continuación también estaban los teatros y cabaret Le Trianon, Le Mirliton y el Elysée-Montmartre. En la acera opuesta, hemos marcado el lugar donde se levantó la carpa circular del antiguo Circo Fernando, luego Medrano, en la esquina y prolongación de la Rue des Martyrs y muy cercana a ella en el nº 6 de la Rue Clauzel, el lugar donde estuvo la tienda de pinturas del Pére Tanguy, lugar emblemático de la época donde se reunían los pintores del "Petit Boulevard".
The Boieldieu bridge at Rouen, foggy sunset, 1891.
Camille Pissarro was born at Charlotte Amalie in the Danish West Indies (since 1917 the US Virgin Islands), a colony in the Danish Colonial Empire. His parents were Abraham Gabriel Pissarro, a Portuguese Sephardic Jew, and Rachel Manzano-Pomie, from the Dominican Republic. Pissarro lived in St. Thomas until age 12, when he went to a boarding school in Paris. He returned to St. Thomas, where he drew in his free time. Pissarro was attracted to anarchism, an attraction that may have originated during his years in St. Thomas.
In 1849 he met Fritz Melbye a Danish painter who had recently arrived on the islands from Copenhagen where he had trained to become a marine artist under his brother Anton Melbye. Melbye inspired the young Pissarro to take on painting as a full-time profession, and also became his teacher and close friend. In 1852 the two painters travled to Venezuela where they stayed together until 1855 when Pissarro returned to St. Thomas and, the same year, continued to Paris.
In Paris he studied at various academic institutions (including the Ecole des Beaux-Arts and Academie Suisse) and under a succession of masters such as Jean-Baptiste-Camille Corot, Gustave Courbet, and Charles-Francois Daubigny. Corot is sometimes considered Pissarro's most important early influence; Pissarro listed himself as Corot's pupil in the catalogues to the 1864 and 1865 Paris Salons.
Pissarro married Julie Vellay, a maid in his mother's household. Of their eight children, one died at birth and one daughter died aged nine. The surviving children all painted, and Lucien, the oldest son, became a follower of William Morris.
The Franco-Prussian War of 1870-71 compelled Pissarro to flee his home in Louveciennes in September 1870; he returned in June 1871 to find that the house, and along with it many of his early oil paintings, had been destroyed by Prussian soldiers. Initially his family was taken in by a fellow artist in Montfoucault, but by December 1870 they had taken refuge in London and settled at Westow Hill in Upper Norwood (today better known as Crystal Palace). A Blue Plaque now marks the site of the house on the building at 77a Westow Hill.
Through the oil paintings Pissarro completed at this time, he records Sydenham and the Norwoods at a time when they were just recently connected by railways, but prior to the expansion of suburbia. One of the largest of these oil paintings is a view of St. Bartholomew's Church at Lawrie Park Avenue, commonly known as The Avenue, Sydenham, in the collection of the London National Gallery. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the catalogue raisonne prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and Lionello Venturi and published in 1939. These oil paintings include Norwood Under the Snow, and Lordship Lane Station, views of The Crystal Palace relocated from Hyde Park, Dulwich College, Sydenham Hill, All Saints Church, and a lost painting of St. Stephen's Church.
Everything is beautiful, all that matters is to be able to interpret. ”
- Camille Pissarro
Whilst in Upper Norwood Pissarro was introduced to the art dealer Paul Durand-Ruel, who bought two of his 'London' oil paintings. Durand-Ruel subsequently became the most important art dealer of the new school of French Impressionism.
Returning to France, in 1890 Pissarro again visited England and painted some ten scenes of central London. He came back again in 1892, painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils of Bedford Park, Chiswick.
Pissarro painted rural and urban French life, particularly landscapes in and around Pontoise, as well as scenes from Montmartre. His mature work displays an empathy for peasants and laborers, and sometimes evidences his radical political leanings. He was a mentor to Paul Cezanne, Edouard Manet , Pierre-Auguste Renoir, and Paul Gauguin and his example inspired many younger artists, including Californian Impressionist Lucy Bacon.
Pissarro's influence on his fellow Impressionists is probably still underestimated; not only did he offer substantial contributions to Impressionist theory, but he also managed to remain on friendly, mutually respectful terms with such difficult personalities as Edgar Degas, Cezanne and Gauguin. Pissarro exhibited at all eight of the Impressionist exhibitions. Moreover, whereas Claude Monet was the most prolific and emblematic practitioner of the Impressionist style, Pissarro was nonetheless a primary developer of Impressionist technique.
By the 1880s, Pissarro moved into a Postimpressionist period, returning to some of his earlier themes and exploring new techniques such as pointillism. He forged new friendships with artists including Georges Seurat and Paul Signac, and was an early admirer of Vincent van Gogh.
In March 1893, in Paris, Gallery Durand-Ruel organized a major exhibition of 46 of Pissarro's works along with 55 others by Antonio de La Gandara. But while the critics acclaimed Gandara, their appraisal of Pissarro's art was less enthusiastic.
Pissarro died in Paris on 13 November 1903 and was buried in Pere Lachaise Cemetery.
" Blessed are they who see beautiful things in humble places where other people see nothing. ”
- Camille Pissarro
Musee des beaux-arts, Rouen.
Musee des beaux-arts Rouen.
Subject and Model
The sitter is Berthe Roblès (1862–1942), a distant cousin of Camille Pissarro who became Signac’s wife on 7 November 1892. This portrait is the last of a series of intimate studies of his close family and friends, and it remains one of the rare finished figurative works in his Neo-Impressionist oeuvre.
Composition and Technique
Signac presents Berthe in profile under her parasol, applying countless pure pigment dots of complementary hues—greens set against oranges, reds against purples. The canvas deliberately avoids illusionistic depth, emphasizing a two-dimensional decorative surface. Arabesques in the sleeves, the parasol’s ribs, and details such as a stylized flower or tassel reinforce its hieratic, emblematic quality.
Provenance
The painting was held in the collection of Dr. Charles Cachin until 1989, when it was given to the French state under usufruct. It entered the Musée d’Orsay that same year as part of the national collection.
Significance
“Woman with a Parasol” showcases Signac’s mastery of pointillist theory and his shift from capturing fleeting light effects toward composing harmonious chromatic planes. By blending the Impressionist subject of outdoor leisure with a rigorously flat, decorative approach, Signac charts a distinctive path within Neo-Impressionism.
From Wikipedia en.wikipedia.org/wiki/Le_Chat_Noir Le Chat Noir ((French pronunciation: [lə ʃa nwaʁ] ; French for "The Black Cat") was a 19th-century cabaret, meaning entertainment house, in the bohemian Montmartre district of Paris. It was first opened on 18 November 1881 at 84 Boulevard Rochechouart by the impresario Rodolphe Salis, and closed in 1897 not long after Salis' death (much to the disappointment of Picasso and others who looked for it when they came to Paris for the Exposition in 1900).
Le Chat Noir is thought to be the first modern cabaret: a nightclub where the patrons sat at tables and drank alcoholic beverages while being entertained by a variety show on stage, introduced by a master of ceremonies who interacted with people he knew at the tables. Its imitators have included cabarets from St. Petersburg (The Stray Dog) to Barcelona (Els Quatre Gats).
Perhaps best known now by its iconic Théophile-Alexandre Steinlen poster art, in its heyday it was a bustling nightclub that was part artist salon, part rowdy music hall. The cabaret published its own humorous journal Le Chat Noir, which survived until 1895. It began by renting the cheapest accommodations it could find, a small two room affair at 84 Boulevard Rochechouart, (a site now commemorated only by a historical plaque). The first site's success was assured with the wholesale arrival of a group of radical young writers and artists called Les Hydropathes (“those who are afraid of water”), led by the journalist Emile Goudeau. The group claimed to be averse to water, preferring wine and beer; their name doubled as a nod to the "rabid" zeal with which they advocated their sociopolitical and aesthetic agendas. Goudeau’s club met in his house on the Rive Gauche (left bank), but had become so popular that it outgrew its meeting place. Salis met Goudeau, whom he convinced to transfer the club across the river to 84 Boulevard Rochechouart.[1]
The club began by serving bad wine and with a rather inferior decor. But from the first, at the door, guests were greeted by a Swiss guard, splendidly bedecked and covered with gold from head to foot, supposedly responsible for bringing in the painters and poets who arrived, while barring the "infamous priests and the military." Eventually Salis' tongue-in-cheek admirational piece was on a high marble fireplace: The skull of Louis XIII as a child[2]
Le Chat Noir second location at 12 Rue Victor-Masse Paris (photo from 1906)
Le Chat Noir soon outgrew its first site. Three and a half years after opening, its popularity forced it to move into larger accommodations a few doors down, in June, 1885. Located at 12 Rue Victor-Masse (which before 1885 had been Rue de Laval 12), the new establishment was sumptuous. It was the old private mansion of the painter Alfred Steven, who, at the request of Salis, had transformed it into a “fashionable country inn” with the help of the architect Maurice Isabey. On June 10, 1885, with great fanfare, Salis moved to new premises at 12 Rue Victor-Masse. Very quickly, poets and singers who performed at The Black Cat found the best practice for their craft to be had in Paris.
Salis most often played, with exaggerated, ironic politeness, the role of conférencier (post-performance lecturer, or emcee). It was here that the Salon des Arts Incohérents (Salon of Incoherent Arts), the "shadow plays" and the comic monologues got their start.
According to Salis: "The Chat Noir is the most extraordinary cabaret in the world. You rub shoulders with the most famous men of Paris, meeting there with foreigners from every corner of the world."
Famous patrons of the Chat Noir included Franc-Nohain, Adolphe Willette, Caran d'Ache, André Gill, Émile Cohl, Paul Bilhaud, Sarah England, Paul Verlaine, Henri Rivière, Claude Debussy, Erik Satie, Charles Cros, Jules Laforgue, Charles Moréas, Albert Samain, Louis Le Cardonnel, Coquelin Cadet, Emile Goudeau, Alphonse Allais, Maurice Rollinat, Maurice Donnay, Marie Krysinska, Jane Avril, Armand Masson, Aristide Bruant, Théodore Botrel, Paul Signac, Yvette Guilbert, August Strindberg, and George Auriol.
Museum of Modern Art - MoMA
'Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890' by 'Paul Signac' (1890)
DSC06593
Huile sur toile, 65 x 82 cm, 1885, Tate modern, Londres.
Peintre néo-impressionniste français de figures et de paysages. Né à Paris. A étudié dans une école municipale de dessin auprès du sculpteur Justin Lequien. Travaille ensuite (1878-80) à l'Ecole des Beaux-Arts dans l'atelier de Lehmann, élève d'Ingres et copie des peintures et dessins d'Ingres et Holbein. A étudié les œuvres de Delacroix et les théories des couleurs de Chevreul, Charles Blanc, O.N. Rood et Charles Henry. Se concentrant de 1881 à 1883 sur le dessin, notamment au crayon conté, il commença ensuite à analyser les couleurs en leurs composants (divisionnisme) et à les juxtaposer par petits coups de pinceau (pointillisme).
Participe à la fondation de la Société des Artistes Indépendants en 1884 et rencontre Signac, Cross et Angrand. À partir de 1885, il passe presque tous les étés sur la côte normande à Grandcamp, Honfleur, etc. ; série de scènes côtières. Compositions de figures, parfois de grandes dimensions, pendant les mois d'hiver. Exposé à la dernière exposition impressionniste de 1886. Ses dernières œuvres montraient une stylisation croissante proche de l'Art nouveau (cf. Tate).
1923. Oli sobre tela. 71,76 x 90,17 cm. Minneapolis Institute of Art, Minneapolis. 62.36. Obra exposada: Galeria 351.
Place Martin Nadaud | Avenue Gambetta 06/12/2016 09h37
Morning sunlight on the facade of the belle époque building on the Place Martin Nadaud as seen from the Avenue Gambetta in the 20ème arrondissement of Paris.
Place Martin-Nadaud
Place Martin-Nadaud is a square in the 20ème arrondissement of Paris in the quartier Père Lachaise. Named after Martin Nadaus, former mason of the Creuse and French politician born in 1815 and died in 1898. Till 23/08/1969 there was a métro station called Martin-Nadaud but due to the reorganisation of métro line 3 the station was remodelled and relocated towards the West and renamed Gambetta.
[ Source and more information: Wikipedia - Place Martin-Nadaud ]
Avenue Gambetta
Avenue Gambetta is a 2,280 meters long street in the 20ème arrondissement in the quartier Saint-Fargeau. Named after Léon Gambetta (1838-1882), politician, member of the government of national defense in 1870, Chairman and member of the 20th arrondissement.
Tree-lined avenue Gambetta is formed by four different axes. It starts up-Auguste Métivier at and altidtude of 54 meters, where it rises on the hill of Ménilmontant to the northeast, along the Square Samuel-de-Champlain, towards the place Martin-Nadaud. The avenue is moving then due east and reached the Place Gambetta (87 m). There, the avenue turnes to the northeast, along the town hall of the 20ème arrondissement, Square Edouard Vaillant and Tenon Hospital, and reached Paul Signac places (99 m) and Saint-Fargeau (108 m) where it undergoes its final misalignment. After passing behind the administrative Turrets Centre, headquarters of the DGSE, it borders the Olympic pool Georges-Vallerey and the Square du Docteur-Variot and ends Porte des Lilas to 116 m altitude.
[ Source and more Information: Wikipedia - Avenue Gambetta ]
Study for "Luxe, calme et volupté“, 1904
Oil on canvas, 12 7/8 x 16" (32.7 x 40.6 cm)
Henri Matisse, French, 1869-1954
This study by Henri Matisse was for the painting, Luxe, calme et volupté (Luxury, Calm and Pleasure), which was painted in the summer of 1904 at Paul Signac and is currently housed in Musée d'Orsay.
Mrs. John Hay Whitney Bequest.
*
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
Paul Signac (1863-1935), Les Andelys, la berge, 1886, oil on canvas, 65 x 81 cm, Musée d'Orsay
Les Andelys, the Riverbank
Sur le pont Riquet (Paris 18ème).
... quoique le style pointillisme fasse davantage penser à Georges Seurat ou à Paul Signac qu'à Vincent van Gogh.
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
Henri Rousseau died in 1910 in Paris. Seven friends stood at his grave: the painters Paul Signac and Manuel Ortiz de Zárate, Robert Delaunay and his wife Sonia Terk, the sculptor Brancusi, Rousseau's landlord Armand Queval and Guillaume Apollinaire who wrote the epitaph Brancusi put on the tombstone:
We salute you
Gentle Rousseau you can hear us
Delaunay his wife Monsieur Queval and myself
Let our luggage pass duty free through the gates
of heaven
We will bring you brushes paints and canvas
That you may spend your sacred leisure in the
light of truth Painting
as you once did my portrait
Facing the stars
lion and the gypsy
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
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
Conté crayon on laid paper.
Charles Angrand was a visible presence in the Parisian avant-garde in the late 1880s and early 1890s. Associated with a circle of artists known as the Neo-Impressionists, Angrand emulated the shadowy crayon drawings of Georges Seurat, Neo-Impressionism's standard-bearer. Here Angrand presents himself, not at all as an artist, but as a bourgeois dandy, impeccably dressed and smoking a small cigar. His dashing figure emerges from a penumbra of black ground. Following Seurat's lead, Angrand deftly manipulates the stark white of the textured paper to illuminate the darkness. Fellow Neo-Impressionist Paul Signac praised Angrand's crayon drawings: "… his drawings are masterpieces. It would be impossible to imagine a better use of white and black …These are the most beautiful drawings, poems of light, of fine composition and execution."
De la cité corsaire dominée par sa citadelle du XVIème siècle au village de pêcheurs du début du XXème, la première ville libérée lors du débarquement de Provence devint dès les années 1950 une station balnéaire internationalement connue de la Côte d'Azur varoise et un lieu de villégiature de la Jet set européenne et américaine, comme des touristes en quête d'authenticité provençale ou de célébrités, familièrement appelée St-Trop',
Le centre-ville est constitué d'un petit habitat collectif ancien. À l'est, la citadelle constitue un espace boisé classé, prolongé au sud du cimetière marin et sur tout le centre de la presqu'île jusqu'à la pointe de Capon. Au sud se trouve une zone de petit habitat collectif et individuel, prolongée vers Ramatuelle et sur la pointe de la presqu'île, entre le cap saint-Pierre et le cap des Salins, par un habitat haut de gamme.
Saint-Tropez joue un rôle majeur dans l'histoire de l'Art Moderne. En 1892, Paul Signac découvre cet endroit baigné de lumière et incite des peintres comme Matisse, Bonnard ou Marquet à y venir. C'est notamment ici que le pointillisme et le fauvisme voient le jour, cette évolution étant parfaitement documentée au musée de l'Annonciade (cf. wikipédia).
Collage from recycled art calendar, notan design focused on negative space, Blond Wood Edge Frame 13" x 13", 2022.
Watch case
Pierre Signac (1623?-84), Paris, 1646 (later of Stockholm). The movement and the case's diamonds are long gone.
Commissioned by Count Magnus Gabriel De la Gardie as a New Year gift for Queen Kristina. The painting on the inside of the lid shows the queen as Diana, goddess of the hunt.
Temporary clock exhibition, Stockholm Royal Palace
________________________________________
Boett till smyckeur
Pierre Signac (1623?-84), Paris, 1646. (Därefter verksam i Stockholm). Verket och boettens diamanter sedan länge förlorade.
Beställt av greve Magnus Gabriel De la Gardie som nyårsgåva till drottning Kristina. Målningen på lockets insida visar drottningen som jaktgudinnan Diana.
Tillfällig utställning, Kungliga Slottet, Stockholm
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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.
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Oli sobre tela. 46,5 x 49,5 cm. Museu Nacional d'Art de Romania, Bucarest. Inv. 8365/2526. Obra exposada: Sala 12.
1883. Oli sobre ela. 32,5 x 46,5 cm. Staatliche Museen zu Berlin, Alte Nationalgalerie, Berlín. NG 19/57.
The Musée d'Orsay is a museum in Paris, France, on the left bank of the Seine, housed in the former railway station, the Gare d'Orsay, an impressive Beaux-Arts edifice built between 1898 and 1900. It holds mainly French art dating from 1848 to 1915, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by such painters such as Monet, Degas, Renoir, and Cezanne. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
The museum building was originally a railway station, Gare d'Orsay, constructed for the Chemin de Fer de Paris à Orléans and finished in time for the 1900 Exposition Universelle to the design of three architects: Lucien Magne, Émile Bénard and Victor Laloux. It was the terminus for the railways of southwestern France until 1939.
By 1939 the station's short platforms had become unsuitable for the longer trains that had come to be used for mainline services. After 1939 it was used for suburban services and part of it became a mailing center during World War II. It was then used as a set for several films, such as Kafka's The Trial adapted by Orson Welles, and as a haven for the Renaud-Barrault Theatre Company and for auctioneers, while the Hôtel Drouot was being rebuilt. The station's hotel closed on 1 January 1973.
In 1977 the French Government decided to convert the station to a museum. ACT Architecture (Renaud Bardon, Pierre Colboc and Jean-Paul Philippon) were the designers and the construction work was carried by Bouygues. The Italian architect Gae Aulenti oversaw the design of the conversion from 1980 to 1986.
The interior of the museum.The work involved creating 20,000 sq. m. of new floorspace on four floors. The new museum was opened by President François Mitterrand on 1 December 1986.
Major painters and works represented
Gustave Courbet — The Artist's Studio, Young Man Sitting, L'Origine du monde
Jean-François Millet — Spring, The Gleaners
Jean-Baptiste Camille Corot — A Morning. The Dance of the Nymphs
Alexandre Cabanel — The Birth of Venus, The Death of Francesca da Rimini and Paolo Malatesta
Jean-Léon Gérôme — Portrait of the baroness Nathaniel de Rothschild, Reception of Condé in Versailles, La Comtesse de Keller
Pierre Puvis de Chavannes — Young Girls by the Seaside, The Young Mother also known as Charity, View on the Château de Versailles and the Orangerie
Eugène Boudin — Trouville Beach
Camille Pissarro — White Frost
Édouard Manet — Olympia, The Balcony, Berthe Morisot With a Bouquet of Violets, The Luncheon on the Grass
Edgar Degas — The Parade, also known as Race Horses in front of the Tribunes, The Bellelli Family, The Tub, Portrait of Edouard Manet, Portraits, At the Stock Exchange, L’Absinthe
Paul Cézanne — Apples and Oranges
Claude Monet — The Saint-Lazare Station, The Rue Montorgueil in Paris. Celebration of June 30, 1878, Wind Effect, Series of The Poplars, Rouen Cathedral. Harmony in Blue, Blue Water Lilies
Odilon Redon — Caliban
Pierre-Auguste Renoir — Bal au moulin de la Galette, Montmartre
Jules Desbois — Destitution
Ferdinand Hodler — Der Holzfäller (The Woodcutter)
Gustave Caillebotte — The Floor Planers
Édouard Detaille — The Dream
Brian Wright — "The Man"
Vincent van Gogh — Self Portrait,The Siesta, The Church at Auvers, View from the Chevet, The Italian Woman, Starry Night Over the Rhone, Portrait of Dr. Gachet
Eugène Jansson — Proletarian Lodgings
Paul Signac — Women at the Well
Félix Vallotton — Misia at Her Dressing Table
Georges-Pierre Seurat — The Circus
Pierre Bonnard — The Chequered Blouse
André Devambez — The Charge
Paul Sérusier — The Talisman, the Aven River at the Bois d'Amour
Maurice Denis — Portrait of the Artist Aged Eighteen, Princess Maleine's Minuet or Marthe Playing the Piano, The Green Trees or Beech Trees in Kerduel, October Night (panel for the decoration of a girl's room)
André Derain — Charing Cross Bridge, also known as Westminster Bridge
James McNeill Whistler — Arrangement in Grey and Black: The Artist's Mother, also known as Whistler's Mother
William Adolphe Bouguereau — The Birth of Venus
Cecilia Beaux – Sita and Sarita (Jeune Fille au Chat)
Major sculptors
François Rude, Jules Cavelier, Jean-Baptiste Carpeaux, Auguste Rodin, Paul Gauguin, Camille Claudel and Honoré Daumier.
Saint-Tropez befindet sich an der Côte d’Azur, am östlichen Fuß des Massif des Maures. Das damalige Fischerdorf zog schon gegen Ende des 19. Jahrhunderts zahlreiche Künstler wie Paul Signac, Henri Matisse und Pierre Bonnard an, deren Werke heute in dem neben dem Hafen gelegenen Musée de l'Annonciade zu bewundern sind.
Der Aufschwung Saint-Tropez begann in den 1950er Jahren, als sich der Ort zu einem Treffpunkt von Künstlern und der High Society entwickelte. Unter Stammgästen wird der Ort auch nur kurz Saint Trop' genannt, von Einheimischen scherzhaft auch Sans trop d' pèse (nicht allzu sehr ins Gewicht fallend).
Saint-Tropez ist berühmt für seinen großen Yachthafen und die Baie de Pampelonne, den größten Sandstrand der Côte d´Azur, der allerdings überwiegend auf dem Territorium der Nachbargemeinde Ramatuelle liegt.
Viele prominente Europäer verbringen ihren Urlaub in Saint-Tropez, unter anderem in den – wiederum zu Ramatuelle gehörenden – berühmten Strandclubs Tahiti Plage, Club 55, Nikki Beach und Aqua Club. Den vielen reichen Urlauber stehen in Saint-Tropez zahlreiche teure Restaurants und Boutiquen zur Verfügung.
Die Ortschaft wird von einer 1592 entstandenen Zitadelle („La Citadelle“) überragt, von der man einen schönen Ausblick hat. Sie beherbergt ein Museum für Seefahrts- und Ortsgeschichte. Saint-Tropez hat nur 5275 Einwohner (Stand 1. Januar 2008), über das Jahr verteilt sind jedoch etwa fünf Millionen Besucher dort.
In Deutschland ist Saint-Tropez vor allem durch Gunter Sachs und Brigitte Bardot sowie durch die Gendarmerie-Filme mit Louis de Funès bekannt geworden.
Quelle: Wikipedia, the free encyclopedia