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ДАРИО ДЕ РЕГОЙОС - Сети
☆
Private collection.
Source: en.m.wikipedia.org/wiki/Dar%C3%ADo_de_Regoyos
This painting was shown at the exhibition "Impressionism and Spanish Art" in Moscow at the 'Museum of Russian Impressionism' in 2019.
By Juan San Nicolas
DARIO DE REGOYOS Y VALDES was born in Ribadesella (Asturias) in 1857 and died in Barcelona in 1913. He spent his childhood and teenage years in Madrid. He began his artistic training in 1877 as a pupil of Carlos de Haes in the landscape department, receiving classes in landscape drawing. His eagerness to travel and learn about emerging foreign art movements spurred him in 1879 to visit Brussels, where his musician friends Isaac Albéniz and Enrique Fernández Arbós were then staying.
On the advice of Carlos de Haes, while in Brussels he contacted the man who had been Haes’s master years earlier, the Belgian painter Joseph Quinaux (1822–1895). Regoyos received classes at his studio for two years and Quinaux became his master, as Regoyos would recognise years later. At the same time he also enrolled for a course taught by Van Sevendonck in drawing heads after the antique at the École Royale des Beaux-Arts in Brussels for the academic year 1879–80.
Regoyos trained as a painter in Belgium, where he spent long periods until the 1890s. In 1881 he joined the L’Essor circle and the group of artists who later on, in 1883, founded the outstanding and now highly regarded circle of Les XX that spearheaded the liberation of art in Belgium. Regoyos was the only non-Belgian founding member. The group split up in 1893 as the members felt they had achieved their chief aim of gaining “acceptance for free art in Belgium”; its dissolution gave rise to the creation of La Libre Esthétique, a circle that existed for 20 years and in which Regoyos showed his work on several occasions. In 1914, after his death, a major exhibition was staged as a tribute to him, promoted by the poet Émile Verhaeren and the painters Théo van Rysselberghe and Ignacio Zuloaga with the support of the circle’s director, Octave Maus.
Regoyos’s style progressively developed through his constant contact with his artist friends, among them the painters Camille Pissarro, Whistler, Seurat, Signac, Ensor, Van Rysselberghe, etc., and the poet Émile Verhaeren, with whom he collaborated in publishing La España negra and travelled around Spain, France and Italy.
His painting spans various stages: the first is connected more closely with the Belgian period, in which he produced many portraits; the second, known as the España Negra series and focused on Spain of the black legend, is a more philosophical or pre-Symbolist stage; and the third, in which his style and palette show stronger affinities with Impressionism, is the best known.
Regoyos showed his work primarily at group exhibitions aimed at promoting freedom in art. He exhibited in France (often at the Salon des Indépendants in Paris and at the Galeries Durand-Ruel), Belgium, Germany, the Netherlands, Italy, the United Kingdom, Mexico and Argentina.
In Spain he exhibited in Madrid, Barcelona, Bilbao and San Sebastian. He was often relegated to the so-called “Sala del Crimen” at the National Exhibitions of Fine Arts for being an “Impressionist”. His early death shortly before the age of fifty-seven prevented him from seeing how his efforts to overcome the predominance of academicism were finally understood, and a posthumous tribute was paid to him at the Biblioteca Nacional in Madrid eight years later
These vivid colors of the Mediterranean attracted many famous artists: Cézanne, Matisse, Monet, Renoir, Munch, Picasso, Signac...
"Homme et femme"(in English "Man and Woman") , one of Pablo Picasso’s last paintings, painted in 1971, in the Musée des Beaux-Arts de Nancy, Nancy, Grand Est, France
Some background information:
The Musée des Beaux-Arts de Nancy (in English "Museum of Fine Arts of Nancy") is one of the oldest museums in France. Established in 1793, the museum is housed in one of the four large pavilions on the Place Stanislas created in 1755 by Stanislas Leszczyński, duke of Lorraine. In 1930, the town council decided to convert the building into a museum in order to host the fine art collection hitherto held in the city hall.
Initially, the pavilion in which the museum is located was home to a theatre called "La Comédie" on the first floor, a medical college on the second and the apartment of the college dean on the third. The college moved during the 19th century and the theatre burnt in 1906. After the museum was opened in 1930, it was extended in 1933, although the extension remained unfinished until another modern extension was made in the 1990s. Some of the painters whose work is featured in the collections are Perugino, Tintoretto, Jan Brueghel the Younger, Caravaggio, Georges de La Tour, Charles Le Brun, Ribera, Rubens, Claude Lorrain, Luca Giordano, François Boucher, Eugène Delacroix, Édouard Manet, Claude Monet, Paul Signac, Amadeo Modigliani, Pablo Picasso and Raoul Dufy.
Nancy is a city in the Grand Est region of France, located about 282 km (175 miles) to the east of French capital city of Paris. The town that is situated on the left bank of the river Meurthe is the capital of the Lorraine department of Meurthe-et-Moselle. Currently the metropolitan area of Nancy has a population of approx. 450,000 inhabitants, making it the 20th largest urban area in France, whilst the inner city of Nancy has about 105,000 residents.
Nancy is famous for its three squares Place Stanislas, Place de la Carrière and Place de l'Hémicycle (resp. Place d'Alliance). The first one is considered one of the most beautiful places in the world, while the second one is the extension of its axis and the third one is located in close proximity. The baroque architectural ensemble comprising all three places is very unique and was therefore inscribed in the UNESCO World Heritage List as early as 1983.
Furthermore, Nancy is also known for its Art Nouveau and Art Déco architecture, implemented by the so-called School of Nancy. The School of Nancy was born when the Moselle regions were annexed by the Prussians in 1871. Nancy, a French border town at that time, was home to much of the intelligentsia who refused the annexation. These conditions in particular, as well as the presence of industrialists, entrepreneurs and a thriving artistic community led to the establishment of the School of Nancy. World War I marked the end of the Art Noveau movement, but with the between war period came the style Art Déco. In the roaring twenties French Art Déco was at its zenith. In 1930, in the course of the Great Depression, the Art Déco movement lost ground siignificantly, until it had absolutely no more bearing on architecture in the mid-1930s. However, there are still many architectural witnesses of both Art Noveaui and Art Déco movements in today’s Nancy, which even stand side by side quite often.
Around 1050, a small fortified town named Nanciacum was built by Gérard, Duke of Lorraine. In 1218, at the end of the War of Succession of Champagne, the town that was already renamed Nancy was burned and conquered by Emperor Frederick II. It was rebuilt in stone over the next few centuries as it grew in importance as the capital of the Duchy of Lorraine. In 1477, Duke Charles the Bold of Burgundy was defeated and killed in the Battle of Nancy and René II, Duke of Lorraine, became the ruler.
In the next few centuries Nancy flourished. At that time in the south of the old town the new town was founded, which was characterised by a street network laid out in a gridiron pattern. But in the Thirty Years’ War, Nancy was affected by heavy demolitions. However, it soon turned upward again.
Following the failure of both Emperor Joseph I and Emperor Charles VI to produce a son and heir, the Pragmatic Sanction of 1713 left the throne to the latter's next child. This turned out to be a daughter, Maria Theresa of Austria. In 1736 Emperor Charles arranged her marriage to Duke François of Lorraine, who reluctantly agreed to exchange his ancestral lands for the Grand Duchy of Tuscany.
The exiled Polish king Stanislaus Leszczyński, father-in-law of the French king Louis XV, was then given the vacant duchy of Lorraine. Under his nominal rule, Nancy experienced even more growth and a flowering of baroque culture and architecture. Stanislaus oversaw the construction of Place Stanislaus, Place de la Carrière and Place de l'Hémicycle. But after Stanislaus' death in 1766, the Duchy of Lorraine that was still part of the Holy Roman Empire (of German Nation) by then became a regular French province. At the same time, Nancy lost its position as a residential capital city with a princely court and patronage.
As unrest surfaced within the French armed forces during the French Revolution, a full-scale mutiny, known as the Nancy affair, took place in Nancy in the latter part of summer 1790. A few units loyal to the government laid siege to the town and shot or imprisoned the mutineers. In 1871, Nancy remained French when Prussia annexed Alsace-Lorraine, following the Franco-Prussian War. The flow of refugees reaching Nancy doubled its population in three decades. Artistic, academic, financial and industrial excellence flourished, establishing what is still the capital of Lorraine's trademark to this day. In 1940, Nancy and other areas of France were occupied by German forces. But in September 1944, Nancy was liberated from Nazi Germany by the U.S. Third Army at the Battle of Nancy.
Today, Nancy is not only known for its beautiful baroque squares and its many Art Noveau as well as Art Déco buildings, but also for its excellent cuisine. Macarons are from Nancy, Madeleines, likewise biscuits, are from the region, Bergamotes, sweets made of bergamot, are also from the city and the famous Quiche Lorraine can be savoured almost everywhere in the town.
Eglise romane Saint-Jean-Baptiste-de-Signac ; commune de Signac, département de la Haute-Garonne, région Midi-Pyrénées, France
Ce modeste édifice roman, à vaisseau unique terminé en abside en cul-de-four, est typique de la montagne commingeoise. Le portail de l’église fin du XIIème siècle ou début du XIIIème siècle permet de prendre conscience de l’influence régionale qu’a eu l’atelier de sculpteur de l’église de Saint-Béat. On est ici en présence d’une oeuvre d’art local, malhabile mais touchante : le sculpteur, avec ses moyens, a tenté de reproduire le tympan sculpté de Saint-Béat, réalisé au début du XIIème siècle. On retrouve, notamment, le cloisonnement des espaces : le Christ est isolé du symbole des quatre évangélistes par des baguettes sommaires remplaçant les colonnes boursouflées qui font la particularité du tympan de Saint-Béat.
(extrait de : www.festival-du-comminges.com/eglise-saint-jean-baptiste-...)
Coordonnées GPS : N42°54.325’ ; E0°37.641’
Theodore van Rysselberghe (1862 - 1926) oil painting on canvas at the Museum of Fine Arts in Boston. Written near the painting: In March 1892 Van Rysselberghe accompanied Paul Signac on a Mediterranean cruise. At Marseilles, Signac participated in the regatta shown here, represented by Van Rysselberghe in the pointillist style he had adopted from his friend. Pointillist painters juxtaposed dots (points in French) of brilliant, contrasting color to create continuous images like this one, whose artificially high horizon line and rhythmically arranged sails suggest that its author's concerns were more formal than descriptive.
La Place Celli avec son bel olivier et ses statues de Botero (voir photo précédente).
Plus d'infos sur Wikipedia :
1890. Oli sobre ela. 66 x 82,5 cm. Museu de Belles Arts de Boston, Boston. 1991.584. Obra exposada: Galeria 253.
c. 1894. Litografia en sis colors sobre paper trenat. 40 x 32,4 cm. Museu de Brooklyn, Nova York. 38.118. Obra no exposada.
Gouache sur papier, découpée et collée, avec encre sur papier blanc, montée sur toile (maquette préliminaire pour céramique), 354 x 996 cm, 1953, National Gallery of Art, Washington.
La Grande décoration aux masques réunit tout à la fois : les gravures et la quarantaine d’aquatintes exécutées de 1948 à 1953, l’année de sa mort, mais aussi l’’ensemble de ses peintures, de ses dessins et ses sculptures. Matisse l’écrira même à son fils Pierre, en 1953 : "Je crois, vraiment, que c’est mon chef d’œuvre". Il y a résolu le problème qui l’a toujours hanté, concilier les inconciliables en accordant couleur et dessin, tache et contour, Orient et Occident, portrait ressemblant ou masque…, et a pu y mettre fin, un an avant sa mort.
Le conflit entre la couleur et le dessin, la tache et le contour (1er inconciliable), n’est pas nouveau chez le peintre. Matisse nous le révèle dans une lettre écrite à Paul Signac, le 14 juillet 1905. C’est le moment où il s’abandonne, non sans angoisse à la couleur pure, ce qui s’appellera le fauvisme, dans le tableau intitulé Luxe, calme et volupté : « Avez-vous trouvé, dans mon tableau, un accord parfait entre le caractère du dessin et le caractère de la peinture ? Selon moi, ils me paraissent totalement différents l’un de l’autre, et même absolument contradictoires. L’un, le dessin, dépend de la plastique linéaire ou sculpturale, et l’autre, la peinture, dépend de la plastique colorée, Résultat : la peinture, surtout divisée, détruit le dessin, qui tire toute son éloquence du contour. »
Tout au long de sa vie Matisse a cherché physiquement et par son travail de nouveaux espaces. Dans son corps d’abord, il a vécu des périodes de confinement, d’étouffement. En 1941, à Lyon, il subit une lourde opération intestinale qui l’obligera à porter en permanence un corset métallique et ne lui permettra de quitter sa couche ou de s’asseoir que quelques heures par jour. Au sortir de l’opération, un rêve lui avait prédit ce destin : il s’y était vu coincé dans un cercueil qui l’étouffait. Dans son travail, Matisse connaît trois espaces (2ème inconciliable) : la perspective, l’espace abyssin, l’espace islamique. La perspective est l’espace des premières œuvres, la période de l’atelier quai Saint-Michel, et une référence qui revient souvent dans les portraits. L’espace abyssin est celui du temps de la cosmogonie, ce fond exaltant mais inquiétant que Matisse a redécouvert et qui lui a valu ses toiles les plus grandioses : La Danse et La Musique (1909-1910). La révélation de l’Orient, qu’il faudrait mieux appeler celle de l’Islam, date de 1900. Il s’y est familiarisé dès 1906 par son voyage en Algérie dont il n’apprécie guère le folklore touristique et ne rapporte qu’un petit vase. Dans ses peintures, il exprime l’art islamique surtout par des tissus, des tapis qui deviennent ses sources les plus importantes par lesquelles il accède à l’Orient.
Le troisième inconciliable réside dans le portrait réaliste et le portrait spirituel, la figure et les masques. Matisse l’a souvent répété : « Ce qui m’intéresse le plus, ce n’est ni le paysage, ni la nature, mais la figure. » Et Pierre Schneider enchaîne : « Une gravure de Matisse, c’est la rencontre d’une figure et d’un fond. » Le portrait réaliste, que Matisse refuse, appelle un fond en perspective ; le portrait spirituel peut se réduire à quelques traits. Le critique d’art rajoute : « Matisse le possède si intensément [...] ce don mimétique [...] qu’il arrive que l’on reconnaisse la mère, que l’on ne connaît pas, en voyant le portrait de la fillette qui a posé pour lui. » C’est dans le déroulement des séries gravées que Pierre Schneider a pu analyser la triple relation entre le portrait réaliste et le portrait spirituel, la ressemblance et l’abstraction, la figure et le fond : « Elles apparaissent réalistes et reconnaissables, se font peu à peu plus intenses à mesure qu’elles se réduisent à l’essentiel qui les propulse, les disperse hors de leur forme initiale, donc hors de leur sens premier, dont elles finissent par ne garder que les plus frappantes de leurs lignes ou segments de lignes, les quelles, selon la façon dont elles se recomposent, deviennent des figures nouvelles ou des abstractions indéchiffrables, à moins qu’elles se dissolvent dans le fond qui les a engendrées. [...] Figure détaillée et abstraction croissante se rejoignent, l’espace émouvant d’un instant. Aller et retour sans fin, parce que chacun renvoie à l’autre, comme les yeux s’ouvrent et se ferment pour constituer le regard. Figure réaliste et figure absolue, infini intensif et infini extensif se croisent sur un point ou plus exactement sur un axe : le talent consiste à les concevoir ; le génie à les croiser [...] Peu à peu, nous commençons à comprendre ce que trament la figure et le fond, incompatibles mais indispensables l’une à l’autre ».
Pour La grande Décoration aux masques, Matisse emprunte dans sa trentaine d’aquatintes créées de 1948 à 1953, deux visages qui figurent de part et d’autre de la colonne fleurie. Mais voici une nouvelle rencontre de l’orient et de l’occident : la perspective horizontale du tapis floral est-elle compatible avec celle des masques qui renvoie à celle du portrait ? Le fond blanc de la céramique, qui place les fleurs sur une vision d’infini ne vient-il pas creuser les masques ? Matisse peut-il installer côte à côte ces figures dans l’étendue orientale du tapis et la profondeur occidentale de la gravure ? Pierre Schneider insiste : « Au premier abord, les figures semblent disproportionnées, débordées par la marée florale ; mais très vite elles attirent puis retiennent l’attention. C’est qu'elles émergent d’un fond blanc, qui n’est pas celui de la décoration, mais intensif et non extensif comme le parterre des fleurs. Si notre regard s’attarde sur l’ensemble, nous prenons conscience d’autre chose : peu à peu, ces visages cessent d’être des masques pour devenir des créatures humaines qui laissent affleurer une ébauche de moue, un soupçon de sourire, un clignement de l’œil… En un mot le temps de la contemplation rend possible le voyage, qui, dans le temps présent, métamorphose le spirituel en matériel et l’abstrait en humain [...]. S’instaure entre les deux incompatibles un va-et-vient, une navette du regard qui les entretisse. »
Comme La Grande Décoration aux masques a su accorder ces trois inconciliables : la couleur et le dessin, l’espace de l’Islam et celui de la figure, le portrait réaliste et le portrait spirituel, elle reste bien l’œuvre ultime de Matisse (cf. Jacques-Louis Binet, canalacademie.com).
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)
Liège is the center of the largest Walloon agglomeration, and the cultural center of the Walloon region of Belgium. The city, with a population of about 200.000, is located at the confluence of the Ourthe and Meuse rivers.
Around 705, Saint Lambert of Maastricht is credited with completing the Christianization of the region, but conversion may still not have been quite universal, since Lambert was murdered in Liège. To enshrine his relics, the successor, Hubertus (later St. Hubert), built a basilica which became the nucleus of the city.
In 1468, following an uprising of the inhabitants against Burgundian rule, xof Burgundy had the city plundered and systematically destroyed. The few survivors who had fled into the forests—Charles the Bold allegedly had more than 5,000 inhabitants murdered—were only able to return to the city for reconstruction after seven years.
In 1789, partly in connection with the French Revolution, the Liège Revolution occurred. It was directed against the absolutist rule of the Prince-Bishop and was crushed in early 1791 by troops commissioned by the Holy Roman Empire. In 1795, Liège was occupied by French troops and became part of the First French Republic. The Congress of Vienna annexed it to the Kingdom of the Netherlands, which in 1830 became the Kingdom of Belgium, to which Liège has belonged ever since.
Originally built for the 1905 Liège World Exhibition, the building has housed the collections of the Musée des beaux-arts de Liège since 2016. The collections of the Musée des beaux-arts de Liège include more than 700 paintings and sculptures, as well as more than 40,000 works on paper.
Paul Signac (1863 - 1935)
La château de Comblat / Comblat Castle
1887
Seurat - La Baignade, Asnière. National Gallery, Londres, 1883.
CLARK, Kenneth (1970). Civilisatie. Een persoonlijke visie. Dutch version by Unieboek N.V., Fibula - van Dishoeck. Bussum.
Seurat décide d'entreprendre un grand tableau pour l'envoyer au Salon des Artistes Français. Il choisit un sujet de la vie quotidienne, des jeunes gens qui se baignent dans la Seine à Asnières. Durant des mois, il multiplie les dessins et les esquisses. La Seine et ses berges, les personnages assis, allongés ou se baignant, les arbres, le pont de Courbevoie. Patiemment, il sélectionne les élèments avec lesquels il organisera son grand tableau de 2m x 3m. 10 dessins et 13 croquetons sont retenus.
Aucun point de sa composition n'est laissé au hasard. L'oeuvre entière est réalisée avec la précision et la logique rigoureuse d'un problème mathématique. Il n'admet rien qui ne soit nécessaire, indispensable à son tableau. Jamais, il ne se laisse aller à la tentation de se faire plaisir, "à la petite touche qui fait bien sur un tableau". Il se détache de la technique instinctive des impressionnistes. Aussi, l'oeuvre achevée est empreinte d'une singulière poésie. A son ami Charles Angrand qui le félicite, Seurat répond "ils voient de la poésie dans ce que je fais. Non, j'applique ma méthode, c'est tout !"
Dans la chaleur de l'été, des voiliers, une barque, un pont à l'horizon, des baigneurs dans l'eau ou assis sur la berge, un dormeur étendu près de son chien, un enfant qui les mains en porte-voix semble pousser un cri ou peut-être un appel. Le tout baigné dans une étrange lumière. Le temps semble arrêté. De cette animation qui aurait pu être turbulente, Seurat nous donne une vision d'immobilité, de silence, de solitude qui traduit sa personnalité. La Baignade est proposée au Jury du Salon des Artistes Français qui la refuse. Seurat ne figurera pas auprès de 2500 peintures académiques qui elles ont été acceptées. Il ressent cet échec comme un affront personnel et décide de ne plus jamais solliciter son admission au Jury de l'exposition officielle.
Une Association des "Refusés" vien de se créer : la "Société des Peintres Indépendants" dont la devise est "sans jury ni récompense". Seurat en devient membre fondateur et expose sa Baignade en 1883 dans un baraquement aux Tuileries. Mais encore une fois, la toile dérange surtout par sa dimension. Elle est écartée des salles et se retrouve exposée à la buvette !... L'exposition a peu de succès mais elle permet à Seurat de rencontrer son futur grand ami Paul Signac. Les deux hommes ne se lassent pas de parler peinture. Signac est attiré par la rigueur scientifique, par les recherches sur 'la touche divisée" de Seurat. Souvent, ils se retrouvent sur les bords de la Seine près de l'Ile de la grande Jatte.
www.lankaart.org/article-seurat-bain-a-asnieres-54771828....
Camille Pissarro (French: [kamij pisaʁo]; 10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.
In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".[1] Cézanne said "he was a father for me.
Artist: Paul Signac, French
b. 1863 Paris; d.1935 Paris
Paul Signac and other Neo-Impressionists like Georges Seurat and Cross sought a scientific process based on color theory and optics. They treated color as light, placing dots or strokes of pure pigment side by side so that the eye would “mix” them when the canvas was viewed from a distance. While Seurat applied paint in dots (points in French)—leading to the term pointillism to describe the technique—his admirer Signac came to favor longer dashes that resemble the individual stones of a mosaic. Signac was, in fact, influenced by the Byzantine mosaics he had admired on trips to Istanbul and Venice.
Toledo Museum of Art, Toledo, Ohio
DSCF8771
Aquarelle originale - St Tropez. Au cœur du village baigné de la lumière de mai, trône l'église du xviiie siècle de style baroque italien, elle abrite un buste de Saint-Tropez entouré de vieux tromblons de la bravade. Un campanile couronne le sommet du clocher. Des pins-parasols noueux et élégants vous accueillent à l'ombre de la végétation luxuriante, et découvrent des trouées sur le village en plein soleil de midi. Paul Signac découvre cet endroit baigné de lumière et incite des peintres comme Matisse, Bonnard ou Marquet de venir à Saint-Tropez. C'est ici que le pointillisme et le fauvisme voient le jour. Format : 83 cm x 34 cm. Prix sur demande. Size : 32,5 in x 13,3 in. Price on request.
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
1893. Oli sobre tela. 65,7 x 81 cm. Museu de Belles Arts de Houston, Houston. 74.142. Obra exposada.
Paul Signac（1863 - 1935）
Oil on canvas
46 x 55 cm
www.sothebys.com/en/auctions/ecatalogue/2016/impressionis...
Estimate : £ 850,000 - £ 1,200,000
Sold : £ 1,025,000
Sotheby's
Impressionist & Modern Art Evening Sale
London, 3 Feb 2016
Paul Signac (1863-1935)
Watercolor and gouache and pencil on paper laid down on paper
20 x 25.5 cm
www.christies.com/lotfinder/drawings-watercolors/paul-sig...
Estimate : $ 15,000 - $ 20,000
Price Realized : $ 56,250
Christie's
Impressionist & Modern Works on Paper
New York, 13 Nov 2015
Paul Signac（1863 - 1935）
Oil on canvas
54.5 x 64cm
www.sothebys.com/en/auctions/ecatalogue/2016/impressionis...
Estimate : £ 1,800,000 - £ 2,500,000
Sold : £ 2,045,000
Sotheby's
Impressionist & Modern Art Evening Sale
London, 3 Feb 2016
Henri Matisse's Luxe, calme et volupté (Luxury, Calm and Pleasure) was painted in the summer of 1904 at Paul Signac.
The Musée d'Orsay (The Orsay Museum), housed in the former railway station, the Gare d'Orsay, holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by popular painters such as Monet and Renoir. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
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
He started his education at the Ecole des Beaux-Arts d’Angers, and moved to Paris in 1886. Here, he started studying under Léon Bonnat. Lebasque met Camille Pissarro and Auguste Renoir, who later would have a large impact on his work. Lebasque's vision was colored by his contact with younger painters, especially Edouard Vuillard and Pierre Bonnard, founders of the The Nabis' Group. From his first acquaintance with Georges Seurat and Paul Signac, Lebasque learnt the significance of a color theory. Lebasque was a founding member of the Salon d'Automne in 1903 with his friend Henri Matisse. Two years later a group of artists exhibited there including Georges Rouault, André Derain, Edouard Vuillard and Henri Matisse. His time in South of France would lead to a radical transformation in Lebasque’s paintings, changing his color palette forever. Famed as a painter of 'joy and light', Lebasque is admired for the intimacy of his subject matter and his unique delight in color and form. Other travels included the Vendée, Normandie and Brittany, although Lebasque would always prefer the small idyllic villages of the South of France.
Avenue Gambetta | Porte de Lilas 05/09/2023 10h03
Avenue Gambetta as seen from the corner of the Avenue de la Porte des Lilas and Boulevard Mortier.
Same location, but without the tramway T3b:
Avenue Gambetta (August 2013)
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.