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The Tuileries Gardens, snow effect, 1899.
Camille Pissarro was born at Charlotte Amalie in the Danish West Indies (since 1917 the US Virgin Islands), a colony in the Danish Colonial Empire. His parents were Abraham Gabriel Pissarro, a Portuguese Sephardic Jew, and Rachel Manzano-Pomie, from the Dominican Republic. Pissarro lived in St. Thomas until age 12, when he went to a boarding school in Paris. He returned to St. Thomas, where he drew in his free time. Pissarro was attracted to anarchism, an attraction that may have originated during his years in St. Thomas.
In 1849 he met Fritz Melbye a Danish painter who had recently arrived on the islands from Copenhagen where he had trained to become a marine artist under his brother Anton Melbye. Melbye inspired the young Pissarro to take on painting as a full-time profession, and also became his teacher and close friend. In 1852 the two painters travled to Venezuela where they stayed together until 1855 when Pissarro returned to St. Thomas and, the same year, continued to Paris.
In Paris he studied at various academic institutions (including the Ecole des Beaux-Arts and Academie Suisse) and under a succession of masters such as Jean-Baptiste-Camille Corot, Gustave Courbet, and Charles-Francois Daubigny. Corot is sometimes considered Pissarro's most important early influence; Pissarro listed himself as Corot's pupil in the catalogues to the 1864 and 1865 Paris Salons.
Pissarro married Julie Vellay, a maid in his mother's household. Of their eight children, one died at birth and one daughter died aged nine. The surviving children all painted, and Lucien, the oldest son, became a follower of William Morris.
The Franco-Prussian War of 1870-71 compelled Pissarro to flee his home in Louveciennes in September 1870; he returned in June 1871 to find that the house, and along with it many of his early oil paintings, had been destroyed by Prussian soldiers. Initially his family was taken in by a fellow artist in Montfoucault, but by December 1870 they had taken refuge in London and settled at Westow Hill in Upper Norwood (today better known as Crystal Palace). A Blue Plaque now marks the site of the house on the building at 77a Westow Hill.
Through the oil paintings Pissarro completed at this time, he records Sydenham and the Norwoods at a time when they were just recently connected by railways, but prior to the expansion of suburbia. One of the largest of these oil paintings is a view of St. Bartholomew's Church at Lawrie Park Avenue, commonly known as The Avenue, Sydenham, in the collection of the London National Gallery. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the catalogue raisonne prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and Lionello Venturi and published in 1939. These oil paintings include Norwood Under the Snow, and Lordship Lane Station, views of The Crystal Palace relocated from Hyde Park, Dulwich College, Sydenham Hill, All Saints Church, and a lost painting of St. Stephen's Church.
Everything is beautiful, all that matters is to be able to interpret. ”
- Camille Pissarro
Whilst in Upper Norwood Pissarro was introduced to the art dealer Paul Durand-Ruel, who bought two of his 'London' oil paintings. Durand-Ruel subsequently became the most important art dealer of the new school of French Impressionism.
Returning to France, in 1890 Pissarro again visited England and painted some ten scenes of central London. He came back again in 1892, painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils of Bedford Park, Chiswick.
Pissarro painted rural and urban French life, particularly landscapes in and around Pontoise, as well as scenes from Montmartre. His mature work displays an empathy for peasants and laborers, and sometimes evidences his radical political leanings. He was a mentor to Paul Cezanne, Edouard Manet , Pierre-Auguste Renoir, and Paul Gauguin and his example inspired many younger artists, including Californian Impressionist Lucy Bacon.
Pissarro's influence on his fellow Impressionists is probably still underestimated; not only did he offer substantial contributions to Impressionist theory, but he also managed to remain on friendly, mutually respectful terms with such difficult personalities as Edgar Degas, Cezanne and Gauguin. Pissarro exhibited at all eight of the Impressionist exhibitions. Moreover, whereas Claude Monet was the most prolific and emblematic practitioner of the Impressionist style, Pissarro was nonetheless a primary developer of Impressionist technique.
By the 1880s, Pissarro moved into a Postimpressionist period, returning to some of his earlier themes and exploring new techniques such as pointillism. He forged new friendships with artists including Georges Seurat and Paul Signac, and was an early admirer of Vincent van Gogh.
In March 1893, in Paris, Gallery Durand-Ruel organized a major exhibition of 46 of Pissarro's works along with 55 others by Antonio de La Gandara. But while the critics acclaimed Gandara, their appraisal of Pissarro's art was less enthusiastic.
Pissarro died in Paris on 13 November 1903 and was buried in Pere Lachaise Cemetery.
" Blessed are they who see beautiful things in humble places where other people see nothing. ”
- Camille Pissarro
Musee des beaux-arts, Rouen.
ПОЛЬ СИНЬЯК - Площадь Лис, Сен-Тропез
☆
Location: Carnegie Museum of Art, Pittsburgh, Pennsylvania, US.
Sources: collection.cmoa.org/objects/5fbdc219-e649-4912-b366-f4d2f...
Cross' early works, portraits and still lifes, were in the dark colors of realism, but after meeting with Claude Monet in 1883, he painted in the brighter colors of Impressionism. He went on to become one of the principal exponents of Neo-Impressionism. He began his Pointillist period after spending time with Paul Signac in 1904. His later works are Fauvist, perhaps influenced by his acquaintance with Henri Matisse.
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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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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
Albertina Museum - Paul Signac.
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.
French painter and printmaker. Originally destined for a legal career, he studied law for some time before working as a solicitor’s clerk. Uninterested in law, he then began to study Asian and African languages and obtained a diploma from the Ecole des Langues Orientales in Paris in 1906. Soon afterwards he began making infrequent visits to the Académie Julian in Paris, working in the studio of Jean-Paul Laurens, and there met and befriended Jean-Louis Boussingault and André Dunoyer de Segonzac. He then spent a short period at the Académie de la Palette where he received lessons from Charles Guérin, Georges-Olivier Desvallières and Pierre Laprade. In 1907 he worked with Boussingault and Dunoyer de Segonzac at a villa in St Tropez rented from Paul Signac. He first exhibited at the Salon d’Automne in 1908 and at the Salon des Indépendants in 1909.
Landscape inspired by the fauve movement,Les Fauves (French for The Wild Beasts) were a short-lived and loose grouping of early 20th century Modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only three years, 1905–1907, and had three exhibitions, The leaders of the movement were Henri Matisse and André Derain,The paintings of the Fauves were characterised by seemingly wild brush work and strident colours, while their subject matter had a high degree of simplification and abstraction,Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat[ and other Neo-Impressionist painters, in particular Paul Signac. Other key influences were Paul Cezanne and Paul Gauguin, whose employment of areas of saturated colour—notably in paintings from Tahiti—strongly influenced Derain's work at Collioure in 1905
GRONINGER MUSEUM
Groningen
the Netherlands
The realisation of the present-day Groninger Museum had a lengthy and intensive history before a start was actually made on the spectacular design that still evokes much discussion on modern museum architecture. After years of formulating plans and drawing up sketches, after endless discussions and consultations, the ultimate design by the Italian Alessandro Mendini and the three guest architects Philippe Starck, Michele de Lucchi, and Coop Himmelb[l]au was completed in 1994.
HISTORY IMPULSE
The direct opportunity for this large-scale building project arrived on 28 September 1987 when the N.V. Nederlandse Gas Unie donated 25 million guilders (approx. 11.5 million Euro) for the construction of a new Groninger Museum. This was a godsend to the Museum. The old premises on the Praediniussingel, which had accommodated the Groningen Museum for exactly 100 years, had become far too small. The donation, to celebrate the 25th anniversary of the Gas Company (in 1988), was greeted with delight. This was the beginning of a project that would last 7 years and would finally be rounded off with the opening of the new Groningen Museum by Queen Beatrix on 29 October 1994.
LOCATION
Having examined all kinds of possible locations, a preparatory committee finally decided in favour of the ‘Zwaaikom’, a broader part of the Verbindings Canal on the southern edge of the inner city. It is a historical location, adjoining the stately 19th-century avenues with the mansions that were built on the site of the old city fortifications. The Verbindings Canal, linking other waterways as the name suggests, occupies the place where the city moat once lay. The main railway station and a ribbon of office blocks dating from the last few decades line the other side of the water. It is a unique location, connecting the station area to the inner city.
Mendini
The decision to appoint Alessandro Mendini, an Italian designer/architect whose work also appears in the Groningen Museum collection, was taken almost immediately. The spirit of the 1980s, a period that is strongly represented in the collection of Modern Art, radiates from his work. With regard to the new building, his vision and working method found a perfect match in the ideas of Frans Haks, the erstwhile Director of the Museum. There was one element in particular that was certain: it had to be an extraordinary building, both inviting and accessible – the Museum’s visiting card.
Mendini, born in 1931, is a versatile man. Besides being an architect, he is also a designer, artist, theorist, and poet. In 1988, the Groninger Museum presented a large-scale retrospective of his activities in which his multifaceted artistry was expressed. Mendini also publishes a great deal, writing columns in international magazines, thus reinforcing his reputation as a theorist of new design.
STARTING POINTS
In 1987, the point of departure for the new Museum was the nature and the character of the various collections that constitute the Groninger Museum: Archaeology and History of Groningen; Applied Art, with the collection of Chinese and Japanese porcelain as an important subcollection; Traditional Painting (from approx. 1500 to 1950); and Modern Art (from 1950 until the present). These four completely different collections form the identity of the Museum and, as such, should all be visible in the building, each in its own domain. At the same time, the new building had to be a archetype of developments in art and architecture in the 1980s. As a result, initiating a co-operative effort by various architects and/or designers seemed to be a logical step, so that diverse perspectives could be combined and the separate collections could be appropriately expressed.
DEMANDS AND DESIRES
Mendini was bound by a number of demands from the Municipality. A direct link between the station and the inner city (a bridge for pedestrians and cyclists) had to be included in the design, inland shipping had to be able to pass through the canal, and one had to be able to see the one shore from the other (the so-called ‘transparency’ of the design). Taking these requirements into account, there followed a lengthy planning process in which all kinds of ideas and designs were investigated. The definitive design was approved in November 1990. However, due to an appeal to the Council of State lodged by opponents of the Groninger Museum, it took until April 1992 before construction could actually begin.
MENDINI’S PHILOSOPHY
DESIGN
To what principles does Mendini adhere in this kind of design? He believes that the use of decoration is deeply rooted in humankind and, accordingly, decoration must be the starting point of design. Functionalists dismiss decoration because it draws attention away from the true issue, the function of the building. Their work is sober, with full attention being given to the efficiency of the design. This leads to impersonal mass production, according to opponents. In Mendini’s opinion, people no longer want mass products. People are individuals and need something personal rather than the anonymity of the functional environment. ‘Everyone is different,’ says Mendini, ‘so why shouldn’t an object also be different?’
NO ESTABLISHED NORM
Mendini’s work has a number of striking features. Mendini rejects traditional hierarchies (such as painting being on a higher level than applied art, for example) and a historical division into time and place. In his view, art-historical styles, exotic cultures and kitsch are all equally important.
INTERACTION OF DISCIPLINES
This standpoint gives rise to a second characteristic feature of his work, the interweaving of disciplines. Mendini holds the opinion that there are no boundaries between the various activities in which he is engaged. Theatre, painting, sculpture, architecture, and science can all be used freely and interchangeably. He thinks that any distinction between these disciplines is nonsense. He also believes that everything has already been conceived and applied. As a result, the only way of acting is to employ things in new combinations – it is merely a matter of redesign. Existing designs are subsequently given a new decoration, often originating in a different discipline. Painting is a particularly important source of decoration.
CO-OPERATION
A third distinctive feature of Mendini’s work consists of co-operation with others. He works with contemporary artists, architects and designers in creating furniture, objects, clothes, décors, paintings, theatre performances, ceramics, and jewellery. The yearning to transgress the boundaries of the traditional disciplines tends to mean that Mendini is more engaged as a director and deviser of ideas than as an executor.
DIRECTOR
One of the joint efforts in which Mendini acted as a supervisor was the creation of the series of tea and coffee services for Alessi. In 1980-83, eleven silver tea services were created by the Italian firm Alessi in a very limited edition. Mendini commissioned ten of the most important modern architects, each of whom designed one of the sets. They included Hans Hollein (who also designed the Abteiberg Museum in Mönchengladbach) and Aldo Rossi (the architect of the new Bonnefanten Museum in Maastricht). The assignment was to design a service in which the teapot, milk jug and sugar pot were small buildings on a plaza. Thus arose a series of eleven tea services that belong to
both the history of tea and coffee sets and also to modern design and architecture. In fact, the service project can be regarded as a precursor of the Groninger Museum. Since the beginning of 2002, the Groninger Museum has owned a complete series of these currently famous sets.
A later project by Alessi encompassed 100 porcelain vases. Mendini designed the basic shape and 99 artists and designers from all over the world added decoration. The Groninger Museum has work by many of these artists in its collection. In another project, 33 mirrors for the Glas Company, Mendini supplied the decoration and different designers repeatedly determined the form. The decoration here is a Signac motif, borrowed from a pointillist painting by Paul Signac (end 19th century). This motif, first applied to Proust’s chair (1979) recurs in all kinds of variations in the Interno di un Interno installation, and again in a Swatch watch (Lots of Dots, 1991), the staircase of the Groninger Museum, and on the exterior of the east pavilions. All the above-mentioned designs by Mendini and the guest designers are part of the Groninger Museum collection.
GUEST ARCHITECTS
A number of guest architects were invited to design sections, pavilions, of the new Museum: the Italian designer Michele de Lucchi, Philippe Starck from Paris, and, at a rather late date, the Coop Himmelb(l)au group which has offices in Vienna and Los Angeles. There was also co-operation with Dutch architects and designers, such as the Groningen architects’ office Team 4 (project architect), Albert Geertjes and Geert Koster.
THE BUILDING
Mendini’s basic design consists of three separate, simple and austere building units lying longitudinally in the Verbindings Canal, connected by passageways. These passageways also serve as bridges. A sky-blue lift bridge for cyclists and pedestrians traverses the complex. It not only links the two shores, it is also a section of the route between the station and the inner city. Thus, the Museum has become an entrance gate to the centre.
Each building block has several sections: pavilions that are superposed or juxtaposed. Each pavilion has its own special function and, consistent with this, its own shape, colour and material.
RELATIONSHIP BETWEEN OUTSIDE AND IN
The exterior gives a direct indication that this is a building presenting various forms of art and design. The bridge, marked by a blue, arched gate, also conceals a surprise. When the bridge has been lifted to allow ships to pass, a work of art by Wim Delvoye can be seen on the underside. Magnified Delftware tiles, with apparently 17th-century emblems, refer to the collections of applied art and traditional painting. In contrast, the form is completely modern. The games depicted are not genuine representations but are cartoons thought up by Delvoye and the tiles are actually large stickers.
A sculpture by Mendini graces the centre of the piazza, in front of the entrance. It is an autonomous work, a sofa and also a guide: the ground plan of the Museum is expressed in a vertical form, thus producing a hominoid figure. Looking from the doorway, the red neon ceiling by François Morellet can be seen in the entrance hall. The oval lines of this artwork, specially created for this location, continue the lines of the exterior architecture.
THE CENTRAL PAVILION
The first eye-catcher is, of course, the gold-coloured central tower, which is over 30 metres tall. This tower accommodates the repositories and also the entrance to the Museum. In Mendini’s opinion, the repository, often muffled away in cellars or inconspicuous auxiliary buildings, is the heart of a museum, the treasure chamber in which the most valuable possession, the Museum collection, is kept. For this reason, it has been given a central position and a gold-coloured laminate coating. The tower dazzles in the sunshine and no longer resembles a ship but evokes notions of a church. Mutually identical blocks flank the tower. One is clad in pink concrete slabs, the other in pastel green. The repetition of the squares emphasises the symmetry: laminate, concrete slabs,
small square mosaic stones, and the office windows on the upper floors.
The green part on the south side has large windows. This section accommodates the café-restaurant with its splendid view of the water and passing ships.
THE ENTRANCE HALL
The entrance hall was radically renewed in 2002. On the left-hand side is a large counter with cash registers and a plasma information screen, showing prices and information on current exhibitions. Adjoining this is the entrance to the Museum shop. On the right-hand section of the hall are two smaller counters with screens that provide information on activities in the Museum and cultural-historical information on Groningen, furnished by the Tourist Information Office. The entrance to the café-restaurant lies between these two information points. The hall is open public space and entrance during opening hours is free. The renovation has made the hall more of a meeting place and an information area.
THE CENTRAL STAIRWAY
The spiral stairway is the actual entrance to the Museum and its treasures and is also the central point of orientation. Furthermore, it is also an autonomous work of art. The characteristics of Mendini’s work are again expressed here. The visitor must descend rather than climb the staircase as in almost all other museums (to the ‘higher’ arts). The mosaic stones, applied by Italian craftsmen, are reminiscent of Byzantine mosaics from Ravenna, while the form of the spiral stairway recalls Moorish structures.
Via the stairway, the visitor enters the passages to the exhibition pavilions. Oval exhibition areas, supporting small plazas on the outside, lie between the central section and the exhibition pavilions.
The semicircular windows in the passageways evoke the ambience of a cloister. The dominant colour of the windows, light blue, refers to the water outside and is reflected in the exterior coating where capricious water channels have been applied to the material.
WEST SECTION
West of the central section are two pavilions, one above the other. The lower one, a square slightly tapering towards the top, was originally constructed to house the Archaeology and History of the Town and Province of Groningen collection. This is clearly evident on the exterior of the building: it is clad in red brick, traditionally the most common building material in Groningen. Furthermore, it gives the impression of a fort and calls to mind the roundels of the strongholds that were constructed on this site in the middle of the 17th century. Two lions from the collection, which originated from the Farnsum estate house, guard the fort.
This layout has been consigned to the annals of Groningen history since 1998. The historical layout could no longer satisfy expectations. The recently renovated pavilion currently bears the name ‘Beringer-Hazewinkel Ploeg pavilion’, referring to its new content: a safe home for the Groningen artists’ association De Ploeg and other North European Expressionists. The pavilion was also called after the family Beringer-Hazewinkel that funded the pavilion. The new layout was also made by the Italian Michele de Lucchi (1951), who designed the original pavilion.
BERINGER-HAZEWINKEL PLOEG PAVILION
The Beringer-Hazewinkel Ploeg pavilion consists of a central part, presenting objects from Groningen cultural history, and six rooms for temporary exhibitions of De Ploeg and other expressionists, three on either side, with a connecting zone behind the central area. Through a window, the visitor can gain a glimpse of the Villa Heymans, now a part of Groningen’s architectural history, designed by Berlage and built in the same red brick as the De Ploeg pavilion. Berlage was also the first to formulate a plan to connect the central station with the inner city and, as such, anticipated the function of the present Museum. A striking feature is the vividly coloured walls of the exhibition areas, whose intensity is reinforced by the application of coloured light.
STARCK PAVILION
Above the brick section lies a circular pavilion displaying objects in the Applied Art category. The exterior is clad with aluminium plates upon which vase shapes can be seen in the embossment. Thus, here is also a direct reference to the contents. The building was designed by the French designer Philippe Starck (1949), in close conjunction with Albert Geertjes.
Starck created an illuminated circular showcase for this area, entirely girdling the diagonal interior wall. This showcase presents the internationally renowned collection of porcelain from the Far East, in which the emphasis lies on East-West relations. With the Rijks Museum in Amsterdam, the Princessehof in Leeuwarden and the Gemeente Museum in The Hague, the Groninger Museum has one of the richest collections of Asian ceramics.
The round hall is divided by means of winding curtains. Exceptional arrangements are presented in the spaces that are thus created, where the visitor can concentrate on the porcelain or on other user items such as furniture and Japanese lacquer ware.
The method of presentation is attuned to the nature and special features of the objects. Large artificial fissures have been applied to the concrete floors and walls, resembling the craquelé of porcelain. The lift is bell-shaped and thus refers to applied art and also to Starck’s own designs, such as the cheese rasp/container Mister MeuMeu, dating from 1992, which is a stylised cow’s head. Starck combines form and content in a light-hearted and humorous way. On opening, one of the horns of Mister MeuMeu turns out to be a spoon. A playful element in the applied art pavilion is the aquarium filled with porcelain. It contains some of the famous collection of 'Geldermalsen porcelain', Chinese porcelain from the middle of the 18th century which lay at the bottom of the South China Sea for centuries after the wreck of the VOC ship ‘De Geldermalsen’. Many important pieces were donated to the Groninger Museum after the porcelain had been recovered by Captain Michael Hatcher in 1986. These pieces have again ‘put to sea’ in this pavilion.
The curtains, the splendidly designed showcases, and the remarkable lighting effects collectively produce elegant and alluring spaces that do full justice to the objects. In addition, the curtains have a useful soundproofing effect. A visit to this pavilion resembles a voyage of discovery with all kinds of surprising effects.
The theatrical layout by Philippe Starck is exceptional and original, and commands the attention of the visitor. It is an excellent example of the latest ideas on exhibition layout, where traditional methods of display in a neutral area alternate with exciting arrangements that fire the imagination.
EAST SECTION
MENDINI PAVILIONS
‘Classical’ museum architecture is also represented in the Museum, on the east side of the complex. The lower pavilion (Mendini 0), which is trapeziform, consists of two storeys and was designed entirely – both the interior and the exterior – by Mendini. The pointillist Signac motif on the exterior refers to the interior containing the visual arts. The seven consecutive halls on the ground floor are devoted to temporary exhibitions. Expositions of all kinds and composition are presented here, as long as they fit in with the policy and collection of the Groninger Museum. Recent exhibitions have included Jozef Israëls (1999), Anton Corbijn (2000), ‘Hell and Heaven, the Middle Ages in the North’ by Peter Greenaway (2001), and Ilja Repin (2002).
The spaces on the first floor (Mendini 1) display ever-changing selections from the Museum’s own collection, including objects at the interface of art, architecture and design (Pattern and Decoration, Memphis, Mendini) and, since the end of the 1990s, a sizeable collection of fashion and of staged and documentary photographs. Art from the Museums abundant historical collection is also regularly shown.
CLASSICAL LAYOUT
The largest rectangular area is situated in the middle of the square ground plan, with smaller areas
surrounding it. These, too, are rectangular and differ in size. The various dimensions are necessary because all kinds of art, large and small, must be able to be shown here. The areas are austere and simple and, as a result, have a rather classical appearance. The broad portals, whose metal framing becomes wider towards the bottom, accentuate this. Mendini did not apply the enfilade system, frequently deployed in many museums in the 19th century, in which the portals of consecutive areas lie in line. The further décor of the areas on the ground floor, used for the temporary exhibitions, is dependent on the type of exhibition organised. The colours of the walls, and even of the floors and ceilings, are repeatedly altered.
On the first floor, used for the presentation of Modern Visual Art, each space has its own particular colour, following a colour scheme developed by the Dutch artist Peter Struycken.
Just as in the west pavilions, where ‘traditional’ art objects are displayed in a renewed environment, the classical areas here on the first floor contrast with the modern, often innovative art presented. In Mendini 0, a refuge has been installed where the visitor can relax and look out of the window. As with the other pavilions, there is no daylight here. Mendini 1 accommodates a print gallery, constructed with financial support from the Beringer-Hazewinkel Foundation.
COOP HIMMELB(L)AU PAVILION
The vide with the broad staircase connects the two floors of the Mendini pavilion. The staircase also takes the visitor to the top pavilion, the much-discussed section of the Museum. It was designed by the architects Wolfgang Prix (Vienna, 1942) and the Pole Helmut Swiczinsky (1944), jointly known as Coop Himmelb(l)au. ‘It was as if a bomb had exploded’, said one city resident when the design was published. The capricious pavilion contrasts markedly with the rest of the building, designed by Mendini, with its austere and simple forms.
The first impression of the Coop Himmelb(l)au pavilion is one of randomness and chaos. The structure is comprised of large, double-walled steel plates that alternate with hardened glass at the points where they do not quite meet. The plates, to which the first sketch and a photograph of the design have been applied using tar, are topsy-turvy and even hang over the pavilion underneath at some points.
DECONSTRUCTIVISM
The design is a typical example of the most recent architectural movement, Deconstructivism, in which all architectural traditions are thrown overboard. Traditional constructive elements, such as the wall, floor, window or ceiling, have been torn out of their normal coherence. Thus, a wall can also be a ceiling and a window a floor. According to Prix, the spaces that are created in this way are a result of force fields and movement. ‘Many of the techniques that we use originate from art, such as the adherence to the first sketch and automatic drawing,’ he says. ‘We wish to make use of the subconscious and develop new forms from there. We want to try to bring emotion back into architecture.’
He does not take established values and norms as his starting point but prefers to seize the spirit of the times: fragmentation, chaos, contrast, movement. Another example of deconstructivist architecture is the glass pavilion by Bernard Tschumi at the Hereplein, near the Museum, designed in 19.. for the What a Wonderful World exhibition – music videos in architecture.
Three exhibition areas have been created within the pavilion, separated by indentations and recesses. The walls are made of steel and glass so that daylight can enter at unexpected places. This also contrasts with Mendini’s closed realm. Coop Himmelb(l)au aims to generate ’open architecture', an interaction between inside and out, so that the visitor is regularly surprised by sudden glimpses of the outside world. Paths at different levels ensure that the visitor can view the artworks from all sides: at ground level or from the gantry that cuts through the exhibition area a few metres above the floor. The original idea was to display paintings from the 16th-19th centuries here, to emphasise the contrast. Later, the pavilion came to be used primarily for three-dimensional work, such as exhibitions of the work of the British artist Mark Grinnigen and the American Rona Pondick. The areas here are extremely suitable for large receptions. Even dance parties are held here
occasionally at festive openings. The whole Coop Himmelb(l)au pavilion is a three-dimensional artwork, resting on the pedestal formed by the Mendini volume clad in colourful laminate.
THE MUSEUM AS A WORK OF ART
The new Groninger Museum is not merely a shell to accommodate art, it is a work of art in itself – a principle that is increasingly being applied in modern (museum) architecture elsewhere. In fact, the Museum itself is the most valuable item in the Groninger Museum collection of art. It is a work of art at the heart of the city, traversed by public areas where passers-by are directly confronted by all kinds of artwork. Could it be more inviting?
Source: www.groningermuseum.nl
Photo © Eddy Westveer
ALL RIGHTS RESERVED
EW0_8314
1891. Oli sobre tela. 64,8 x 81,3 cm. The Metropolitan Museum of Art, Nova York. 1975.1.209. Obra exposada: Galeria 962.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
1894. Litografia en sis colors. 27,5 x 36,7 cm. The Metropolitan Museum of Art, Nova York. 22.82.1-69. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
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Paul Signac (1863-1935) was a French Neo-Impressionist painter. Together with Georges Seurat, Signac developed the Pointillism style. He was a passionate sailor, bringing back watercolor sketches of ports and nature from his travels, then turning them into large studio canvases with mosaic-like squares of color. He abandoned the short brushstrokes and intuitive dabs of color of the impressionists for a more exact scientific approach to applying dots with the intention to combine and blend not on the canvas, but in the viewer's eye. We have digitally enhanced some of his landscapes and seascapes, both from sketches and paintings into high resolution quality. They are free to download and use under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1328402/paul-signac-artworks-i-high-resolution-cc0-paintings-sketches?sort=curated&mode=shop&page=1
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Paul Signac (1863-1935) was a French Neo-Impressionist painter. Together with Georges Seurat, Signac developed the Pointillism style. He was a passionate sailor, bringing back watercolor sketches of ports and nature from his travels, then turning them into large studio canvases with mosaic-like squares of color. He abandoned the short brushstrokes and intuitive dabs of color of the impressionists for a more exact scientific approach to applying dots with the intention to combine and blend not on the canvas, but in the viewer's eye. We have digitally enhanced some of his landscapes and seascapes, both from sketches and paintings into high resolution quality. They are free to download and use under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1328402/paul-signac-artworks-i-high-resolution-cc0-paintings-sketches?sort=curated&mode=shop&page=1
my first visit in this wonderful museum. here are some highlights, especially of the Courbod collection.
Paul Signac - Entrance to the Harbour of Saint Tropaz, 1902 at Sammlung Rosengart Art Museum Lucerne Switzerland
Paul Signac（1863 - 1935）
Conté crayon on paper
12.7 x 19.2 cm
www.christies.com/lotfinder/drawings-watercolors/paul-sig...
Estimate : £ 2,000 - £ 3,000
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Christie's
Impressionist & Modern Works on Paper
London, 3 Feb 2016
Paul Signac (1863-1935)
The Road to Gennevilliers
dit aussi Faubourg de Paris (1883)
From the beginning of the 1880s, the young Paul Signac had revealed a taste for urban landscapes, painting views of Montmartre and the Paris suburbs, and in particular Asnières where he lived with his mother. This view of the northern suburb of Paris is an example of this interest, even if the industrialised area is pushed back into the distance, on to the horizon. The wide area given over to the road, the signposts and the few gaunt trees, all describe a landscape entirely shaped by human activity.
In this Road to Gennevilliers, Monet's influence is still visible. Signac had been able to admire works by the Impressionist master in the offices of the review La Vie Moderne in 1880 and during his private exhibition at the Durand-Ruel Gallery in 1883. The composition of the foreground in areas of flat colour is reminiscent of the landscapes Monet painted in the 1870s, particularly during his stay in Argenteuil (1871-1878).
This landscape also has thematic and stylistic affinities with the suburban scenes painted by Sisley, Pissarro and Caillebotte some ten years earlier, making it one of Signac's last, manifestly Impressionist paintings. The following year he started to work with Seurat, and discovered the Divisionist technique that he then adopted definitively.
Huile sur toile, 65 x 82 cm, 1885, Tate modern, Londres.
Peintre néo-impressionniste français de figures et de paysages. Né à Paris. A étudié dans une école municipale de dessin auprès du sculpteur Justin Lequien. Travaille ensuite (1878-80) à l'Ecole des Beaux-Arts dans l'atelier de Lehmann, élève d'Ingres et copie des peintures et dessins d'Ingres et Holbein. A étudié les œuvres de Delacroix et les théories des couleurs de Chevreul, Charles Blanc, O.N. Rood et Charles Henry. Se concentrant de 1881 à 1883 sur le dessin, notamment au crayon conté, il commença ensuite à analyser les couleurs en leurs composants (divisionnisme) et à les juxtaposer par petits coups de pinceau (pointillisme).
Participe à la fondation de la Société des Artistes Indépendants en 1884 et rencontre Signac, Cross et Angrand. À partir de 1885, il passe presque tous les étés sur la côte normande à Grandcamp, Honfleur, etc. ; série de scènes côtières. Compositions de figures, parfois de grandes dimensions, pendant les mois d'hiver. Exposé à la dernière exposition impressionniste de 1886. Ses dernières œuvres montraient une stylisation croissante proche de l'Art nouveau (cf. Tate).
Imágenes relacionadas con las zonas del Boulevard de Clichy.
(Los números en amarillo del plano se corresponden a las zonas con bloque de imágenes).
En las proximidades de la Place de Clichy (1), en la Avenue de Clichy, dos puntos rojos marcan el lugar del Café Moncey y el Père Lathuille. En la mitad del primer tramo del bulevar se marcan las direcciones de los estudios de Signac y Seurat, donde también lo tuvo Picasso en 1901. Justo en el ángulo del bulevar (2), antes del trazado de la rue y puente de Caulaincourt sobre el Cementerio de Montmartre, se encontraba el Jardín del Père Forest, en un terreno colindante al cementerio, donde después se levantaría el Hippopalace. En el segundo tramo del bulevar, en las proximidades de la entrada a la Rue Rachel, estuvo el segundo Taller de Cormon (en el 104 del Bd), y a poca distancia del Moulin Rouge, ya en la Place Blanche (3). Frente a éste, en el 6 de la Rue de Bruxeles también tuvo su estudio Gêrome. En dos grandes calles que desembocan el la citada plaza, hacia el norte, en el 54 de la Rue Lépic, residió Van Gogh con su hermano Theo, (muy cerca se encontraba el antiguo Atelier Cormon de la Rue Constance) y hacia el sur en la Rue Fontaine, en el nº5 se fundó la Academia Julian, en el 19 y 21 de tuvieron estudios colindantes Toulouse-Lautrec y Degas. En la prolongación del bulevar hacia la Place de Pigalle, también tuvieron su ubicación lugares tan famosos como el Chat-Noir (68), Le Tambourin (después Quat´Z´Art)(62), Le Ciel et l´Enfern (53), el Casino de Montmartre (47) o el Café des Arts. Ya en la Place de Pigalle (4), se encontraba el famoso Passage del l’Elysée-des-Beaux-Arts (hoy André-Antoine), paralelo a la Rue Houdon, donde entre otros, tuvieron sus talleres Zandomenegi, Seurat y Modigliani. Al otro lado de la Plaza, habitó Boldini, primero en la Avenue de Frochot y después en 1871, en el edificio con los estudios para artistas que en el número 11, formaba esquina con la plaza, la rue de Pigalle y Duperré. Allí también lo tuvieron antes Dreux, Isabey, Henner y Puvis de Chabannes. La semiluna de la Place de Pigalle estaba flanqueada por establecimientos unidos a la historia de la pintura parisina de esta época, así: en el número 1, se hallaba el inmueble construido por Díaz de la Peña, "l´Abbaye de Théléme", donde se reunían pintores paisajistas de la escuela de Barbizon. En él tuvo su taller Fromentin. En el nº7 estaba "Le Rat Mort" antes café de Pigalle, y en el 9, "La Nouvelle-Athènes" tan unido al grupo impresionista. Ambos establecimientos se encontraban separados por la Rue Frochot, donde en el nº 15 también tuvo por un tiempo taller Toulouse-Lautrec. En la prolongación de la Rue Frochot, en el 21 de la Rue de Breda (hoy Henri Monnier) residió Goeneutte, quien también lo había hecho en el 23 de la cercana Rue Laval (hoy Victor Massé), donde en el 36 estuvo el "Bal Tabarin". En el último tramo del bulevar de Clichy, en el nº 6 tuvo su última residencia Degas, muy cerca de la desembocadura de la Rue des Martyrs que actua de límite entre los bulevares de Clichy y Rochechouart. En su ángulo, se encuentra aún en el nº2 el sitio del antiguo Restaurant y Teatro de La Cigale, muy próximo al Gaité Rochechouart. En la continuación también estaban los teatros y cabaret Le Trianon, Le Mirliton y el Elysée-Montmartre. En la acera opuesta, hemos marcado el lugar donde se levantó la carpa circular del antiguo Circo Fernando, luego Medrano, en la esquina y prolongación de la Rue des Martyrs y muy cercana a ella en el nº 6 de la Rue Clauzel, el lugar donde estuvo la tienda de pinturas del Pére Tanguy, lugar emblemático de la época donde se reunían los pintores del "Petit Boulevard".
The Boieldieu bridge at Rouen, foggy sunset, 1891.
Camille Pissarro was born at Charlotte Amalie in the Danish West Indies (since 1917 the US Virgin Islands), a colony in the Danish Colonial Empire. His parents were Abraham Gabriel Pissarro, a Portuguese Sephardic Jew, and Rachel Manzano-Pomie, from the Dominican Republic. Pissarro lived in St. Thomas until age 12, when he went to a boarding school in Paris. He returned to St. Thomas, where he drew in his free time. Pissarro was attracted to anarchism, an attraction that may have originated during his years in St. Thomas.
In 1849 he met Fritz Melbye a Danish painter who had recently arrived on the islands from Copenhagen where he had trained to become a marine artist under his brother Anton Melbye. Melbye inspired the young Pissarro to take on painting as a full-time profession, and also became his teacher and close friend. In 1852 the two painters travled to Venezuela where they stayed together until 1855 when Pissarro returned to St. Thomas and, the same year, continued to Paris.
In Paris he studied at various academic institutions (including the Ecole des Beaux-Arts and Academie Suisse) and under a succession of masters such as Jean-Baptiste-Camille Corot, Gustave Courbet, and Charles-Francois Daubigny. Corot is sometimes considered Pissarro's most important early influence; Pissarro listed himself as Corot's pupil in the catalogues to the 1864 and 1865 Paris Salons.
Pissarro married Julie Vellay, a maid in his mother's household. Of their eight children, one died at birth and one daughter died aged nine. The surviving children all painted, and Lucien, the oldest son, became a follower of William Morris.
The Franco-Prussian War of 1870-71 compelled Pissarro to flee his home in Louveciennes in September 1870; he returned in June 1871 to find that the house, and along with it many of his early oil paintings, had been destroyed by Prussian soldiers. Initially his family was taken in by a fellow artist in Montfoucault, but by December 1870 they had taken refuge in London and settled at Westow Hill in Upper Norwood (today better known as Crystal Palace). A Blue Plaque now marks the site of the house on the building at 77a Westow Hill.
Through the oil paintings Pissarro completed at this time, he records Sydenham and the Norwoods at a time when they were just recently connected by railways, but prior to the expansion of suburbia. One of the largest of these oil paintings is a view of St. Bartholomew's Church at Lawrie Park Avenue, commonly known as The Avenue, Sydenham, in the collection of the London National Gallery. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the catalogue raisonne prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and Lionello Venturi and published in 1939. These oil paintings include Norwood Under the Snow, and Lordship Lane Station, views of The Crystal Palace relocated from Hyde Park, Dulwich College, Sydenham Hill, All Saints Church, and a lost painting of St. Stephen's Church.
Everything is beautiful, all that matters is to be able to interpret. ”
- Camille Pissarro
Whilst in Upper Norwood Pissarro was introduced to the art dealer Paul Durand-Ruel, who bought two of his 'London' oil paintings. Durand-Ruel subsequently became the most important art dealer of the new school of French Impressionism.
Returning to France, in 1890 Pissarro again visited England and painted some ten scenes of central London. He came back again in 1892, painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils of Bedford Park, Chiswick.
Pissarro painted rural and urban French life, particularly landscapes in and around Pontoise, as well as scenes from Montmartre. His mature work displays an empathy for peasants and laborers, and sometimes evidences his radical political leanings. He was a mentor to Paul Cezanne, Edouard Manet , Pierre-Auguste Renoir, and Paul Gauguin and his example inspired many younger artists, including Californian Impressionist Lucy Bacon.
Pissarro's influence on his fellow Impressionists is probably still underestimated; not only did he offer substantial contributions to Impressionist theory, but he also managed to remain on friendly, mutually respectful terms with such difficult personalities as Edgar Degas, Cezanne and Gauguin. Pissarro exhibited at all eight of the Impressionist exhibitions. Moreover, whereas Claude Monet was the most prolific and emblematic practitioner of the Impressionist style, Pissarro was nonetheless a primary developer of Impressionist technique.
By the 1880s, Pissarro moved into a Postimpressionist period, returning to some of his earlier themes and exploring new techniques such as pointillism. He forged new friendships with artists including Georges Seurat and Paul Signac, and was an early admirer of Vincent van Gogh.
In March 1893, in Paris, Gallery Durand-Ruel organized a major exhibition of 46 of Pissarro's works along with 55 others by Antonio de La Gandara. But while the critics acclaimed Gandara, their appraisal of Pissarro's art was less enthusiastic.
Pissarro died in Paris on 13 November 1903 and was buried in Pere Lachaise Cemetery.
" Blessed are they who see beautiful things in humble places where other people see nothing. ”
- Camille Pissarro
Musee des beaux-arts, Rouen.
Musee des beaux-arts Rouen.
From Wikipedia en.wikipedia.org/wiki/Le_Chat_Noir Le Chat Noir ((French pronunciation: [lə ʃa nwaʁ] ; French for "The Black Cat") was a 19th-century cabaret, meaning entertainment house, in the bohemian Montmartre district of Paris. It was first opened on 18 November 1881 at 84 Boulevard Rochechouart by the impresario Rodolphe Salis, and closed in 1897 not long after Salis' death (much to the disappointment of Picasso and others who looked for it when they came to Paris for the Exposition in 1900).
Le Chat Noir is thought to be the first modern cabaret: a nightclub where the patrons sat at tables and drank alcoholic beverages while being entertained by a variety show on stage, introduced by a master of ceremonies who interacted with people he knew at the tables. Its imitators have included cabarets from St. Petersburg (The Stray Dog) to Barcelona (Els Quatre Gats).
Perhaps best known now by its iconic Théophile-Alexandre Steinlen poster art, in its heyday it was a bustling nightclub that was part artist salon, part rowdy music hall. The cabaret published its own humorous journal Le Chat Noir, which survived until 1895. It began by renting the cheapest accommodations it could find, a small two room affair at 84 Boulevard Rochechouart, (a site now commemorated only by a historical plaque). The first site's success was assured with the wholesale arrival of a group of radical young writers and artists called Les Hydropathes (“those who are afraid of water”), led by the journalist Emile Goudeau. The group claimed to be averse to water, preferring wine and beer; their name doubled as a nod to the "rabid" zeal with which they advocated their sociopolitical and aesthetic agendas. Goudeau’s club met in his house on the Rive Gauche (left bank), but had become so popular that it outgrew its meeting place. Salis met Goudeau, whom he convinced to transfer the club across the river to 84 Boulevard Rochechouart.[1]
The club began by serving bad wine and with a rather inferior decor. But from the first, at the door, guests were greeted by a Swiss guard, splendidly bedecked and covered with gold from head to foot, supposedly responsible for bringing in the painters and poets who arrived, while barring the "infamous priests and the military." Eventually Salis' tongue-in-cheek admirational piece was on a high marble fireplace: The skull of Louis XIII as a child[2]
Le Chat Noir second location at 12 Rue Victor-Masse Paris (photo from 1906)
Le Chat Noir soon outgrew its first site. Three and a half years after opening, its popularity forced it to move into larger accommodations a few doors down, in June, 1885. Located at 12 Rue Victor-Masse (which before 1885 had been Rue de Laval 12), the new establishment was sumptuous. It was the old private mansion of the painter Alfred Steven, who, at the request of Salis, had transformed it into a “fashionable country inn” with the help of the architect Maurice Isabey. On June 10, 1885, with great fanfare, Salis moved to new premises at 12 Rue Victor-Masse. Very quickly, poets and singers who performed at The Black Cat found the best practice for their craft to be had in Paris.
Salis most often played, with exaggerated, ironic politeness, the role of conférencier (post-performance lecturer, or emcee). It was here that the Salon des Arts Incohérents (Salon of Incoherent Arts), the "shadow plays" and the comic monologues got their start.
According to Salis: "The Chat Noir is the most extraordinary cabaret in the world. You rub shoulders with the most famous men of Paris, meeting there with foreigners from every corner of the world."
Famous patrons of the Chat Noir included Franc-Nohain, Adolphe Willette, Caran d'Ache, André Gill, Émile Cohl, Paul Bilhaud, Sarah England, Paul Verlaine, Henri Rivière, Claude Debussy, Erik Satie, Charles Cros, Jules Laforgue, Charles Moréas, Albert Samain, Louis Le Cardonnel, Coquelin Cadet, Emile Goudeau, Alphonse Allais, Maurice Rollinat, Maurice Donnay, Marie Krysinska, Jane Avril, Armand Masson, Aristide Bruant, Théodore Botrel, Paul Signac, Yvette Guilbert, August Strindberg, and George Auriol.
Museum of Modern Art - MoMA
'Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890' by 'Paul Signac' (1890)
DSC06593
1923. Oli sobre tela. 71,76 x 90,17 cm. Minneapolis Institute of Art, Minneapolis. 62.36. Obra exposada: Galeria 351.
De la cité corsaire dominée par sa citadelle du XVIème siècle au village de pêcheurs du début du XXème, la première ville libérée lors du débarquement de Provence devint dès les années 1950 une station balnéaire internationalement connue de la Côte d'Azur varoise et un lieu de villégiature de la Jet set européenne et américaine, comme des touristes en quête d'authenticité provençale ou de célébrités, familièrement appelée St-Trop',
Le centre-ville est constitué d'un petit habitat collectif ancien. À l'est, la citadelle constitue un espace boisé classé, prolongé au sud du cimetière marin et sur tout le centre de la presqu'île jusqu'à la pointe de Capon. Au sud se trouve une zone de petit habitat collectif et individuel, prolongée vers Ramatuelle et sur la pointe de la presqu'île, entre le cap saint-Pierre et le cap des Salins, par un habitat haut de gamme.
Saint-Tropez joue un rôle majeur dans l'histoire de l'Art Moderne. En 1892, Paul Signac découvre cet endroit baigné de lumière et incite des peintres comme Matisse, Bonnard ou Marquet à y venir. C'est notamment ici que le pointillisme et le fauvisme voient le jour, cette évolution étant parfaitement documentée au musée de l'Annonciade (cf. wikipédia).
Place Martin Nadaud | Avenue Gambetta 06/12/2016 09h37
Morning sunlight on the facade of the belle époque building on the Place Martin Nadaud as seen from the Avenue Gambetta in the 20ème arrondissement of Paris.
Place Martin-Nadaud
Place Martin-Nadaud is a square in the 20ème arrondissement of Paris in the quartier Père Lachaise. Named after Martin Nadaus, former mason of the Creuse and French politician born in 1815 and died in 1898. Till 23/08/1969 there was a métro station called Martin-Nadaud but due to the reorganisation of métro line 3 the station was remodelled and relocated towards the West and renamed Gambetta.
[ Source and more information: Wikipedia - Place Martin-Nadaud ]
Avenue Gambetta
Avenue Gambetta is a 2,280 meters long street in the 20ème arrondissement in the quartier Saint-Fargeau. Named after Léon Gambetta (1838-1882), politician, member of the government of national defense in 1870, Chairman and member of the 20th arrondissement.
Tree-lined avenue Gambetta is formed by four different axes. It starts up-Auguste Métivier at and altidtude of 54 meters, where it rises on the hill of Ménilmontant to the northeast, along the Square Samuel-de-Champlain, towards the place Martin-Nadaud. The avenue is moving then due east and reached the Place Gambetta (87 m). There, the avenue turnes to the northeast, along the town hall of the 20ème arrondissement, Square Edouard Vaillant and Tenon Hospital, and reached Paul Signac places (99 m) and Saint-Fargeau (108 m) where it undergoes its final misalignment. After passing behind the administrative Turrets Centre, headquarters of the DGSE, it borders the Olympic pool Georges-Vallerey and the Square du Docteur-Variot and ends Porte des Lilas to 116 m altitude.
[ Source and more Information: Wikipedia - Avenue Gambetta ]
Henri Rousseau died in 1910 in Paris. Seven friends stood at his grave: the painters Paul Signac and Manuel Ortiz de Zárate, Robert Delaunay and his wife Sonia Terk, the sculptor Brancusi, Rousseau's landlord Armand Queval and Guillaume Apollinaire who wrote the epitaph Brancusi put on the tombstone:
We salute you
Gentle Rousseau you can hear us
Delaunay his wife Monsieur Queval and myself
Let our luggage pass duty free through the gates
of heaven
We will bring you brushes paints and canvas
That you may spend your sacred leisure in the
light of truth Painting
as you once did my portrait
Facing the stars
lion and the gypsy
Study for "Luxe, calme et volupté“, 1904
Oil on canvas, 12 7/8 x 16" (32.7 x 40.6 cm)
Henri Matisse, French, 1869-1954
This study by Henri Matisse was for the painting, Luxe, calme et volupté (Luxury, Calm and Pleasure), which was painted in the summer of 1904 at Paul Signac and is currently housed in Musée d'Orsay.
Mrs. John Hay Whitney Bequest.
*
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
Huile sur carton, 67 x 96 cm, 1908, musée Carmen Thyssen, Madrid.
Une foule s'est rassemblée sous le porche de l'église saint Louis au passage d'une procession religieuse. Cette scène, qui se déroule à quelques mètres de l'appartement de Kandinsky, est esquissée par l'artiste dans un de ses carnets de fin 1908, accompagnée de notes précises sur la couleur. Kandinsky s'intéressait à la technique pointilliste de Signac depuis 1904, comme en témoignent ses tableaux de contes peints entre 1905 et 1907. La présente œuvre revient sur ces coups de pinceau et ces fonds sombres, mais déploie une palette vibrante et arbitraire dérivée de Matisse et des peintres fauves, dont l'artiste avait vu le travail à Paris en 1906 et 1907. Kandinsky diffère cependant des peintres français en ce qu'il établit un contraste marqué entre les petites taches de couleur (dont beaucoup sont totalement non figuratives) et le fond noir, donnant à l'œuvre une qualité abstraite-décorative (cf. Jal, musée Carmen Thyssen).
Paul Signac (1863-1935), Les Andelys, la berge, 1886, oil on canvas, 65 x 81 cm, Musée d'Orsay
Les Andelys, the Riverbank
Sur le pont Riquet (Paris 18ème).
... quoique le style pointillisme fasse davantage penser à Georges Seurat ou à Paul Signac qu'à Vincent van Gogh.
Conté crayon on laid paper.
Charles Angrand was a visible presence in the Parisian avant-garde in the late 1880s and early 1890s. Associated with a circle of artists known as the Neo-Impressionists, Angrand emulated the shadowy crayon drawings of Georges Seurat, Neo-Impressionism's standard-bearer. Here Angrand presents himself, not at all as an artist, but as a bourgeois dandy, impeccably dressed and smoking a small cigar. His dashing figure emerges from a penumbra of black ground. Following Seurat's lead, Angrand deftly manipulates the stark white of the textured paper to illuminate the darkness. Fellow Neo-Impressionist Paul Signac praised Angrand's crayon drawings: "… his drawings are masterpieces. It would be impossible to imagine a better use of white and black …These are the most beautiful drawings, poems of light, of fine composition and execution."
1883. Oli sobre ela. 32,5 x 46,5 cm. Staatliche Museen zu Berlin, Alte Nationalgalerie, Berlín. NG 19/57.
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