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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
Surplombée d'un château vieux de plusieurs siècles, la ville est réputée pour ses plages de galets et ses calanques aux falaises calcaires escarpées. Le port est agrémenté de bâtiments aux couleurs pastel, de cafés sur rue et de restaurants. Les vignobles locaux sont connus pour la production du vin blanc de Cassis. Contrairement à plusieurs villages de la côte qui ont été urbanisés au point de perdre leur charme originel, Cassis ressemble toujours au petit port de pêche qui avait séduit les peintres Dufy, Signac et Derain.
Paul Signac - Le château des Papes - Avignon - 1909
t the tender age of seventeen Paul Signac dropped out of school and immersed himself in the avant-garde life of Montmartre where his family had been living. He soon came into contact with the literary and artistic circles that frequented this hedonistic area of belle époque Paris. Painting emerged as his passion and Signac later cited an exhibition of paintings by Monet in 1880 at La Vie Moderne as the inspiration for his choice of vocation. Consigned by some to the footnotes of history as a mere follower of the great Seurat, noteworthy only because of his many friendships with celebrated artists, his tireless promotion of the Neo-Impressionist cause and his involvement in radical politics, Paul Signac in fact produced a substantial body of brilliantly expressive work. But it was undoubtedly his meeting with Georges Seurat during the inaugural Salon des Indépendants in 1884 which was the defining moment of his artistic career. In many ways they were opposites – the genial, extrovert but occasionally abrasive, mainly self-taught Signac and the aloof, Beaux-Arts trained Seurat. However Seurat’s academic background and experience proved to be an inspiration for Signac who was seduced by the older painter’s rigorous theories, in many ways the antithesis of the spontaneous, instinctive approach of the Impressionists from whom Signac had previously taken his lead. Signac and Seurat worked together to develop Seurat’s technique in which tiny dots of pure colour were juxtaposed in order that the viewer’s eye would, at a distance, fuse them to ‘see’ another colour. It was Signac’s friend, the anarchist writer and art critic Felix Fénéon (the subject of a most striking portrait by Signac now in New York) who, in 1886, coined the phrase Neo-Impressionism to distinguish this new approach from the earlier generation of Impressionists, and it was Fénéon who wittily observed that Signac had become the Claude Lorrain of Neo-Impressionism to Seurat’s Poussin.
Signac’s style developed over time from the closely structured pointillism of the late 1880s and early 1890s, to a freer divisionist technique employing larger brushstrokes to achieve a shimmering, shifting, mesmeric surface. Palais des Papes, Avignon is the product of this later style, possibly one of a number of paintings completed in 1909 (scholars differ as to the date of execution) depicting famous buildings seen from the sea or adjoining river (the others included views of Genoa, Venice and Istanbul). Part of a longer term project depicting famous ports (visited on cruises in his yacht – he was a very keen sailor), this was the first of Signac’s oil paintings to be purchased by the state, entering the French national collection in 1912. Two versions of the scene exist, one shows the château just after dawn, but this painting gives us a dazzling evocation of evening light playing on the venerable residence of the Avignon popes. Unlike early pointillist output which used small points of paint, here Signac’s brush strokes have become much larger giving a more fractured surface, each stroke like the tesserae of the ancient mosaics he greatly admired. But the picture is nevertheless underpinned by the theories of Neo-Impressionism, the careful arrangement of complementary colour creating a scintillating luminosity.
It was Signac and his friend and fellow ‘Neo’ Henri Edmond Cross who popularised the little port of St Tropez by settling there in the early 1890s. Signac welcomed a number of artists to his house there including Henri Matisse who, after his visit to St Tropez in 1904 produced his enchanting divisionist masterpiece Luxe, calme et volupté. Matisse’s involvement with Neo-Impressionism was short but it proved to be a vital stepping stone in his journey towards Fauvism and beyond. Signac remained loyal to the tenets of Neo-Impressionism for the rest of his life.
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Huile sur toile, 45 x 56 cm, juin-juillet 1887 (F 342/JH 1256), musée Kröller-Müller, Otterlo (Pays-Bas).
Si Vincent et son frère prenaient souvent leurs repas "chez Bataille", rue des Abbesses ou au Grand Bouillon - restaurant du Chalet, 43 avenue de Clichy, le tableau accroché Square saint-Pierre F 276/JH 1259 (voir ci-dessous) laisse penser que ce restaurant est situé à Paris :
www.flickr.com/photos/7208148@N02/32066987568/in/datepost...
Il est de toute manière l'hommage le plus fervent que Vincent ait jamais rendu au néo-impressionnisme. La touche pointillée et les contrastes de couleur complémantaires (surtout ici le rouge et le vert, ainsi que la jaune et le mauve) sont appliqués avec recherche. Pourtant la structure réaliste y reste sous-jacente, notamment dans les chaises et les tables.
Le chapeau haut-de-forme accroché à la patère de façon incongrue dans cet intérieur estival est peut être une allusion à un détail vestimentaire qu'affectionnaient les néo-impressionnistes (cf. La Grande Jatte ou le Portrait de Signac, tous deux par par Seurat) (cf. F Cachin et B Welsch-Ovcharov).
Merci Michelangelo pour la photo :
www.flickr.com/photos/47934977@N03/44296455670/in/datepos...
Pointillism - Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism.
It is a painting technique where artists apply tiny dots or strokes of pure color to a canvas, aiming for the viewer's eye to blend them together into a cohesive image
The Neue Pinakothek is an incredibly nice museum - it concentrates on art from the 1800-1920s. I went there on a very wet and cold Sunday morning (it is only 1 Euro on Sunday) in October 2009. This is my kind of art - I can look at something and not have to try to figure out what it is. This is definitely a must see site if you hit Munich.
(Foto di X.H.)
Posizionato a metà strada tra Marsiglia e Toulon, Cassis è un antico villaggio di pescatori, interessante da visitare, ma che è diventato ancora più celebre per la vicinanza con le meraviglie naturali delle Calanques, dei canyon rocciosi spettacolari che si tuffano nel mediterraneo.
Le Calanques sono la vera magia di Cassis, e si trovano ad ovest del porto, separando Cassis da Marsiglia.
Si tratta di veri e propri canyon rocciosi, una specie di fiordi mediterranei, causati dal sollevamento del livello del Mediterraneo alla fine delle ere glaciali, con il mare che ha invaso queste profonde e spettacolari valli fluviali creando un ambiente di rara bellezza.
Le rocce così spettacolari erano famose già al tempo del medioevo, ed una delle cave più antiche si trova proprio qui vicino a Cassis, Presso Pointe Cacau.
Numerosi pittori sono stati attratti dal fascino e dalla luce di Cassis. Diverse opere che ne rappresentano il porto, il paese, i calanchi e la natura circostante figurano nei più grandi musei.
- Emile Othon FRIESZ nato a Le Havre (1879 - 1949)
- Paul GUIGOU nato a Villars nel Vaucluse (1834-1871)
- CHAUVIER DE LEON (1835-1907),
- Adolphe Joseph MONTICELLI nato a Marseille (1824-1886)
- Jean-Baptiste OLIVE nato a Marseille (1848-1936),
- Félix ZIEM, peintre nato a Beaune (1821 - 1911).
- Joseph RAVAISOU nato a Bandol (1865 - 1925)
- René SEYSSAUD nato a Marseille (1867-1952)
- Francis PICABIA (1879-1953),
- Louis Mathieu VERDILHAN nato a Saint-Gilles nel Gard (1875 - 1928)
- Charles CAMOIN nato a Marseille (1879-1965),
- Auguste PEGURIER nato a Saint-Tropez (1856-1936),
- Georges BRAQUE nato ad Argenteuil (1882-1963)
- André DERAIN nato a Chatou (1880-1954)
- Paul SIGNAC nato a Parigi (1863-1935)
- Pierre AMBROGIANI nato ad Ajaccio (1906-1985)
- Maurice VLAMINCK nato a Parigi (1876-1958)
- Moiese KISLING nato a Cracovia (1891- 1953)
- Raoul DUFY nato a Le Havre (1877-1953),
- NARDI
- CANEPA
- Rudolf KUNDERA che visse a Cassis..
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
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’
O Museu Nacional de Arte Antiga, está localizado em Lisboa, Portugal. O museu está instalado num palácio do século XVII construído para os condes de Alvor. Este edifício é também chamado de Palácio de Alvor-Pombal.
Em 1770, o marquês de Pombal adquiriu-o ficando na posse da sua família por mais de um século.
Inaugurado em 1884, com a designação de Museu Nacional de Belas-Artes e Arqueologia, sendo o José de Figueiredo responsável pela sua organização e mais tarde nomeado seu primeiro director.
Actualmente o museu é conhecido por Museu das Janelas Verdes, pois é essa a cor das suas janelas. Em 1940 foi construído um anexo, que inclui a fachada principal. Este ocupou o lugar do Convento Carmelita de Santo Alberto, destruído pelo terramoto de 1755. A única coisa que resistiu foi a capela, agora integrada no museu.
Integrou, em 1983, a XVII Exposição Europeia de Arte Ciência e Cultura.
A 18 de Maio de 2006 data de inauguração, no Museu Nacional de Arte Antiga, da memorável exibição da Colecção Dr. Gustav Rau - De Fra Angelico a Bonnard. Esta exposição tornou-se na maior já recebida em Lisboa e colocou Portugal na rota das grandes exposições de arte. A colecção, é importante dizer, reúne telas de Fra Angelico, Guido Reni, Renoir, Degas, Jean-Honoré Fragonard, Hubert Robert, Alexej von Jawlensky, Camille Corot, Edouard Manet, Paul Cézanne, El Greco, Bernardino Luini, Paul Signac, Odilon Redon, Raoul Dufi, Canaletto, Frans Porbus, Max Liebermann, Camille Pissarro, Toulouse-Lautrec, Gerard Dou, Jan van Goyen, Claude Monet, François Boucher, Joshua Reynolds, Pierre Bonnard e até mesmo Thomas Gainsborough.
Paul Signac（1863 - 1935）
Pastel and brush and ink on paper
18.7 x 11.1 cm
www.christies.com/lotfinder/drawings-watercolors/paul-sig...
Estimate : £ 3,000 - £ 5,000
Price Realized : £ 11,250
Christie's
Impressionist & Modern Works on Paper
London, 3 Feb 2016
Portrait of Mr. Félix Fiméon (1890) by Paul Signac
www.fondationlouisvuitton.fr/en/expositions/exposition-mo...
The southern tip of the island of Outremeuse is occupied by the pleasant Parc de la Boverie, where we find the Museum of Modern and Contemporary Art. Housed in the last surviving pavilion of the Universal Exhibition of 1905, the museum possess nearly 1000 works from 1850 to the contemporary period. It covers various artistic styles, ranging from Impressionism (Monet, Pissaro, Signac, Claus, Ensor, Van Rysselberghe...), Fauvism (Gaugain, Derain, Dufy, Friesz, Wouters...), Symbolism (Khnopff), Expressionism (Chagal, Picasso, Kokoschka, Permeke, Van den Berghe...), Abstract Art (Mortensen, Nicholson, Poliakoff, Vasarely...) and Contemporary (Tapiès, Van Velde, Viallat...).
Plus d'info sur le site MAMAC (français)
View large size on black.
Bronwen brought this to the meeting for the Trains, Boats & Planes theme. It was lovely but I don't think it is still available at Puzzle Michele Wilson. It has a typical PMW cut and Bronwen found it took longer than she expected.
250pc Le Corne d'Or, Constantinople by Paul Signac.
I like jigsaws with this style of image and have found them at Liberty, Wentworth and most recently the Latvian supplier Puzzleprintshop. Seurat's paintings are most common, but also Signac & HE Cross.
PMW 's website currently offer
150pc LE PIN DE BERTAUD by SIGNAC (+80pc)
250pc/350pc LIGHTHOUSE AT GROIX by SIGNAC
250pc NOTRE DAME by LUCE
650pc DEUX FEMMES AU BORD DE LA MER by CROSS
Liberty currently offer Seurat's Grand Jatte and five by Signac:
Blessing of the Tuna Fleet at Groix 533 pieces
Port of La Rochelle 586 pieces
Sails and Pine Trees 238 pieces
The Herb Market, Verona 505 pieces
The Port of Saint-Tropez 533 pieces
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
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
From the Museum label:
Along with Impressionist painters Claude Monet and Alfred Sisley, Camille Pissarro pursued the theme of snow throughout his career, producing nearly 100 snow paintings. In 1879 France experienced an extraordinarily severe winter, which Pissarro explored in this and other works painted at his home in Pontoise, 30 miles west of Paris along the Seine River. In "rabbit Warren, snow covers the ground, houses and vegetation in a frothy coat that results from the artist's vigorous brushwork. Throughout, small spots of color in the chimneys, greenish shrubs and clothing of the man at right punctuate what is otherwise a predominately yellowish white and uninhabited fragment of nature,
From www.artic.edu/artexplorer/search.php?tab=2&resource=486:
Pissarro, primarily a landscape painter, was a driving force behind the impressionist group shows. Slightly older than the other members of the circle, he made many of the arrangements, reconciled disputes among painters, and contributed a number of canvases to all eight impressionist exhibitions.
Born in the West Indies, Pissarro worked mainly in Pontoise, a suburb of Paris. He was obliged to help run the family business during early adulthood, teaching himself to paint in his spare time. Although Pissarro's work was accepted to the Salon in 1859 and again in the later 1860s, he became embittered with the academic system. He in turn developed an impressionist style characterized by loose brushwork and a concern for reflected light.
By 1880 Pissarro began working in a new style: a thick application of paint in small crosshatched strokes. Five years later he met Paul Signac and Georges Seurat, and was impressed with their unique method. In 1886 Pissarro adopted a neo-impressionist style characterized by discrete touches of unmixed pigments that were often densely applied to form a complex web of color. However, he eventually found the meticulous technique too limiting and abandoned it in 1891.
Pissarro's political beliefs inclined toward anarchism. His paintings of peasants working in gardens or fields reflected his belief in the essential dignity of the laboring class. As anti-anarchist sentiments reached a climax in the 1890s, Pissarro went into exile in Belgium.
French, 1863-1935
This painting depicts the south of France in 1896, and shows Maxime to the left and St. Tropez to the center.
Signac, born in Paris, helped establish the Salon des Independents. He met Seurat, and the two developed Neo-Impressionism.
1891-92 painting by Henri-Edmond Cross, “The Golden Isles.” Originally owned by Félix Fénéon, and now in the Musée d’Orsay collection.
Installation view “Félix Fénéon: The Anarchist and the Avant-Garde – From Signac to Matisse and Beyond”
Museum of Modern Art
New York, New York
August 27 – January 2, 2021
1887. Oli sobre fusta. 27,3 x 35,6 cm. The Metropolitan Museum of Art, Nova York. 1975.1.210. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Paul Signac (1863-1935) was a French Neo-Impressionist painter. Together with Georges Seurat, Signac developed the Pointillism style. He was a passionate sailor, bringing back watercolor sketches of ports and nature from his travels, then turning them into large studio canvases with mosaic-like squares of color. He abandoned the short brushstrokes and intuitive dabs of color of the impressionists for a more exact scientific approach to applying dots with the intention to combine and blend not on the canvas, but in the viewer's eye. We have digitally enhanced some of his landscapes and seascapes, both from sketches and paintings into high resolution quality. They are free to download and use under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1328402/paul-signac-artworks-i-high-resolution-cc0-paintings-sketches?sort=curated&mode=shop&page=1
Henri-Edmond Cross
(born Henri-Edmond Delacroix)
Douai, 1856-Saint-Clair, 1910
Beach. Evening Effect
1902
Oil on canvas. 54 x 65 cm
Carmen Thyssen-Bornemisza Collection on loan at the Museo Nacional Thyssen-Bornemisza
Museo Thyssen-Bornemisza, Madrid
26 November 2017
In the autumn of 1891, Cross moved to Saint-Clair on the French Mediterranean coast, where he was to produce a large part of his oeuvre. That same year he became a convert to neo-Impressionism, which he had absorbed from his friends Seurat and Signac. In his Pointillist-type paintings he used tones that were pure but soft, mixed with white, as a means of expressing the discoloration that occurs under the harsh light of the Midi. Gradually, he began to develop his own personal style within the shared approach of Divisionism.
According to Signac, Cross was tormented by the conflict arising between the problems of naturalism and the freedom of the imagination: "Cross's struggle with nature was terrible: at each brushstroke, fighting with all his will against his early training, he gave out a cry of pain, as if he were carrying a heavy load. Often he was defeated in this struggle; and yet when he was alone in front of his easel, in full creative fervour, he would triumph, as can be seen from his late works, the freedom and splendour of which have never been bettered."
Indeed, from 1903 onwards Cross's landscapes of the coast of Provence use less realistic colouring and are inhabited by mythological creatures such as nymphs and fauns. The painting shown here (Beach, Evening Effect), painted in the summer of 1902 close to Saint-Clair, is still in an intermediate stage between his loyalty to nature and his ultimate decorative fantasy. The figures-the nudes that so often occur in Cross's paintings-here appear frankly diminished by the presence of a large tree that dominates the composition. Pines against the landscape are common motifs in Cross's work, although by no means exclusive to his work: Cézanne used a solitary pine as a key element in at least two paintings, and Signac used this motif repeatedly, albeit with the pines of the bay of Saint-Tropez. Pines appear again in Matisse, in his preliminary studies for Luxe, calme et volupté, for example, those painted on the Saint-Tropez coast in the summer of 1904 in the company of Signac and Cross, and indeed under their direct influence.
DSC02866
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’
Aquarelle, 1923.
Le premier pont suspendu, constitué d'une seule arche et mesurant 163 m, a été construit en 1852, mais suivant le sort d'autres ponts sur la Seine, est détruit en 1870 préventivement devant l'avance prussienne. Il est suivi en 1873 d'un pont en pierre d'environ 180 m, remplacé en 1920 d'un nouveau pont sur la forme ancienne de l'ancien pont suspendu, mais qui sera détruit en 1940 et remplacé par un autre pont routier suspendu après la seconde guerre mondiale (cf. wikipédia).
From Wikipedia: Arles (February 1888 – May 1889)
Van Gogh arrived on 21 February 1888, at the railroad station in Arles, crossed Place Lamartine, entered the city through the Porte de la Cavalerie, and took quarters a few steps further, at the Hôtel-Restaurant Carrel, 30 Rue Cavalerie. He had ideas of founding a Utopian art colony. His companion for two months was the Danish artist, Christian Mourier-Petersen. In March, he painted local landscapes, using a gridded "perspective frame." Three of his pictures were shown at the annual exhibition of the Société des Artistes Indépendants. In April he was visited by the American painter, Dodge MacKnight, who was resident in Fontvieille nearby.
On 1 May he signed a lease for 15 francs a month to rent the four rooms in the right hand side of the "Yellow House" (so called because its outside walls were yellow) at No. 2 Place Lamartine. The house was unfurnished and had been uninhabited for some time so he was not able to move in straight away. He had been staying at the Hôtel Restaurant Carrel in the Rue de la Cavalerie, just inside the medieval gate to the city, with the old Roman Arena in view. The rate charged by the hotel was 5 francs a week, which Van Gogh regarded as excessive. He disputed the price, and took the case to the local arbitrator who awarded him a twelve franc reduction on his total bill. On 7 May he moved out of the Hôtel Carrel, and moved into the Café de la Gare. He became friends with the proprietors, Joseph and Marie Ginoux. Although the Yellow House had to be furnished before he could fully move in, Van Gogh was able to use it as a studio. His major project at this time was a series of paintings intended to form the décoration for the Yellow House.
In June he visited Saintes-Maries-de-la-Mer. He gave drawing lessons to a Zouave second lieutenant, Paul-Eugène Milliet, who also became a companion. MacKnight introduced him to Eugène Boch, a Belgian painter, who stayed at times in Fontvieille (they exchanged visits in July). Gauguin agreed to join him in Arles. In August he painted sunflowers; Boch visited again. On 8 September, upon advice from his friend the station's postal supervisor Joseph Roulin, he bought two beds, and he finally spent the first night in the still sparsely furnished Yellow House on 17 September.
On 23 October Gauguin eventually arrived in Arles, after repeated requests from Van Gogh. During November they painted together. Uncharacteristically, Van Gogh painted some pictures from memory, deferring to Gauguin's ideas in this. Their first joint outdoor painting exercise was conducted at the picturesque Alyscamps. It was in November that Van Gogh painted The Red Vineyard.
In December the two artists visited Montpellier and viewed works by Courbet and Delacroix in the Museé Fabre. However, their relationship was deteriorating badly. They quarrelled fiercely about art. Van Gogh felt an increasing fear that Gauguin was going to desert him, and what he described as a situation of "excessive tension" reached a crisis point on 23 December 1888, when Van Gogh stalked Gauguin with a razor and then cut off the lower part of his own left ear lobe, which he wrapped in newspaper and gave to a prostitute named Rachel in the local brothel, asking her to "keep this object carefully." Gauguin left Arles and did not see Van Gogh again. Van Gogh was hospitalised and in a critical state for a few days. He was immediately visited by Theo (whom Gauguin had notified), as well as Madame Ginoux and frequently by Roulin. In January 1889 Van Gogh returned to the "Yellow House", but spent the following month between hospital and home, suffering from hallucinations and paranoia that he was being poisoned. In March the police closed his house, after a petition by thirty townspeople, who called him fou roux ("the redheaded madman"). Signac visited him in hospital and Van Gogh was allowed home in his company. In April he moved into rooms owned by Dr. Rey, after floods damaged paintings in his own home. On 17 April Theo married Johanna Bonger in Amsterdam.
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
Paul Signac "le clocher de Saint-Tropez" (1896) ; Collection Bemberg exposée à l'Hermitage sur la hauteur de Lausanne
De la parte derecha del bulevar solo vemos el angulo cortado en bisel que forma un muro delante del cual se encuentra una figura, marcando el comienzo del primer tramo del bulevar en dirección a la Place de Clichy. Posiblemente se trate del final del que aparece a la derecha en la obra de Béraud. Por delante de este, en primer término, se observa la curvatura del paseo central arbolado en el que sobresale un edificio con tejado a dos aguas junto a dos árboles y una farola. Que esta construcción se encuentre en un extremo del paseo central se deduce por las direcciones que a ambos lados del mismo marcan las huellas dejadas en la nieve por el tránsito de vehículos tirados por caballos, calesas, hippomobiles y tranvía à impériale, como vemos, mucho mayor por la zona de la derecha del bulevar, que forma la curva más cerrada y alejada, que por la más próxima al espectador en primer plano mucho más abierta.
En el esquema de la derecha, se han vuelto a señalar con un punto rojo el lugar de la toma de la obra del que parte una forma azul que dibuja el ángulo representado. Sobre ambos sectores del bulevar se han dibujado en verde claro las formas que corresponderían a los paseos centrales arbolados. Las flechas rojas indican la situación y dirección de las huellas dejadas por el tráfico según las pintadas por Signac. Finalmente, sobre el comienzo del primer tramo, hemos dibujado un cuadrado naranja y tres puntos oscuros que representan el edificio y los dos árboles así como la farola que aparecen en primer plano. Pero si la localización del lugar ahora está bastante clara, no ocurre así, cuando nos preguntamos por la identidad de la construcción que preside el inicio de este paseo de la derecha; de hecho nos condujo a pensar en otra posibilidad. No hemos encontrado ninguna imagen que pudiera darnos una pista o testimonio de lo que fuera y sólo la bandera parcialmente visible que aparece en él lo identificaría como una edificación de carácter oficial, tal vez un puesto de policía o una escuela, que ya no aparece en otras imágenes de la zona.
c. 1911. Aquarel·la i carbonet sobre paper. 28,6 x 40,6 cm. Fundació Barnes, Filadèlfia. BF722. Obra exposada: Sala 17.
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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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