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Born in Hangzhou, China, Ding Fuzhi 丁辅之 (1879–1949) was the founding member of Xiling Seal–Carving Association which focused on developing and researching the art of seal, painting, and calligraphy. He is well known for his creation of seals and his paintings of plum blossoms and fruits in which he used a pointillist technique. The same technique, which branched from Impressionism, was developed by Georges Seurat and Paul Signac in 1886. Inspired by pictograms, Ding depicted the characteristics of each fruit by mixing the naive quality of each fruit against the primitive oracle–bone script, while employing very sophisticated colorization. We have digitally enhanced these antique artworks into high–resolution printable quality. They are free to download under the CC0 license.
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Maximilien LUCE
France 1858 – 1941
The Seine at Herblay
[La Seine à Herblay] 1890
oil on canvas
canvas 50.5 (h) x 79.5 (w) cm
Musée d'Orsay, Paris , Purchase 1937
This exquisite rendition of graduated pinks and mauves, in delicately stippled brushwork, conveys the light and atmosphere of dusk. We look down onto a property nestled in a bend of the Seine: a white stone wall leads into the dark, densely vegetated section at the centre of the composition, and the roofs jutting up from the hillside. Luce’s carefully balanced composition is structured by diagonals—the triangle of grassy bank in the foreground, the interlocking sections formed by the bend in the river. Wedges of high-key colour are complemented by darker sections, and punctuated by the upright trees. Adopting a high viewpoint, Luce, like Seurat in Port-en-Bessin at high tide 1888, exploits the patterns and textures of grasses, bushes, trees and water, set against the distant hills and graded sky.
Luce began experimenting with Divisionist techniques in the mid 1880s. He exhibited seven works at the Salon des Artistes Indépendants in 1887, and in all subsequent exhibitions between 1888 and 1892. He was close to Pissarro (they shared the same radical politics) and through him meet Seurat, Signac and Cross.From 1889, Luce painted central Paris locations between the cathedral of Notre Dame and the Musée du Louvre, particularly the quays and bridges of the Seine, often set at dusk or at night.1 He continued to paint urban scenes, the animated streets of the Latin Quarter, construction workers, and views over Montmartre throughout his career. He also worked on the Brittany coast and travelled widely in the 1890s—to London, St-Tropez, and Borinage, a Belgium coal-mining district—but unlike his contemporaries, and the Impressionists before him, he did not produce series.
Luce’s choices of picturesque scenes along the Seine, as well as his canonical perspectives of Paris, were probably an attempt to attract buyers.2 From the late 1880s the painter was in dire straits both financially and emotionally; he lived and worked peripatetically, visiting friends for extended periods in an attempt to save money. In 1889 Luce visited Signac at Herblay, now a north-western suburb of Paris—and returned the following year to paint this scene. The Seine at Herblay was exhibited in Paris in 1890, and again three years later at the fifth Exposition des Peintres Impressionistes et Symbolistes. Reviewing that exhibition Yves Rambosson complained:
Once again, the evidence is clear that impressionism is powerless to render night-time effects … there is too much heaviness, and the precision of the brush-strokes cannot communicate the haziness of the enclosing darkness, and the indecisiveness of reflected gleams of light.3
These comments seem particularly out of place when contemplating this dusky scene at Herblay however, and if we consider the artist’s broader interest in nocturnes. Indeed, The Seine at Herblay is surely one the more dramatic and luminous examples of the genre.
Lucina Ward
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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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Saint-Tropez, dit aussi Pins au bord de la mer
Oeuvre de Maximilien Luce (1858-1941)
Vers 1890
Huile sur carton en forme d'éventail
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.
Wonderfully evocative winter scene by Post-Impressionist Paul Signac (1863-1935), with the added interest of a distant horse tram plodding its way.
Le Port de La Rochelle par Paul Signac. 1921
Le peintre a signé ici quelques toiles du port. Pour la petite histoire une célèbre toile intitulée également Le Port de La Rochelle avait été volée aux musée des Beaux Arts de la ville de Nancy, d'une valeur d'un million et demi d'euros, en 2018. Fort heureusement, elle a été retrouvée en Ukraine.
André Derain (1980-1954) - Les quais de la Tamise [Thames' quays] (1906-1907). In the collection of the Musée National d'Art Moderne, Centre Pompidou, Paris.
In the early 1900 there was some fascination in the French art market with the city of London and the river Thames as a painterly subject. In 1906, Derain went to London on a working trip funded by art dealer Ambroise Vollard, bringing back thirty paintings of the city - strikingly different from the foggy paintings by Monet, who also returned to London in 1904. Derain's Fauvism is in essence akin to Pointillism and Divisionism, in that they all exploit the effect of applying colours with separate and distinct brushstrokes, but the execution is quite different from those two other styles as exemplified by Seurat or Signac for Pointillism and Boccioni or Segantini for Divisionism.
Le Cirque
Il s'agit du dernier tableau de Seurat et, en raison de sa mort brutale, de son testament artistique. Signac achète le tableau en 1900, il doit le vendre en 1923 mais obtient que le nouveau propriétaire, le collectionneur américain John Quinn accepte de le léguer au musée du Louvre, ce qui sera fait en 1924.
Oeuvre de Georges Seurat (1859-1891)
1891
Huile sur toile
Legs John Quinn, 1924
Paris, musée d'Orsay
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.
La città di Antibes, dall’aspetto misto ligure-provenzale, si trova nel sud della Francia, sulla Costa Azzurra, tra Cannes e Nizza e fa parte del comune di Antibes Juan-les-Pins.
Deve il suo nome all’antico insediamento greco di Antipolis, importantissimo porto commerciale fino a tutto il medio evo.
Trasformatosi in tempi moderni in porto turistico denominato Port Vauban e considerato il più importante d’europa e il secondo del mondo, si colloca tra Fort Carré, fortezza del XVI secolo e uno dei massimi esempi di architettura militare europea che sorge sulle rovine dell’antico Tempio di Mercurio e i bastioni della città vecchia.
Ad Antibes c'è il Museo Picasso che si trova nel Castello Grimaldi (costruzione che risale al secolo XVI eretta sulle rovine dell'antica acropoli greco-romana) e contiene tutte le opere che Pablo Picasso eseguì durante il suo soggiorno ad Antibes, nel 1946. Fra le altre la notissima e acclamata Joie de vivre. Molti sono comunque i pittori, impressionisti e non, che negli ultimi centocinquanta anni hanno scelto di soggiornarvi per un certo tempo per ritrarre i suoi paesaggi e la sua luce incomparabile: ricordiamo Nicolas De Staël, che vi trovò prematuramente la morte, Claude Monet e Paul Signac, Hans Hartung. La vita della città è molto animata e colorata in ogni periodo dell'anno, con i suoi mille ristorantini da tutti i prezzi, i negozi, i locali, le botteghe d'arte, i variopinti mercatini. Altri posti molto visitati sono il Museo Peynet dedicato al grande artista e il Museo Archeologico (Bastion St. André, costruito da Sébastien Le Prestre de Vauban). Su Antibes Victor Hugo scrisse: "Tout ici rayonne, tout fleurit, tout chante" ovvero "Qui tutto splende, tutto fiorisce, tutto canta". In luglio nella Pinède Gould di Juan les Pins si svolge da più di 40 anni un famosissimo Festival del Jazz, manifestazione internazionale a cui hanno partecipato e partecipano i più prestigiosi nomi del jazz mondiale. Tra Antibes e Juan les Pins si estende il famoso promontorio di Cap d'Antibes dove Francis Scott Fitzgerald ambientò parte del suo romanzo Tenera è la notte
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...
Toulouse Lautrec Impressionist Painting Young Girl & Eros - Adolphe c.1882
Attributed to Henri de Toulouse Lautrec (1864-1901) After William Bouguereau
Approx: Size 47" tall x 35.25" wide (without the frame) - 62.75" tall x 51" wide (with Frame)
History
William Bouguereau was France's most popular painter of the late 1800s. A leader of the Academic School,
Bouguereau specialized in carefully detailed mythological and genre scenes, and was particularly noted for his tender
portrayals of children. "The Abduction of Psyche" (1895) is probably his best-known work. Today many critics dismiss
his style as kitsch and do not look kindly on his harmful opposition to new creative trends; but his exquisite craftsmanship
is undeniable. Bouguereau completed over 800 paintings, many of them life-sized. Adolphe William Bouguereau (he
never used his first name) was born in La Rochelle, France. He studied at the Ecole des Beaux-Arts and won the Prix de
Rome in 1850. In 1868 he built a lavish studio in Montparnasse and helped make that area the foremost artists' quarter
in Paris. Around this time he also began a liason with one of his students, American painter Elizabeth Gardner;
Bouguereau's mother opposed the relationship and the couple did not marry until her death in 1896. As comparatively
obscure as he is these days, it's difficult to imagine what a star Bouguereau was in the art world of his era. He worked
hard to fufil his many commissions and his paintings were so sought after, and fetched such high prices, that he once
boasted, "I lose five francs every time I pee". Engraved reproductions of his works sold in the millions. Along with wealth
and fame came many honors, including election to the Institute of France and being named a Grand Officer of the Legion
of Honor. Reactionary in visual tastes, Bouguereau believed art should idealize beauty and turned up his nose at
anything that even remotely deviated from this dictum. As President of the Society of French Artists from 1881, he
oversaw the selection of the thousands of paintings shown annually at the Paris Salon, the only real avenue to success
for aspiring Gallic painters and sculptors. For decades he used this position to hinder the press and public from
discovering the revolutionary changes that were taking place in French painting, including Impressionism, Realism,
Pointillism, and the singular efforts of Paul Gaugin, Henri Rousseau, and Toulouse-Lautrec. Paul Cezanne, who
submitted canvases to that venue every year only to have them rejected, finally gave up and declared, "I don't stand a
chance in Monsieur Bouguereau's Salon". Rival salons sprang up in Paris to combat Bouguereau's conservatism, but he
remained powerful and influential until his death at 79. (bio by: Bobb Edwards)
In 1882, Lautrec moved from Albi to Paris, where he studied art in the ateliers of two academic painters, Léon Bonnat
(1833–1922) and Fernand Cormon (1845–1924), who also taught Émile Bernard (1868–1941) and Vincent van Gogh
(1853–1890). Lautrec soon began painting en plein air in the manner of the Impressionists, and often posed sitters in the
Montmartre garden of his neighbor, Père Forest, a retired photographer. One of his favorite models was a prostitute
nicknamed La Casque d'Or (Golden Helmet), seen in the painting The Streetwalker (2003.20.13). Lautrec used peinture
à l'essence, or oil thinned with turpentine, on cardboard, rendering visible his loose, sketchy brushwork. The
transposition of this creature of the night to the bright light of day—her pallid complexion and artificial hair color clash with
the naturalistic setting—signals Lautrec's fascination with sordid and dissolute subjects. Later in his career, he would
devote an entire series of prints, called Elles, to life inside a brothel (1984.1203.166).
The most notable painting from the Harris collection was the early Toulouse-Lautrec painting "La blanchisseuse" (1886-
87), a young laundress with copper-colored hair and a pearly white blouse. Its optimistic presale estimate of $20 million
to $25 million turned out to be justified, as the painting sold for $22.4 million to a phone bidder. The price was a record
for a work by the artist sold at auction, $6 million more than the previous highest price.
Henri de Toulouse Lautrec (1864-1901) was a French artist of the late 19th Century, most closely associated with the
Symbolists, but with a unique, distinctive style of his own. His depictions of Parisian night life and society -- vivid, candid,
energetic and unflattering -- are instantly recognizable, and typify that place and period in the minds of many. The
painter's own life has become a legend that has inspired many romanticized interpretations.
Henri-Marie Raymond de Toulouse-Lautrec-Montfa was born on November 24, 1864, in the town of Albi, in the south of
France. He was the first child and heir of Alphonse Charlers Jean Marie (1838-1913), Count of Toulouse, and his wife
Marie Marquette Zoe Adele Tapie de Celeyran (1841-1930). Count Alphonse de Toulouse-Lautrec was an avid
sportsman and hunter, with a penchant for flamboyant outfits. Marie de Celeyran, by contrast, was very reserved and shy,
and doted on her first child. Young Henri was probably first introduced to painting through his uncles, several of whom
were amateur artists. He received his first tutelage in art from Rene Princeteau, a well-known sports-painter and a friend
of his father's.
Much of Henri's early childhood was spent in the Chateau de Celeyran, his mother's familial home, near the
Mediterranean town of Narbonne, where he spent much time drawing and painting the life and landscape of the estate. In
1868, his parents separated; Henri would live mostly with his mother. In 1872, he was enrolled in the prestigious Lycee
Fontanes in Paris, but he left the school only three short years later, in 1875, due to health reasons. Together with his
mother, he moved back to the south of France, and its gentler climate.
In 1878, Henri broke his left thigh as he was getting up out of a chair. Bed-ridden, he spent his time reading, drawing and
painting. A year later and just barely recovered from his first injury, he broke his other thigh whilst taking a walk with his
mother. The growth of his legs was stunted forever, and he never grew taller than 5 feet. There is much speculation about
the causes of the painter's medical condition. From the evidence we have today, it is probable that he suffered from
brittle bone disease (osteogenesis imperfecta), a genetic disorder that prevents bones and connective tissues from
developing properly. Osteogenesis imperfecta was not uncommon among the European aristocracy, and this would
explain Henri's physical frailty and other symptoms. Be that as it may, his illness was never identified during his lifetime,
and nothing his mother and his doctors undertook would help.
Meanwhile, Henri continued to pursue art. By 1880, he had produced as many as two and a half thousand works, in a
variety of techniques. Encouraged by his uncle Charles and by Princeteau, he eventually managed to convince his
mother to allow him to return to Paris to study art. In 1881, Henri de Toulouse-Lautrec set up residence in Princeteau's
Paris studio.
In 1882, the young artist was accepted into the studio of the famous painter and art teacher Leon Bonnat. However,
Bonnat took an immediate dislike to Toulouse-Lautrec, who, already then, had something of a caustic personality. The
two did not get along well, and after Bonnat became a professor at the Paris Academy of Art, Lautrec quit his studio and
began to study, instead, under Fernand Cormon. Cormon was a talented artist in his own right, and an enthusiastic
teacher, and his workshop attracted many young painters who would later be among the shapers of the art world.
Under Cormon, Toulouse-Lautrec explored many styles and techniques. He received a firm grounding in academic
painting, but Cormon also encouraged his students to explore Impressionism and contemporary directions in art. Two of
the painter's works from this period are the Artist's Mother (1883) and the Young Routy at Celeyran (1883).
In 1883, Lautrec had his first romantic liaison with Marie Charlet, a 17-year-old model. The painter would have many
affairs over the course of his rather brief life. All of them would be with women far below his station, and none of them
were very long-lasting. Although the artist immersed himself in the life of the lower classes -- the cabarets, the dance
halls and the brothels -- he always retained an aristocratic aloofness and a sense of his own superiority. He was not
attempting to become part of that life: he was rather an unprejudiced observer; a doctor or a scientist, trying to dissect it
and give it life, in his art.
Lautrec moved into the Montmartre district in 1884. Here, he met Edgar Degas, whom he came to admire. He soon
began to frequent the district's cabarets, including the Elysee-Montmartre, the Moulin de la Galette and the Mirliton, run
by Artistide Bruant, where he displayed his works. That year, he also had his first exhibition at the Pau.
In 1886, Lautrec met Vincent Van Gogh at Cormon's studio, where the Dutch painter had come to study. They quickly
became friends, though Lautrec left the studio only a few months later, his education there concluded. This was also the
year when he met Suzanne Valadon, who modelled for him, and they began a relationship. It didn't last long; two years
later, Valadon attempted suicide and the couple broke up. See The Laundress, which is one of the artist's depiction of
his mistress.
By this point, Lautrec's art was beginning to attract greater notice. In 1887, he participated in an exhibition in Toulouse,
where he assumed a false name, in order to distance himself from his father, the Count of Toulouse. In Paris, he
exhibited together with Van Gogh. He was invited to send some of his work to the les Vingt ("The Twenty") exhibition,
taking place early in 1888, in Brussels. At the same exhibition, two years later, Lautrec had a fierce argument with the
painter Henry de Groux over the inclusion of Van Gogh's work, and challenged the Belgian to a duel. The duel never took
place, but it shows the friendship Lautrec and Van Gogh shared. Van Gogh stayed with Lautrec in Paris, not long before
his suicide in 1890. See Toulouse-Lautrec's portrait of Vincent Van Gogh.
In 1889, Lautrec participated in the Salon des Independants for the first time. He would become a frequent contributor to
the Salon's exhibitions. He spent the summer on France's Atlantic coast, yachting. This year saw the opening of the
cabaret Moulin Rouge in the Montmartre; Lautrec immediately became a regular, and would often show his work at the
establishment. In modern popular culture, the name Henri de Toulouse-Lautrec is inseparably linked to the Moulin Rouge,
and it is true that some of his most iconic work was made there, including his notorious Moulin Rouge poster of 1891 (La
Goulue), Valentin "the Boneless" Training the New Girls (1890), and others.
Though Lautrec is most famous for his depictions of Parisian night-life, he was a man of constantly-evolving interests,
both artistically and otherwise. Around 1893, moved away from the cabarets and took an interest in literature and
theater. He made his first engraving in 1891, and his later works include many lithographs, such as Les Ambassadeurs:
Aristide Bruant (1892), May Milton (1895), The Jockey (1899), and others. In 1893, he took part in an exhibition devoted
to painters and engravers. That year was important as well, because he had his first solo exhibition at the gallery of
Maurice Joyant. In this, he was part of a modern trend for the celebration of individual artistic achievement. Prior to the
late 19th Century, exhibitions had always been collective, featuring numerous artists.
Lautrec spent a lot of the time between 1894 and 1897 travelling. He visited London, Madrid and Toledo in Spain,
Brussels, Haarlem and Amsterdam. In England, the painter became acquainted with Whistler and Oscar Wilde, both of
whom he saw as role models -- the former for his art, the latter for his lifestyle. In Spain, he took inspiration from the old
masters: Velasquez, Goya and El Greco. In Holland, he studied Rembrandt, Bruegel and Hals. In Brussels, in 1895 and
again in 1897, he took part in exhibitions organized by the group La Libre Esthetique (The Free Aesthetic), the
successors to les Vingt, where his work was exhibited side-by-side with that of Cezanne, Signac, Gauguin and Van
Gogh.
His lifestyle, ever erratic, was becoming increasingly so as a result of his drinking, which was rapidly spiralling out of
control. In 1894, on a whim, he moved into one of the brothels he frequented and lived there for some time. Some works
painted from his experience there include Rue de Moulins (1894), Prostitutes Around a Dinner Table (1894), Two
Friends (1894-95), In 1896, at a private exhibition in the gallery of Joyant, he got into altercation with no less a
personage than the former King of Serbia, Milan Obrenovic, whom he called an ignorant "pig farmer". By this time, he
was descending into outright alcoholism. In 1897, he had an attack of delirium tremens, while on summer vacation at
Villeneuve-sur-Yonne. His artistic output decreased sharply, as most of his days were spent in various states of
intoxication. His health deteriorated sharply. In 1899, he was confined to a mental hospital, attracting jabs from the press.
He died on September 9th, 1901, at the age of 36, at one of his beloved mother's homes in Malrome. His last two
paintings were "Admiral Viaud" and "An Examination at the Faculty of Medicine".
Biography by Yuri Mataev
Bibliography:
Court Painter to the Wicked. The Life and Work of Toulouse-Lautrec by Jean Bouret. Harry N. Abrams, Inc. NY 1968
Toulouse_Lautrec. A Life. by Julia Frey Viking. 1994
Nightlife of Paris. The Art of Toulouse-Lautrec by Patrick O'Connor. Universe, NY.1991
Henri de Toulouse-Lautrec by Herhard Gruitrooy. 1996.
Toulouse-Lautrec by Philippe Huisman and M.G. Dortu. Chartwell Books, Inc.1971
Toulouse-Lautrec His Complete Lithographs and Drypoints by Jean Adhemar. Harry N.Abrams, Inc. NY
Toulouse-Lautrec: The Complete Graphic Works by Gotz Adriani. Thames & Hudson, 1988.
H. de Toulouse-Lautrec: One Hundred Ten Unpublished Drawings by Arthur William Heintzelman, Edouard Julien, M.
Roland O. Heintzelman. French & European Pubns, 1955.
Rue Henri-Dubouillon 24/01/2025 20h00
Just a side street of the Avenue Gambetta with a nice little corner with bar restaurant Cherie Cherie
Rue Henri-Dubouillon
Rue Henri-Dubouillon is a street in the 20ème arrondissement of Paris in the quartier Saint-Fargeau. The street has a length of 58 meters and a width of 11 meters. Starts at 60, rue Haxo and ends at 199-203, avenue Gambetta.
The street was created in the year 1913.
This street is named after the owner of the land (Henri Dubouillon) on which it was opened.
[ Wikipedia - Rue Henri-Dubouillon ]
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.
Huile sur carton, 33 x 24 cm, été 1901, musée national de Serbie, Belgrade.
La ville de Binz est située sur la côte est de l'île de Rügen en Allemagne. Kandinsky y peignit quatre tableaux dans une technique similaire.
Cette rare peinture incarne les expérimentations de Kandinsky avec la technique et une étude réfléchies de la couleur qui va se révéler pleinement ensuite. L'artiste a créé plusieurs peintures sur les plages pittoresques de Rugen, sur une île de la mer Baltique. Cette période peut être considérée comme la maturité précoce de l'artiste, alors qu'il est encore fortement influencé par les techniques néo-impressionnistes, mais commence déjà à tâtonner.
Ses œuvres de 1901 sont principalement de petites peintures à l'huile en plein air, fortement influencées par Monet en termes de traitement de la lumière, et présentent des parallèles stylistiques avec la technique de Signac. L'empâtement est si intense dans celles-ci qu'elles sont presque surchargées de couleur. Dans cette image particulière, l'utilisation d'un couteau à palette pour appliquer la peinture la remplit d'une expressivité qui, dans sa franchise et sa simplicité, ruine presque la composition, révélant la tendance de l'artiste à l'abstraction (cf. wassilykandinsky.net).
☆📝Private collection (Juan San Nicolas Collection, Madrid).
Source: www.evangelizarconelarte.com/exposiciones-visitadas/dar%C...
This painting was shown at the exhibition "Impressionism and Spanish Art" in Moscow at the 'Museum of Russian Impressionism' in 2019.
Dario de Regoyos was a tireless traveler and constantly moved in search of new sources of inspiration. Brussels, Madrid, San Sebastian, Bilbao, Granada, Barcelona - in 18 years the artist changed his place of residence 15 times. The passion for changing the surrounding landscape did not allow the master to achieve economic stability, but Regoyos did not pursue it, putting creativity and plein air painting at the forefront. During his stay in San Sebastian in 1905, the artist visited the Uliya mountain range. There he painted a picture where he depicted an autumn forest at a sunset time. Almost horizontal rays penetrate between the pines and create a spectacular combination of bright light and shade from the trees. “Pine forest in Uliya” is a work in which Regoyos was able to very accurately use the pointillist tricks used, for example, by Paul Signac.
Rus: Дарио де Регойос был неутомимым путешественником и постоянно переезжал в поисках новых источников вдохновения. Брюссель, Мадрид, Сан-Себастьян, Бильбао, Гранада, Барселона – за 18 лет художник поменял место жительства 15 раз. Страсть к смене окружающего пейзажа не позволяла мастеру добиться экономической стабильности, но Регойос и не гнался за нею, ставя во главу угла творчество и пленэрную живопись. Во время своего пребывания в Сан-Себастьяне в 1905 году художник побывал на горном хребте Улия. Там он написал картину, где изобразил осенний лес в предзакатный час. Почти горизонтальные лучи проникают между соснами и создают эффектную комбинацию яркого света и тени от деревьев. «Сосновый лес в Улии» – это работа, в которой Регойосу удалось очень точно использовать пуантилистские приемы, какими пользовался, например, Поль Синьяк.
Statuette masculine
Kuyu, Congo
19è-début du 20è siècle
Bois, pigments
Trustees of the British Museum, Londres
Échangée avec le British Museum par Mr et Mrs Webster Plass en 1947
Vente Fénéon 1947 n°133
Acquis par Mr et Mrs Webster Plass
couple de collectionneurs américains vivant à Londres
Oeuvre présentée dans l'exposition "Félix Fénéon (1861-1944). Les arts lointains", au musée du quai Branly-Jacques Chirac, Paris
m.quaibranly.fr/fr/expositions-evenements/au-musee/exposi...
Cette exposition, très érudite, est le premier volet d'un hommage à Félix Fénéon (1861-1944), critique d'art visionnaire, éditeur, marchand d'art, ami de Seurat et de Signac, qui a été l'un des premiers collectionneurs d'art extra-occidental, notamment "d'art nègre" comme on l'appelait à l'époque ou plus généralement d'arts lointains.
Félix Fénéon de Paul Signac (photo dalbera prise lors de l'expo "Être moderne. Le MoMA à Paris à la Fondation Vuitton)
www.flickr.com/photos/dalbera/24697856998/in/album-721576...
Elle sera suivie d'une exposition complémentaire au musée de l'Orangerie dès le 16/10/2019 intitulée "Félix Fénéon. Les temps nouveaux, de Seurat à Matisse", puis d'une exposition regroupant les deux volets au MoMA à New-York.
Commissaires : Isabelle Cahn (musée d'Orsay) et Philippe Peltier (ex-Musée du quai Branly)
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
Saint-Tropez. La route du cimetière
Oeuvre de Maximilien Luce (1858-1941)
1892
Huile sur toile
Collection particulière
Maximilien Luce était un peintre, ami de Paul Signac, qui a travaillé avec lui à Saint-Tropez et qui avait atteint une totale maitrise de la technique néo-impressionniste comme le montre avec virtuosité le tableau représentant la route du cimetière de Saint-Tropez..
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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
Week 8 Sailing Vessels (1136 – 1140) 11/01 – 11/06/2020 ID 1136
Paul Signac French 1863-1935
Antibes, The Pink Cloud, 1916
Oil on canvas
Signac remained committed to Divisionism throughout his career, but the way he applied paint varied greatly. Unlike the brushy dashes and methodical dots of his earlier paintings, on view behind you, here, Signac employs a regularized, rectangular stroke that takes on the quality of a dazzling mosaic. In a 1916 letter to a critic, Signac annotated a sketch of this “portrait of a cloud” to reveal the cloud’s “personalities.” He referred to the vaporous form at upper left as Loïe Fuller—an American dancer who had taken Paris by storm in the 1890s—and pointed out “some Michelangelesque figures” in the dark underside of the cloud at right. The German gunboats in the lower right corner were called “the black squadron.”
Isabelle and Scott Black Collection
From the Placard: Museum of Fine Arts, Boston, MA
en.wikipedia.org/wiki/Paul_Signac
Statuette masculine
Bembé, République du Congo
19è-début du 20è siècle
Bois, pigments
Musée d'art moderne et contemporain, Troyes
Donation Pierre et Denise Lévy
Vente Fénéon 1947 n°95
Acquis par Pierre Lévy, industriel à Troyes
Oeuvre présentée dans l'exposition "Félix Fénéon (1861-1944). Les arts lointains", au musée du quai Branly-Jacques Chirac, Paris
m.quaibranly.fr/fr/expositions-evenements/au-musee/exposi...
Cette exposition, très érudite, est le premier volet d'un hommage à Félix Fénéon (1861-1944), critique d'art visionnaire, éditeur, marchand d'art, ami de Seurat et de Signac, qui a été l'un des premiers collectionneurs d'art extra-occidental, notamment "d'art nègre" comme on l'appelait à l'époque ou plus généralement d'arts lointains.
Félix Fénéon de Paul Signac (photo dalbera prise lors de l'expo "Être moderne. Le MoMA à Paris à la Fondation Vuitton)
www.flickr.com/photos/dalbera/24697856998/in/album-721576...
Elle sera suivie d'une exposition complémentaire au musée de l'Orangerie dès le 16/10/2019 intitulée "Félix Fénéon. Les temps nouveaux, de Seurat à Matisse", puis d'une exposition regroupant les deux volets au MoMA à New-York.
Commissaires : Isabelle Cahn (musée d'Orsay) et Philippe Peltier (ex-Musée du quai Branly)
Vincent van Gogh, Groot-Zundert 1853 - Auvers-sur-Oise 1890
Le Moulin de la Galette (1886)
Nationalgalerie, Berlin
The landscape and windmills around Montmartre were the source of inspiration for a number of van Gogh's paintings. Moulin de la Galette, the windmill still mounted over the moved establishment, is located near the apartment that van Gogh shared with his brother Theo from 1886 until 1888. Built in 1622, it was originally called Blute-Fin and belonged to the Debray family in the 19th century. Van Gogh met artists such as Toulouse-Lautrec, Paul Signac and Paul Gauguin who inspired him to incorporate Impressionism into his artwork.
Source: Wikipedia
Maximilien LUCE
France 1858 – 1941
The Seine at Herblay
[La Seine à Herblay] 1890
oil on canvas
canvas 50.5 (h) x 79.5 (w) cm
Musée d'Orsay, Paris , Purchase 1937
This exquisite rendition of graduated pinks and mauves, in delicately stippled brushwork, conveys the light and atmosphere of dusk. We look down onto a property nestled in a bend of the Seine: a white stone wall leads into the dark, densely vegetated section at the centre of the composition, and the roofs jutting up from the hillside. Luce’s carefully balanced composition is structured by diagonals—the triangle of grassy bank in the foreground, the interlocking sections formed by the bend in the river. Wedges of high-key colour are complemented by darker sections, and punctuated by the upright trees. Adopting a high viewpoint, Luce, like Seurat in Port-en-Bessin at high tide 1888, exploits the patterns and textures of grasses, bushes, trees and water, set against the distant hills and graded sky.
Luce began experimenting with Divisionist techniques in the mid 1880s. He exhibited seven works at the Salon des Artistes Indépendants in 1887, and in all subsequent exhibitions between 1888 and 1892. He was close to Pissarro (they shared the same radical politics) and through him meet Seurat, Signac and Cross.From 1889, Luce painted central Paris locations between the cathedral of Notre Dame and the Musée du Louvre, particularly the quays and bridges of the Seine, often set at dusk or at night.1 He continued to paint urban scenes, the animated streets of the Latin Quarter, construction workers, and views over Montmartre throughout his career. He also worked on the Brittany coast and travelled widely in the 1890s—to London, St-Tropez, and Borinage, a Belgium coal-mining district—but unlike his contemporaries, and the Impressionists before him, he did not produce series.
Luce’s choices of picturesque scenes along the Seine, as well as his canonical perspectives of Paris, were probably an attempt to attract buyers.2 From the late 1880s the painter was in dire straits both financially and emotionally; he lived and worked peripatetically, visiting friends for extended periods in an attempt to save money. In 1889 Luce visited Signac at Herblay, now a north-western suburb of Paris—and returned the following year to paint this scene. The Seine at Herblay was exhibited in Paris in 1890, and again three years later at the fifth Exposition des Peintres Impressionistes et Symbolistes. Reviewing that exhibition Yves Rambosson complained:
Once again, the evidence is clear that impressionism is powerless to render night-time effects … there is too much heaviness, and the precision of the brush-strokes cannot communicate the haziness of the enclosing darkness, and the indecisiveness of reflected gleams of light.3
These comments seem particularly out of place when contemplating this dusky scene at Herblay however, and if we consider the artist’s broader interest in nocturnes. Indeed, The Seine at Herblay is surely one the more dramatic and luminous examples of the genre.
Lucina Ward
The Van Gogh Museum (Dutch pronunciation: [vɑŋˈɣɔx mʏˌzeːjʏm]) is a Dutch art museum dedicated to the works of Vincent van Gogh and his contemporaries in the Museum Square in Amsterdam South, close to the Stedelijk Museum, the Rijksmuseum, and the Concertgebouw. The museum opened on 2 June 1973, and its buildings were designed by Gerrit Rietveld and Kisho Kurokawa.
The museum contains the largest collection of Van Gogh's paintings and drawings in the world. In 2017, the museum had 2.3 million visitors and was the most-visited museum in the Netherlands, and the 23rd-most-visited art museum in the world. In 2019, the Van Gogh Museum launched the Meet Vincent Van Gogh Experience, a technology-driven "immersive exhibition" on Van Gogh's life and works, which has toured globally.
History
Unsold works
Upon Vincent van Gogh's death in 1890, his work not sold fell into the possession of his brother Theo. Theo died six months after Vincent, leaving the work in the possession of his widow, Johanna van Gogh-Bonger. Selling many of Vincent's paintings with the ambition of spreading knowledge of his artwork, Johanna maintained a private collection of his works. The collection was inherited by her son Vincent Willem van Gogh in 1925, eventually loaned to the Stedelijk Museum in Amsterdam, where it was displayed for many years, and was transferred to the state-initiated Vincent van Gogh Foundation in 1962. In the years following her husband’s death, Johanna van Gogh-Bonger organized exhibitions of Vincent van Gogh's work in the Netherlands and abroad, significantly contributing to his posthumous recognition.
Dedicated museum
Design for a Van Gogh Museum was commissioned by the Dutch government in 1963 to Dutch architect and furniture designer Gerrit Rietveld. Rietveld died a year later, and the building was not completed until 1973, when the museum opened its doors. In 1998 and 1999, the building was renovated by the Dutch architect Martien van Goor, and an exhibition wing by the Japanese architect Kisho Kurokawa was added. In late 2012, the museum was closed for renovations for six months. During this period, 75 works from the collection were shown in the H'ART Museum.
On 9 September 2013, the museum unveiled a long-lost Van Gogh painting that spent years in a Norwegian attic believed to be by another painter. It is the first full-size canvas by him discovered since 1928. Sunset at Montmajour depicts trees, bushes and sky, painted with Van Gogh's familiar thick brush strokes. It can be dated to the exact day it was painted because he described it in a letter to his brother, Theo, and said he painted it the previous day 4 July 1888.
Art thefts
In 1991, twenty paintings were stolen from the museum, among them Van Gogh's early painting The Potato Eaters. Although the thieves escaped from the building, 35 minutes later all stolen paintings were recovered from an abandoned car. Three paintings – Wheatfield with Crows, Still Life with Bible, and Still Life with Fruit – were severely torn during the theft. Four men, including two museum guards, were convicted for the theft and given six or seven-year sentences. It is considered to be the largest art theft in the Netherlands since the Second World War.
In 2002, two paintings were stolen from the museum, Congregation Leaving the Reformed Church in Nuenen and View of the Sea at Scheveningen. Two Dutchmen were convicted for the theft to four-and-a-half-year sentences, but the paintings were not immediately recovered. The museum offered a reward of €100,000 for information leading to the recovery of the paintings. The FBI Art Crime Team listed the robbery on their Top Ten Art Crimes list, and estimates the combined value of the paintings at US$30 million. In September 2016, both paintings were discovered by the Guardia di Finanza in Castellammare di Stabia, Italy in a villa belonging to the Camorra drug trafficker Raffaele Imperiale. The two artworks were found in a "relatively good state", according to the Van Gogh Museum.
Buildings
The museum is situated at the Museumplein in Amsterdam-Zuid, on the Paulus Potterstraat 7, between the Stedelijk Museum and the Rijksmuseum, and consists of two buildings, the Rietveld building, designed by Gerrit Rietveld, and the Kurokawa wing, designed by Kisho Kurokawa. Museum offices are housed on Stadhouderskade 55 in Amsterdam-Zuid. Depending on the season, sunflowers are displayed outside the entrance to the museum.
Rietveld building
The Rietveld building is the main structure and houses the permanent collection. It has a rectangular floor plan and is four stories high. On the ground floor are a shop, a café, and an introductory exhibition. The first floor shows the works of Van Gogh grouped chronologically. The second floor gives information about the restoration of paintings and has a space for minor temporary exhibitions. The third floor shows paintings of Van Gogh's contemporaries in relationship to the work of Van Gogh himself.
Kurokawa wing
The Kurokawa wing is used for major temporary exhibitions. It has an oval floor plan and is three stories high. The entrance to the Kurokawa wing is via a tunnel from the Rietveld building.
Collection
Works by Vincent van Gogh
The museum houses the largest Van Gogh collection in the world, with 200 paintings, 400 drawings, and 700 letters by the artist.
The main exhibition chronicles the various phases of Van Gogh's artistic life.
His selected works from Nuenen (1880–1885):
Avenue of Poplars in Autumn (1884)
The Potato Eaters (1885)
His selected works from Antwerp (1886):
Skull of a Skeleton with Burning Cigarette (1886)
His selected works from Paris (1886–1888):
Agostina Segatori Sitting in the Café du Tambourin (1887)
Wheat Field with a Lark (1887)
View of Paris from Vincent's Room in the Rue Lepic (1887)
His selected works from Arles (1888–1889):
The Zouave (1888)
Bedroom in Arles (1888)
The Yellow House (1888)
Sunflowers (1889)
His selected works from Saint-Rémy (1889–1890):
Almond Blossoms (1890)
And his selected works from Auvers-sur-Oise (1890):
Wheatfield with Crows (1890)
The permanent collection also includes nine of the artist's self-portraits and some of his earliest paintings dating back to 1882.
A newly discovered work has temporarily gone on display. Van Gogh created three unknown sketches of peasants, which were then used as a single bookmark. Stylistically, they can be dated to autumn 1881.
Works by contemporaries
The museum also features notable artworks by Van Gogh's contemporaries in the Impressionist and post-Impressionist movements and holds extensive exhibitions on various subjects from 19th Century art history.
The museum has sculptures by Auguste Rodin and Jules Dalou, and paintings by John Russell, Émile Bernard, Maurice Denis, Kees van Dongen, Paul Gauguin, Édouard Manet, Claude Monet, Odilon Redon, Georges Seurat, Paul Signac, and Henri de Toulouse-Lautrec.
Meet Vincent Van Gogh Experience
The Van Gogh Museum manages an official Meet Vincent Van Gogh Experience, described as a travelling "3D immersive exhibition" using technology and computer audio-visual techniques to cover the story of Van Gogh's life through images of his works. The first "experience" was in 2016 in Beijing, and it has since been toured globally to Europe, Asia and North America.
The Meet Van Gogh Experience does not present original artworks, as they are too fragile to travel. The "experience" was designed in collaboration with the London-based museum design consultancy, Event Communications (who designed Titanic Belfast), and it won a 2017 THEA award in the category of Immersive Museum Exhibit: Touring.
Visitors
The Van Gogh Museum, which is a national museum (Dutch: rijksmuseum), is a foundation (Dutch: stichting).
Axel Rüger, who had been the museum director since 2006, left the museum in 2019 to become secretary and chief executive of the Royal Academy of Arts in London. The Van Gogh Museum announced that Managing Director Adriaan Dönszelmann would act as general director until a new director is appointed.
Since 2000, the museum had between 1.2 and 1.9 million visitors per year. From 2010 to 2012, it was the most visited museum in the Netherlands. In 2015, the museum had 1.9 million visitors, it was the 2nd most visited museum in the Netherlands, after the Rijksmuseum, and the 31st most visited art museum in the world.
The Van Gogh Museum is a member of the national Museumvereniging (Museum Association).
(Wikipedia)
Das Van Gogh Museum ist ein Kunstmuseum am Museumplein im Amsterdamer Stadtteil Oud-Zuid, Stadtbezirk Amsterdam-Zuid, das am 2. Juni 1973 eröffnet wurde. Es beherbergt die größte Sammlung mit Werken des niederländischen Malers Vincent van Gogh. Seit dem 1. Mai 2013 ist das Museum nach Umbau und einem vorübergehenden Umzug in ein anderes Gebäude wieder zugänglich. 2016 hatte das Haus 2.076.526 Besucher und gehört damit zu den meistbesuchten Kunstmuseen der Welt.
Geschichte
Als van Gogh 1890 mit 37 Jahren starb, hinterließ er mit etwa 900 Gemälden und 1.100 Zeichnungen ein umfangreiches Werk. Hiervon hatte er nur wenig verkauft und einige Arbeiten an Freunde verschenkt. Seinen Nachlass erbte sein jüngerer Bruder, der Kunsthändler Theo van Gogh. Dieser hatte neben den Werken von Vincent auch Arbeiten von Künstlern wie Paul Gauguin, Henri de Toulouse-Lautrec, Léon Lhermitte und Jean-François Millet gesammelt. Nachdem Theo bereits ein Jahr nach seinem Bruder verstarb, verwaltete seine Witwe Johanna van Gogh-Bonger das Erbe. Sie kehrte in die Niederlande zurück und organisierte erste Ausstellungen mit Werken Vincent van Goghs und trug wesentlich dazu bei, den Künstler einer größeren Öffentlichkeit bekannt zu machen. 1905 fand die erste große Ausstellung im Stedelijk Museum in Amsterdam statt, während sich das Rijksmuseum geweigert hatte, Leihgaben mit van Goghs Werken anzunehmen. Da van Gogh häufig mehrere Versionen des gleichen Themas gemalt hatte, konnte Johanna van Gogh einzelne Bilder der Sammlung verkaufen, ohne den Gesamteindruck wesentlich zu schmälern. Sie war es auch, die frühzeitig die Veröffentlichung der Briefe Vincent van Goghs in mehreren Sprachen vorantrieb. Nach ihrem Tod 1925 erbte ihr Sohn, der Ingenieur Vincent Willem van Gogh (1890–1978) die Sammlung. Er stellte verschiedenen Museen Werke als Leihgabe zur Verfügung, bevor er 1960 die Vincent van Gogh Stiftung gründete und ihr die Sammlung übergab. Zunächst gelangten die Bilder als Dauerausstellung ins Amsterdamer Stedelijk Museum, bevor 1973 das Van Gogh Museum eröffnet werden konnte.
1991 war das Van Gogh Museum Schauplatz eines aufsehenerregenden Kunstraubs, bei dem 20 Gemälde im Wert von mehreren Hundert Millionen Euro entwendet wurden. Dank einer Reifenpanne des Fluchtfahrzeugs konnten die Gemälde aber kurz nach der Entdeckung des Raubs von der Polizei sichergestellt werden. 2002 wurden bei einem Einbruch die Van-Gogh-Gemälde Stürmische See bei Scheveningen und Die Reformierte Kirche in Nuenen gestohlen, sie wurden 2016 wieder aufgefunden. Die im Haus eines neapolitanischen Drogenbarons sichergestellten Malereien konnten erst mit Zustimmung der Italienischen Justiz im Januar 2017 nach Amsterdam zurückkehren.
Gebäude
Das Museum besteht aus zwei Gebäuden. Der ursprüngliche Bau geht auf einen Entwurf von Gerrit Rietveld zurück. Nach seinem Tod im Jahr 1964 wurde der Bau von seinen Partnern J. van Dillen und J. van Tricht fortgeführt und nach Fertigstellung am 2. Juni 1973 eingeweiht. In diesem Gebäude ist heute die ständige Sammlung untergebracht. 1999 wurde ein Ergänzungsbau für Sonderausstellungen eingeweiht, der vom japanischen Architekten Kishō Kurokawa in Form einer Ellipse entworfen wurde. 2015 wurde der Ausstellungsbau durch einen neuen, großflächig verglasten Eingangsbereich ergänzt, dessen Entwurf ebenfalls aus dem Büro des 2007 verstorbenen Kurokawa stammt. Beide Gebäude sind durch einen unterirdischen Übergang miteinander verbunden.
Sammlung
Das Museum besitzt über 200 Gemälde Vincent van Goghs aus allen Schaffensperioden und 400 seiner Zeichnungen. Zu den ausgestellten Hauptwerken gehören Die Kartoffelesser, Das Schlafzimmer in Arles und eine Version der Sonnenblumen. Außerdem bewahrt das Museum den Großteil der Briefe Vincent van Goghs auf. Auch findet sich in der Sammlung die Suizidwaffe van Goghs, eine verrostete Lefaucheux à broche. Die von Theo van Gogh begonnene Sammlung mit Werken anderer Künstler des 19. Jahrhunderts wurde mit Stiftungsgeldern kontinuierlich ausgebaut, sodass das Museum heute auch Werke von Alma-Tadema, Bernard, Boulanger, Breton, Caillebotte, Courbet, Couture, Daubigny, Denis, Gauguin, Israëls, Jongkind, Manet, Mauve, Millet, Monet, Munch, Pissarro, Puvis de Chavannes, Redon, Seurat, Signac, Toulouse-Lautrec, van Dongen und von Stuck besitzt.
(Wikipedia)
The Van Gogh Museum (Dutch pronunciation: [vɑŋˈɣɔx mʏˌzeːjʏm]) is a Dutch art museum dedicated to the works of Vincent van Gogh and his contemporaries in the Museum Square in Amsterdam South, close to the Stedelijk Museum, the Rijksmuseum, and the Concertgebouw. The museum opened on 2 June 1973, and its buildings were designed by Gerrit Rietveld and Kisho Kurokawa.
The museum contains the largest collection of Van Gogh's paintings and drawings in the world. In 2017, the museum had 2.3 million visitors and was the most-visited museum in the Netherlands, and the 23rd-most-visited art museum in the world. In 2019, the Van Gogh Museum launched the Meet Vincent Van Gogh Experience, a technology-driven "immersive exhibition" on Van Gogh's life and works, which has toured globally.
History
Unsold works
Upon Vincent van Gogh's death in 1890, his work not sold fell into the possession of his brother Theo. Theo died six months after Vincent, leaving the work in the possession of his widow, Johanna van Gogh-Bonger. Selling many of Vincent's paintings with the ambition of spreading knowledge of his artwork, Johanna maintained a private collection of his works. The collection was inherited by her son Vincent Willem van Gogh in 1925, eventually loaned to the Stedelijk Museum in Amsterdam, where it was displayed for many years, and was transferred to the state-initiated Vincent van Gogh Foundation in 1962. In the years following her husband’s death, Johanna van Gogh-Bonger organized exhibitions of Vincent van Gogh's work in the Netherlands and abroad, significantly contributing to his posthumous recognition.
Dedicated museum
Design for a Van Gogh Museum was commissioned by the Dutch government in 1963 to Dutch architect and furniture designer Gerrit Rietveld. Rietveld died a year later, and the building was not completed until 1973, when the museum opened its doors. In 1998 and 1999, the building was renovated by the Dutch architect Martien van Goor, and an exhibition wing by the Japanese architect Kisho Kurokawa was added. In late 2012, the museum was closed for renovations for six months. During this period, 75 works from the collection were shown in the H'ART Museum.
On 9 September 2013, the museum unveiled a long-lost Van Gogh painting that spent years in a Norwegian attic believed to be by another painter. It is the first full-size canvas by him discovered since 1928. Sunset at Montmajour depicts trees, bushes and sky, painted with Van Gogh's familiar thick brush strokes. It can be dated to the exact day it was painted because he described it in a letter to his brother, Theo, and said he painted it the previous day 4 July 1888.
Art thefts
In 1991, twenty paintings were stolen from the museum, among them Van Gogh's early painting The Potato Eaters. Although the thieves escaped from the building, 35 minutes later all stolen paintings were recovered from an abandoned car. Three paintings – Wheatfield with Crows, Still Life with Bible, and Still Life with Fruit – were severely torn during the theft. Four men, including two museum guards, were convicted for the theft and given six or seven-year sentences. It is considered to be the largest art theft in the Netherlands since the Second World War.
In 2002, two paintings were stolen from the museum, Congregation Leaving the Reformed Church in Nuenen and View of the Sea at Scheveningen. Two Dutchmen were convicted for the theft to four-and-a-half-year sentences, but the paintings were not immediately recovered. The museum offered a reward of €100,000 for information leading to the recovery of the paintings. The FBI Art Crime Team listed the robbery on their Top Ten Art Crimes list, and estimates the combined value of the paintings at US$30 million. In September 2016, both paintings were discovered by the Guardia di Finanza in Castellammare di Stabia, Italy in a villa belonging to the Camorra drug trafficker Raffaele Imperiale. The two artworks were found in a "relatively good state", according to the Van Gogh Museum.
Buildings
The museum is situated at the Museumplein in Amsterdam-Zuid, on the Paulus Potterstraat 7, between the Stedelijk Museum and the Rijksmuseum, and consists of two buildings, the Rietveld building, designed by Gerrit Rietveld, and the Kurokawa wing, designed by Kisho Kurokawa. Museum offices are housed on Stadhouderskade 55 in Amsterdam-Zuid. Depending on the season, sunflowers are displayed outside the entrance to the museum.
Rietveld building
The Rietveld building is the main structure and houses the permanent collection. It has a rectangular floor plan and is four stories high. On the ground floor are a shop, a café, and an introductory exhibition. The first floor shows the works of Van Gogh grouped chronologically. The second floor gives information about the restoration of paintings and has a space for minor temporary exhibitions. The third floor shows paintings of Van Gogh's contemporaries in relationship to the work of Van Gogh himself.
Kurokawa wing
The Kurokawa wing is used for major temporary exhibitions. It has an oval floor plan and is three stories high. The entrance to the Kurokawa wing is via a tunnel from the Rietveld building.
Collection
Works by Vincent van Gogh
The museum houses the largest Van Gogh collection in the world, with 200 paintings, 400 drawings, and 700 letters by the artist.
The main exhibition chronicles the various phases of Van Gogh's artistic life.
His selected works from Nuenen (1880–1885):
Avenue of Poplars in Autumn (1884)
The Potato Eaters (1885)
His selected works from Antwerp (1886):
Skull of a Skeleton with Burning Cigarette (1886)
His selected works from Paris (1886–1888):
Agostina Segatori Sitting in the Café du Tambourin (1887)
Wheat Field with a Lark (1887)
View of Paris from Vincent's Room in the Rue Lepic (1887)
His selected works from Arles (1888–1889):
The Zouave (1888)
Bedroom in Arles (1888)
The Yellow House (1888)
Sunflowers (1889)
His selected works from Saint-Rémy (1889–1890):
Almond Blossoms (1890)
And his selected works from Auvers-sur-Oise (1890):
Wheatfield with Crows (1890)
The permanent collection also includes nine of the artist's self-portraits and some of his earliest paintings dating back to 1882.
A newly discovered work has temporarily gone on display. Van Gogh created three unknown sketches of peasants, which were then used as a single bookmark. Stylistically, they can be dated to autumn 1881.
Works by contemporaries
The museum also features notable artworks by Van Gogh's contemporaries in the Impressionist and post-Impressionist movements and holds extensive exhibitions on various subjects from 19th Century art history.
The museum has sculptures by Auguste Rodin and Jules Dalou, and paintings by John Russell, Émile Bernard, Maurice Denis, Kees van Dongen, Paul Gauguin, Édouard Manet, Claude Monet, Odilon Redon, Georges Seurat, Paul Signac, and Henri de Toulouse-Lautrec.
Meet Vincent Van Gogh Experience
The Van Gogh Museum manages an official Meet Vincent Van Gogh Experience, described as a travelling "3D immersive exhibition" using technology and computer audio-visual techniques to cover the story of Van Gogh's life through images of his works. The first "experience" was in 2016 in Beijing, and it has since been toured globally to Europe, Asia and North America.
The Meet Van Gogh Experience does not present original artworks, as they are too fragile to travel. The "experience" was designed in collaboration with the London-based museum design consultancy, Event Communications (who designed Titanic Belfast), and it won a 2017 THEA award in the category of Immersive Museum Exhibit: Touring.
Visitors
The Van Gogh Museum, which is a national museum (Dutch: rijksmuseum), is a foundation (Dutch: stichting).
Axel Rüger, who had been the museum director since 2006, left the museum in 2019 to become secretary and chief executive of the Royal Academy of Arts in London. The Van Gogh Museum announced that Managing Director Adriaan Dönszelmann would act as general director until a new director is appointed.
Since 2000, the museum had between 1.2 and 1.9 million visitors per year. From 2010 to 2012, it was the most visited museum in the Netherlands. In 2015, the museum had 1.9 million visitors, it was the 2nd most visited museum in the Netherlands, after the Rijksmuseum, and the 31st most visited art museum in the world.
The Van Gogh Museum is a member of the national Museumvereniging (Museum Association).
(Wikipedia)
Das Van Gogh Museum ist ein Kunstmuseum am Museumplein im Amsterdamer Stadtteil Oud-Zuid, Stadtbezirk Amsterdam-Zuid, das am 2. Juni 1973 eröffnet wurde. Es beherbergt die größte Sammlung mit Werken des niederländischen Malers Vincent van Gogh. Seit dem 1. Mai 2013 ist das Museum nach Umbau und einem vorübergehenden Umzug in ein anderes Gebäude wieder zugänglich. 2016 hatte das Haus 2.076.526 Besucher und gehört damit zu den meistbesuchten Kunstmuseen der Welt.
Geschichte
Als van Gogh 1890 mit 37 Jahren starb, hinterließ er mit etwa 900 Gemälden und 1.100 Zeichnungen ein umfangreiches Werk. Hiervon hatte er nur wenig verkauft und einige Arbeiten an Freunde verschenkt. Seinen Nachlass erbte sein jüngerer Bruder, der Kunsthändler Theo van Gogh. Dieser hatte neben den Werken von Vincent auch Arbeiten von Künstlern wie Paul Gauguin, Henri de Toulouse-Lautrec, Léon Lhermitte und Jean-François Millet gesammelt. Nachdem Theo bereits ein Jahr nach seinem Bruder verstarb, verwaltete seine Witwe Johanna van Gogh-Bonger das Erbe. Sie kehrte in die Niederlande zurück und organisierte erste Ausstellungen mit Werken Vincent van Goghs und trug wesentlich dazu bei, den Künstler einer größeren Öffentlichkeit bekannt zu machen. 1905 fand die erste große Ausstellung im Stedelijk Museum in Amsterdam statt, während sich das Rijksmuseum geweigert hatte, Leihgaben mit van Goghs Werken anzunehmen. Da van Gogh häufig mehrere Versionen des gleichen Themas gemalt hatte, konnte Johanna van Gogh einzelne Bilder der Sammlung verkaufen, ohne den Gesamteindruck wesentlich zu schmälern. Sie war es auch, die frühzeitig die Veröffentlichung der Briefe Vincent van Goghs in mehreren Sprachen vorantrieb. Nach ihrem Tod 1925 erbte ihr Sohn, der Ingenieur Vincent Willem van Gogh (1890–1978) die Sammlung. Er stellte verschiedenen Museen Werke als Leihgabe zur Verfügung, bevor er 1960 die Vincent van Gogh Stiftung gründete und ihr die Sammlung übergab. Zunächst gelangten die Bilder als Dauerausstellung ins Amsterdamer Stedelijk Museum, bevor 1973 das Van Gogh Museum eröffnet werden konnte.
1991 war das Van Gogh Museum Schauplatz eines aufsehenerregenden Kunstraubs, bei dem 20 Gemälde im Wert von mehreren Hundert Millionen Euro entwendet wurden. Dank einer Reifenpanne des Fluchtfahrzeugs konnten die Gemälde aber kurz nach der Entdeckung des Raubs von der Polizei sichergestellt werden. 2002 wurden bei einem Einbruch die Van-Gogh-Gemälde Stürmische See bei Scheveningen und Die Reformierte Kirche in Nuenen gestohlen, sie wurden 2016 wieder aufgefunden. Die im Haus eines neapolitanischen Drogenbarons sichergestellten Malereien konnten erst mit Zustimmung der Italienischen Justiz im Januar 2017 nach Amsterdam zurückkehren.
Gebäude
Das Museum besteht aus zwei Gebäuden. Der ursprüngliche Bau geht auf einen Entwurf von Gerrit Rietveld zurück. Nach seinem Tod im Jahr 1964 wurde der Bau von seinen Partnern J. van Dillen und J. van Tricht fortgeführt und nach Fertigstellung am 2. Juni 1973 eingeweiht. In diesem Gebäude ist heute die ständige Sammlung untergebracht. 1999 wurde ein Ergänzungsbau für Sonderausstellungen eingeweiht, der vom japanischen Architekten Kishō Kurokawa in Form einer Ellipse entworfen wurde. 2015 wurde der Ausstellungsbau durch einen neuen, großflächig verglasten Eingangsbereich ergänzt, dessen Entwurf ebenfalls aus dem Büro des 2007 verstorbenen Kurokawa stammt. Beide Gebäude sind durch einen unterirdischen Übergang miteinander verbunden.
Sammlung
Das Museum besitzt über 200 Gemälde Vincent van Goghs aus allen Schaffensperioden und 400 seiner Zeichnungen. Zu den ausgestellten Hauptwerken gehören Die Kartoffelesser, Das Schlafzimmer in Arles und eine Version der Sonnenblumen. Außerdem bewahrt das Museum den Großteil der Briefe Vincent van Goghs auf. Auch findet sich in der Sammlung die Suizidwaffe van Goghs, eine verrostete Lefaucheux à broche. Die von Theo van Gogh begonnene Sammlung mit Werken anderer Künstler des 19. Jahrhunderts wurde mit Stiftungsgeldern kontinuierlich ausgebaut, sodass das Museum heute auch Werke von Alma-Tadema, Bernard, Boulanger, Breton, Caillebotte, Courbet, Couture, Daubigny, Denis, Gauguin, Israëls, Jongkind, Manet, Mauve, Millet, Monet, Munch, Pissarro, Puvis de Chavannes, Redon, Seurat, Signac, Toulouse-Lautrec, van Dongen und von Stuck besitzt.
(Wikipedia)
Huile sur toile, 50 x 65 cm, 1905, Museum of Art, Hartford (Connecticut).
Dans ce tableau, plus que le fleuve, les remous suscités à la surface de la Seine par la manoeuvre d'un remorqueur tirant une grande barge constituent le sujet essentiel, Relégués dans le lointain, le pont, la berge et les bâtisses disparaissent derrière l'emballement des jaunes orangés de la barge. Ces jaunes orangés exaltent le foisonnement des petites touches traduisant les mouvements de l'eau et ses miroitements.
La peinture de Vlaminck intègre ici l'apport de la génération précédente, la virulence de la palette de V van Gogh, le recours aux aplats de Gauguin, le divisionnisme de Seurat et Signac, l'exploration des volumes de Cézanne (cf. kerdonis.fr).
Huile sur toile, 55 x 46 cm, juillet-août 1905, National Gallery of Art, Washington.
Par ce tableau Matisse nous donne accès à un autre monde. A travers une fenêtre ouverte, se laisse entrevoir le mystère qu’il avait contemplé, adolescent, du fond d’une étude d’avoué à Bohain (da,s l'Aisne). Il s'y libére des contraintes néo-impressionnistes. La vue du port est une toile dans la toile, le lierre qui s’accroche au balcon soulignant les préférences de Matisse pour la nature cultivée. La différence de facture entre l’intérieur et l’extérieur ysépare deux mondes distincts, le cadre étant ici plus important que la vue. La diversité expressive de la touche est une riposte aux plaidoyers de Signac pour une trame régulière de petits coups de pinceau uniformes (cf. kerdonis.fr).
La Albertina es un museo del centro de Viena, Austria. Alberga una de las más extensas colecciones gráficas del mundo con aproximadamente 65 000 dibujos y cerca de un millón de grabados, tanto antiguos como modernos. Sobresalen sus riquísimos fondos de Alberto Durero, de los cuales una selección se expuso en el Museo del Prado en 2005.
La institución debe su nombre a Alberto de Sajonia-Teschen (1738-1822), quien la fundó con su colección.
La Albertina se construyó en una de las últimas secciones que quedaban en pie de las murallas de Viena, el Bastión de Augusto. Originalmente estaba situado en ese lugar el Hofbauamt (Ministerio de Construcción), que había sido construido en la segunda mitad del siglo XVII. En 1745 el edificio fue remodelado por el director del Ministerio, Emanuel Teles Count Silva-Tarouca, para que fuera su palacio. El inmueble fue también conocido como Palais Taroucca.
El edificio fue más tarde ocupado por Alberto de Sajonia-Teschen, que lo utilizó como residencia y más tarde hizo traer su colección desde Bruselas, donde había ejercido como gobernador de los Países Bajos de los Habsburgo. Desafortunadamente, un tercio de la colección se perdió al naufragar el barco que la transportaba. El edificio fue ampliado con el nuevo propósito museal por Louis Montoyer.
La colección había sido empezada por el duque Alberto y el conde Giacomo Durazzo, el embajador austríaco en Venecia.[cita requerida] En 1776 el conde regaló 30 000 obras de arte al duque Alberto y su mujer Marie-Christine. Giacomo Durazzo —hermano de Marcello— dijo que «quería crear una colección para la posteridad que sirviese a propósitos más altos que el resto: la educación y el poder de la moral debe distinguir a esta colección» La colección fue enriquecida por los descendientes de Alberto.
En la década de 1820 el archiduque Carlos de Austria emprendió algunas modificaciones del edificio que afectaron principalmente a la decoración interior.
A principios de 1919 el edificio y la colección pasaron de los Habsburgo a la propiedad de la República de Austria. En 1920 la colección de grabados se unificó con la colección de la antigua biblioteca oficial de la corte (Hofbibliothek). Se le impuso el nombre de Albertina en 1921. En marzo de 1945 la Albertina fue gravemente dañada por los bombardeos. Fue totalmente remodelada en 1998 y está actualmente abierta.
El grueso de la colección lo conforman obras sobre papel: unos 65 000 dibujos (incluyendo también acuarelas) y cerca de un millón de grabados. También se custodian fotografías y planos de arquitectura.
El repertorio de dibujos incluye un núcleo sin parangón de Durero, con unas 120 piezas (Autorretrato a los 13 años, Gran mata de hierba, Liebre joven, vistas de Innsbruck...) así como ejemplos de Pisanello, Lorenzo Ghiberti, Leonardo da Vinci, Miguel Ángel, Rafael, El Bosco (El hombre árbol), Pieter Brueghel el Viejo, Cranach, Federico Barocci, Rubens, Van Dyck, Rembrandt, Boucher, Fragonard, hasta el impresionismo y movimientos de finales del XIX y buena parte del XX (Renoir, Signac, Cézanne, Klimt, Egon Schiele).
El fondo de grabados es colosal, uno de los más extensos del mundo; arranca en el siglo XV e incluye ejemplos abundantes de Durero, Martin Schongauer, Lucas van Leyden, Marcantonio Raimondi, Francisco de Goya, hasta Pablo Picasso, pop art y autores vivos.
Debido a las exigencias de conservación de todas las obras sobre papel, que es un material muy sensible a la luz y los cambios de humedad, la Albertina solamente expone este tipo de piezas de manera temporal, y basa su exhibición permanente en la Colección Batliner.
Desde 2007, la Albertina alberga en préstamo unas 500 obras (mayormente pinturas) de los siglos XIX y XX, del Impresionismo hasta Alex Katz: la Colección Batliner, reunida desde la década de 1960 por el matrimonio del mismo apellido. Arranca con Claude Monet, Edgar Degas y Paul Cézanne, prosigue con los fovistas Henri Matisse y André Derain, y continúa con Kandinsky, los expresionistas alemanes, la vanguardia rusa y el surrealismo (Max Ernst, René Magritte, Joan Miró).
Mención aparte merece Pablo Picasso, con una decena de pinturas y abundantes dibujos y cerámicas en ejemplares únicos; en total el repertorio picassiano alcanza las cuarenta obras.
El arte más reciente queda representado por Alberto Giacometti, Francis Bacon, Gerhard Richter, Georg Baselitz...
Los almacenes de este museo cuentan con sofisticados sistemas de climatización y de seguridad. Las delicadas obras sobre papel se guardan ordenadas en kilómetros de estanterías a las que no acceden los visitantes. Mediante un sistema informático, un brazo o robot localiza y trae la caja que contiene la obra solicitada. Este sistema permite aprovechar al máximo el espacio, al reducir al mínimo los pasillos; pero en junio de 2009, una fuga de agua cubrió el suelo en varios centímetros y colapsó el sistema informático, obligando a un apresurado desalojo de miles de obras que afortunadamente se solventó sin daños.
es.wikipedia.org/wiki/Albertina
The Albertina is a museum in the Innere Stadt (First District) of Vienna, Austria. It houses one of the largest and most important print rooms in the world with approximately 65,000 drawings and approximately 1 million old master prints, as well as more modern graphic works, photographs and architectural drawings. Apart from the graphics collection the museum has recently acquired on permanent loan two significant collections of Impressionist and early 20th-century art, some of which will be on permanent display. The museum also houses temporary exhibitions.
The Albertina was erected on one of the last remaining sections of the fortifications of Vienna, the Augustinian Bastion. Originally, the Hofbauamt (Court Construction Office), which had been built in the second half of the 17th century, stood in that location. In 1744 it was refurbished by the director of the Hofbauamt, Emanuel Teles Count Silva-Tarouca, to become his palace; it was therefore also known as Palais Taroucca. The building was later taken over by Duke Albert of Saxen-Teschen who used it as his residence. Albert later brought his graphics collection there from Brussels, where he had acted as the governor of the Habsburg Netherlands. He had the building extended by Louis Montoyer. Since then, the palace has immediately bordered the Hofburg. The collection was expanded by Albert's successors. When his grandson Archduke Albrecht, Duke of Teschen lived there until his death in 1895 it was called the Palais Erzherzog Albrecht.
The collection was created by Duke Albert with the Genoese count Giacomo Durazzo, the Austrian ambassador in Venice. In 1776 the count presented nearly 1,000 pieces of art to the duke and his wife Maria Christina (Maria Theresa's daughter). Count Durazzo, who was the brother of Marcello Durazzo, the Doge of Genoa – "wanted to create a collection for posterity that served higher purposes than all others: education and the power of morality should distinguish his collection...." In the 1820s Archduke Charles, Duke Albert and Maria Christina's foster son, initiated further modifications to the building by Joseph Kornhäusel, which affected mostly its interior decoration. After Archduke Charles, his son Archduke Albert]] then Albrecht's nephew Archduke Friedrich, Duke of Teschen lived in the building.
In early 1919, ownership of both the building and the collection passed from the Habsburgs to the newly founded Republic of Austria. In 1920 the collection of prints and drawings was united with the collection of the former imperial court library. The name Albertina was established in 1921.
In March 1945, the Albertina was heavily damaged by Allied bomb attacks. The building was rebuilt in the years after the war and was completely refurbished and modernized from 1998 to 2003. Modifications of the exterior entrance sequence, including a distinctive roof by Hans Hollein were completed in 2008, when the graphics collection finally reopened. In 2018, the Albertina acquired the Essl Collection of 1,323 contemporary artworks, including pieces by Alex Katz, Cindy Sherman, Georg Baselitz, Hermann Nitsch, and Maria Lassnig.
From March 2020 will begin its existence a new Albertina Modern Museum. The collection of Albertina modern encompasses over 60,000 works by 5,000 artists.
Paul Signac (1863 – 1935)
The Cultural Me / Paul Signac’s Anarchist Art: Les Demolisseurs
Impressionism in the Age of Industry: Monet, Pissarro and more
Art Gallery of Ontario. 16 February 2019 – 5 May 5 2019.
Route de Gennevilliers
Oeuvre de Paul Signac (1863-1935)
Il s'agit d'une oeuvre de jeunesse inspirée par le style impressionniste de Monet. A cette date, Paul Signac n'a pas encore découvert la technique divisionniste initiée par Seurat, pratique qu’il va étudier puis faire progresser.
En 1883
Huile sur toile
H. 73,5 ; L. 92,0 cm.
Notice du catalogue du musée d'Orsay, Paris
www.musee-orsay.fr/fr/oeuvres/route-de-gennevilliers-10748
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.
Berthe Morisot; Roses Trémières; 1884
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
The Kunsthaus Zürich is in terms of area the biggest art museum of Switzerland and houses one of the most important art collections in Switzerland.
A $230 million extension of the old buildings by London-based David Chipperfield was opened in 2020.Half of the extension's budget came from the city and canton of Zurich, with the other half provided by private donors] Chipperfield's design is a massive rectangular sandstone-covered building.
BARNES FOUNDATION Room 18 South Wall
Henri Edmond Cross French 1856 - 1910
Two Women by the Shore, Mediterranean, 1896
Oil on canvas
Public Domain
From the Website: Barnes Collection Online
en.wikipedia.org/wiki/Henri-Edmond_Cross
collection.barnesfoundation.org/objects/6312/Two-Women-by...
collection.barnesfoundation.org/objects/6312/Two-Women-by...
Jules Pascin Bulgarian 1885 - 1930
Two Standing Nudes , 1914
Oil on canvas
Copyright. ©2018 Estate of Jules Pascin
From the Website: Barnes Collection Online
en.wikipedia.org/wiki/Jules_Pascin
www.artnet.com/artists/jules-pascin/
collection.barnesfoundation.org/objects/6307/Two-Standing...(Deux-nus-debout)/
collection.barnesfoundation.org/objects/6307/Two-Standing...(Deux-nus-debout)/ensemble
Paul Signac French 1863 - 1935
Genève, 1919
Watercolor with graphite underdrawing on thin wove paper,
Public Domain
From the Website: Barnes Collection Online
en.wikipedia.org/wiki/Paul_Signac
collection.barnesfoundation.org/objects/6308/Geneve/
collection.barnesfoundation.org/objects/6308/Geneve/ensemble
Paul Signac French 1863 – 1935
Rouen, early 1920s
Watercolor with crayon on thin wove paper,
Public Domain
From the Website: Barnes Collection Online
en.wikipedia.org/wiki/Paul_Signac