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Road to the Outskirts of Paris, 1887. Oil on canvas (1853-1890) Larry Ellison collection. Santa Barbara Museum of Art
La_Cathedrale_de_Rouen-HarmonieBleue
(Rouen Cathedral, Blue Harmony)
1893
Oil on canvas (H. 0.91; L. 0.63 m)
by Claude Monet.
Paris, Musée d'Orsay
www.ibiblio.org/wm/paint/auth/monet/rouen/
www.mcah.columbia.edu/monet/swf/
During the 1890's, faithful to the Impressionist idea that shape is perceived through changing patterns of light, Monet began to paint pictures of the same scene observed at different times of the day. Of the various series produced in this way (Haystacks, Poplars), the one devoted to Rouen Cathedral is the most important, both because it is the largest (thirty paintings in all) and because it is the only series in which all the pictures represent an identical motif. Here, the Gothic architecture is no longer a subject, but a motif and a pretext for the spectacular depiction of instantaneous impressions, an idea by which Monet was obsessed. The thick, crude brush-strokes suggest the texture of the stone as it literally traps the light which falls upon it.
The importance of Monet's artistic approach was recognized immediately by artists and personalities of his time, such as Signac, Pissarro and Clemenceau.
Mediium: marker pen on rendered exterior wall
The artist is referencing Paul Signac's "The Port of Saint-Tropez" (1901).
Employing the Neo-Impressionism and Divisionism method, short brushstrokes of impressionism are abandoned in favour of scientifically juxtaposed strokes of pure black colour.
The intention is not merely to scrawl a signature onto a grey background.
Instead, the leading asterix announces the artist's infatuation/loathing of his sphincter and human excrement, a topic all too familiar, given his recent history.
The mixed use of capitals and lower-case lettering is interpreted as a yearning for and a hatred of materialism/capitalism. The initials "PS" are encapsulated within an eliptical shape, itself evolving into an interrogative. Here, the artist is posing the question: "Why?" and at the same time commenting on his inability to become anything more worthwhile than a postscript/piece of s**t.
Henri DELAVALLÉE
(Reims, 1862 - Pont-Aven, 1943)
Bretonne de Pont-Aven
1892
Toile marouflée sur carton, 46 × 38 cm
Acquisition dans le commerce quimpérois vers 1941
BREST Musée des Beaux-Arts
09/08/2021 : nouvelle photo
pop.culture.gouv.fr/notice/joconde/01970000592
Peint à Pont-Aven en 1892, ce portrait d’une jeune paysanne en costume traditionnel reflète l’influence du synthétisme chez un artiste issu du pointillisme. Si le visage est animé de petites touches colorées, le blanc de la collerette comme celui de la coiffe est figuré par de larges touches, qui semblent tendre vers l’aplat. Presque abstrait, le fond est rythmé par de grandes lignes colorées, donnant au portrait un esprit décoratif.
Henri Delavallée se rend à Pont-Aven dès 1881. Il y fait la connaissance de Paul Gauguin et d’Émile Bernard en 1886, mais reste marqué par l’influence de Camille Pissaro, Paul Signac et surtout de Georges Seurat, auprès de qui il travaille à Marlotte en 1887. En 1893, Delavallée quitte la France pour la Turquie, où il devient peintre officiel du Grand Vizir. Après son retour en France en 1901, il s’établit définitivement à Pont-Aven en 1910.
Dossier pédagogique du musée "Le portrait" consultable ici :
Vincent van Gogh - Sunflowers (F458)
Vincent van Gogh - Fünfzehn Sonnenblumen
The Van Gogh Museum (Dutch pronunciation: [vɑŋˈɣɔx mʏˌzeːjʏm]) is a Dutch art museum dedicated to the works of Vincent van Gogh and his contemporaries in the Museum Square in Amsterdam South, close to the Stedelijk Museum, the Rijksmuseum, and the Concertgebouw. The museum opened on 2 June 1973, and its buildings were designed by Gerrit Rietveld and Kisho Kurokawa.
The museum contains the largest collection of Van Gogh's paintings and drawings in the world. In 2017, the museum had 2.3 million visitors and was the most-visited museum in the Netherlands, and the 23rd-most-visited art museum in the world. In 2019, the Van Gogh Museum launched the Meet Vincent Van Gogh Experience, a technology-driven "immersive exhibition" on Van Gogh's life and works, which has toured globally.
History
Unsold works
Upon Vincent van Gogh's death in 1890, his work not sold fell into the possession of his brother Theo. Theo died six months after Vincent, leaving the work in the possession of his widow, Johanna van Gogh-Bonger. Selling many of Vincent's paintings with the ambition of spreading knowledge of his artwork, Johanna maintained a private collection of his works. The collection was inherited by her son Vincent Willem van Gogh in 1925, eventually loaned to the Stedelijk Museum in Amsterdam, where it was displayed for many years, and was transferred to the state-initiated Vincent van Gogh Foundation in 1962. In the years following her husband’s death, Johanna van Gogh-Bonger organized exhibitions of Vincent van Gogh's work in the Netherlands and abroad, significantly contributing to his posthumous recognition.
Dedicated museum
Design for a Van Gogh Museum was commissioned by the Dutch government in 1963 to Dutch architect and furniture designer Gerrit Rietveld. Rietveld died a year later, and the building was not completed until 1973, when the museum opened its doors. In 1998 and 1999, the building was renovated by the Dutch architect Martien van Goor, and an exhibition wing by the Japanese architect Kisho Kurokawa was added. In late 2012, the museum was closed for renovations for six months. During this period, 75 works from the collection were shown in the H'ART Museum.
On 9 September 2013, the museum unveiled a long-lost Van Gogh painting that spent years in a Norwegian attic believed to be by another painter. It is the first full-size canvas by him discovered since 1928. Sunset at Montmajour depicts trees, bushes and sky, painted with Van Gogh's familiar thick brush strokes. It can be dated to the exact day it was painted because he described it in a letter to his brother, Theo, and said he painted it the previous day 4 July 1888.
Art thefts
In 1991, twenty paintings were stolen from the museum, among them Van Gogh's early painting The Potato Eaters. Although the thieves escaped from the building, 35 minutes later all stolen paintings were recovered from an abandoned car. Three paintings – Wheatfield with Crows, Still Life with Bible, and Still Life with Fruit – were severely torn during the theft. Four men, including two museum guards, were convicted for the theft and given six or seven-year sentences. It is considered to be the largest art theft in the Netherlands since the Second World War.
In 2002, two paintings were stolen from the museum, Congregation Leaving the Reformed Church in Nuenen and View of the Sea at Scheveningen. Two Dutchmen were convicted for the theft to four-and-a-half-year sentences, but the paintings were not immediately recovered. The museum offered a reward of €100,000 for information leading to the recovery of the paintings. The FBI Art Crime Team listed the robbery on their Top Ten Art Crimes list, and estimates the combined value of the paintings at US$30 million. In September 2016, both paintings were discovered by the Guardia di Finanza in Castellammare di Stabia, Italy in a villa belonging to the Camorra drug trafficker Raffaele Imperiale. The two artworks were found in a "relatively good state", according to the Van Gogh Museum.
Buildings
The museum is situated at the Museumplein in Amsterdam-Zuid, on the Paulus Potterstraat 7, between the Stedelijk Museum and the Rijksmuseum, and consists of two buildings, the Rietveld building, designed by Gerrit Rietveld, and the Kurokawa wing, designed by Kisho Kurokawa. Museum offices are housed on Stadhouderskade 55 in Amsterdam-Zuid. Depending on the season, sunflowers are displayed outside the entrance to the museum.
Rietveld building
The Rietveld building is the main structure and houses the permanent collection. It has a rectangular floor plan and is four stories high. On the ground floor are a shop, a café, and an introductory exhibition. The first floor shows the works of Van Gogh grouped chronologically. The second floor gives information about the restoration of paintings and has a space for minor temporary exhibitions. The third floor shows paintings of Van Gogh's contemporaries in relationship to the work of Van Gogh himself.
Kurokawa wing
The Kurokawa wing is used for major temporary exhibitions. It has an oval floor plan and is three stories high. The entrance to the Kurokawa wing is via a tunnel from the Rietveld building.
Collection
Works by Vincent van Gogh
The museum houses the largest Van Gogh collection in the world, with 200 paintings, 400 drawings, and 700 letters by the artist.
The main exhibition chronicles the various phases of Van Gogh's artistic life.
His selected works from Nuenen (1880–1885):
Avenue of Poplars in Autumn (1884)
The Potato Eaters (1885)
His selected works from Antwerp (1886):
Skull of a Skeleton with Burning Cigarette (1886)
His selected works from Paris (1886–1888):
Agostina Segatori Sitting in the Café du Tambourin (1887)
Wheat Field with a Lark (1887)
View of Paris from Vincent's Room in the Rue Lepic (1887)
His selected works from Arles (1888–1889):
The Zouave (1888)
Bedroom in Arles (1888)
The Yellow House (1888)
Sunflowers (1889)
His selected works from Saint-Rémy (1889–1890):
Almond Blossoms (1890)
And his selected works from Auvers-sur-Oise (1890):
Wheatfield with Crows (1890)
The permanent collection also includes nine of the artist's self-portraits and some of his earliest paintings dating back to 1882.
A newly discovered work has temporarily gone on display. Van Gogh created three unknown sketches of peasants, which were then used as a single bookmark. Stylistically, they can be dated to autumn 1881.
Works by contemporaries
The museum also features notable artworks by Van Gogh's contemporaries in the Impressionist and post-Impressionist movements and holds extensive exhibitions on various subjects from 19th Century art history.
The museum has sculptures by Auguste Rodin and Jules Dalou, and paintings by John Russell, Émile Bernard, Maurice Denis, Kees van Dongen, Paul Gauguin, Édouard Manet, Claude Monet, Odilon Redon, Georges Seurat, Paul Signac, and Henri de Toulouse-Lautrec.
Meet Vincent Van Gogh Experience
The Van Gogh Museum manages an official Meet Vincent Van Gogh Experience, described as a travelling "3D immersive exhibition" using technology and computer audio-visual techniques to cover the story of Van Gogh's life through images of his works. The first "experience" was in 2016 in Beijing, and it has since been toured globally to Europe, Asia and North America.
The Meet Van Gogh Experience does not present original artworks, as they are too fragile to travel. The "experience" was designed in collaboration with the London-based museum design consultancy, Event Communications (who designed Titanic Belfast), and it won a 2017 THEA award in the category of Immersive Museum Exhibit: Touring.
Visitors
The Van Gogh Museum, which is a national museum (Dutch: rijksmuseum), is a foundation (Dutch: stichting).
Axel Rüger, who had been the museum director since 2006, left the museum in 2019 to become secretary and chief executive of the Royal Academy of Arts in London. The Van Gogh Museum announced that Managing Director Adriaan Dönszelmann would act as general director until a new director is appointed.
Since 2000, the museum had between 1.2 and 1.9 million visitors per year. From 2010 to 2012, it was the most visited museum in the Netherlands. In 2015, the museum had 1.9 million visitors, it was the 2nd most visited museum in the Netherlands, after the Rijksmuseum, and the 31st most visited art museum in the world.
The Van Gogh Museum is a member of the national Museumvereniging (Museum Association).
(Wikipedia)
Sunflowers (original title, in French: Tournesols) is the title of two series of still life paintings by the Dutch painter Vincent van Gogh. The first series, executed in Paris in 1887, depicts the flowers lying on the ground, while the second set, made a year later in Arles, shows a bouquet of sunflowers in a vase. In the artist's mind, both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions. About eight months later, van Gogh hoped to welcome and impress Gauguin again with Sunflowers, now part of the painted Décoration for the Yellow House that he prepared for the guestroom of his home in Arles, where Gauguin was supposed to stay.
The Paris Sunflowers
Little is known of van Gogh's activities during the two years he lived with his brother, Theo, in Paris, 1886–1888. The fact that he had painted Sunflowers already is only revealed in the spring of 1889, when Gauguin claimed one of the Arles versions in exchange for studies he had left behind after leaving Arles for Paris. Van Gogh was upset and replied that Gauguin had absolutely no right to make this request: "I am definitely keeping my sunflowers in question. He has two of them already, let that hold him. And if he is not satisfied with the exchange he has made with me, he can take back his little Martinique canvas, and his self-portrait sent to me from Brittany, at the same time giving me back both my portrait and the two sunflower canvases which he has taken to Paris. So if he ever broaches this subject again, I've told you just how matters stand."
The two Sunflowers in question show two buttons each; one of them was preceded by a small study, and a fourth large canvas combines both compositions.
These were van Gogh's first paintings with "nothing but sunflowers"—yet, he had already included sunflowers in still life and landscape earlier.
The Arles Sunflowers
In a letter to Theo dating from 21 or 22 August 1888, van Gogh wrote: "I'm painting with the gusto of a Marseillais eating bouillabaisse, which won’t surprise you when it's a question of painting large sunflowers." At the time, he was working on three paintings simultaneously and intended to do more, as he explained to his brother: "in the hope of living in a studio of our own with Gauguin, I'd like to do a decoration for the studio. Nothing but large sunflowers".
Leaving aside the first two versions, all Arlesian Sunflowers are painted on size 30 canvases.
he initial versions, August 1888
The versions of the paintings provided by van Gogh in his announcement of his sunflower series do not precisely match every detail supplied by him. The first version differs in size, is painted on a size 20 canvas—not on a size 15 canvas as indicated—and all the others differ in the number of flowers depicted from van Gogh's announcement. The second was evidently enlarged and the initial composition altered by insertion of the two flowers lying in the foreground, center and right. Neither the third nor the fourth shows the dozen or 14 flowers indicated by the artist, but more—fifteen or sixteen. These alterations are executed wet-in-wet and therefore considered genuine rework—even the more so as they are copied to the repetitions of January 1889; there is no longer a trace of later alterations, at least in this aspect.
The fourth version of the painting was attacked on 14 October 2022 by environmental activists from the Just Stop Oil campaign, who threw tomato soup at it, while it was on display at National Gallery in London, before gluing their hands to the wall. The painting was covered with plexiglass, and it was unharmed with the exception of minor damage to the frame. The two activists were arrested and the painting was put back on display later that day. The two activists were found guilty of criminal damage in July 2024, and sentenced in September to 20 and 24 months in prison, respectively.
Both repetitions of the 4th version are no longer in their original state. In the Amsterdam version, a strip of wood was added at the top—probably by van Gogh himself. The Tokyo version, however, was enlarged on all sides with strips of canvas, which were added at a later time—presumably by the first owner, Émile Schuffenecker. The series is perhaps van Gogh's best known and most widely reproduced. In the 2000s, debate arose regarding the authenticity of one of the paintings, and it has been suggested that this version may have been the work of Émile Schuffenecker or of Paul Gauguin. Most experts, however, conclude that the work is genuine.
The Berceuse-Triptych
In January 1889, when Vincent had just finished the first repetitions of the Berceuse and the Sunflowers pendants, he told Theo: "I picture to myself these same canvases between those of the sunflowers, which would thus form torches or candelabra beside them, the same size, and so the whole would be composed of seven or nine canvases."
A definite hint for the arrangement of the triptych is supplied by van Gogh's sketch in a letter of July 1889.
Later that year, Vincent selected both versions for his display at Les XX, 1890.[citation needed]
The triptych was displayed as Vincent intended at the National Gallery in London in 2024, with the London and Philadelphia versions flanking the Boston Berceuse. The two Sunflowers paintings were again attacked by Just Stop Oil protestors.
Sunflowers, friendship and gratitude
Van Gogh began painting in late summer of 1888 and continued into the following year. One went to decorate his friend Paul Gauguin's bedroom. The paintings show sunflowers in all stages of life, from full bloom to withering. The paintings were considered innovative for their use of the yellow spectrum, partly because newly invented pigments made new colors possible.
In a letter to Theo, Vincent wrote:
"It's a type of painting that changes its aspect a little, which grows in richness the more you look at it. Besides, you know that Gauguin likes them extraordinarily. He said to me about them, among other things: ‘that — ... that's... the flower’. You know that Jeannin has the peony, Quost has the hollyhock, but I have the sunflower, in a way."
Subsequent history
On March 30, 1987, Japanese insurance magnate Yasuo Goto paid the equivalent of US$39,921,750 for van Gogh's Still Life: Vase with Fifteen Sunflowers at auction at Christie's London, at the time a record-setting amount for a work of art. The price was over three times the previous record of about $12 million paid for Andrea Mantegna's Adoration of the Magi in 1985. The record was broken a few months later with the purchase of another van Gogh, Irises, by Alan Bond for $53.9 million at Sotheby's, New York on November 11, 1987.
While it is uncertain whether Yasuo Goto bought the painting himself or on behalf of his company, the Yasuda Fire and Marine Insurance Company of Japan, the painting currently resides at Seiji Togo Yasuda Memorial Museum of Modern Art in Tokyo. After the purchase, a controversy arose whether this is a genuine van Gogh or an Émile Schuffenecker forgery.
Provenances
Two Paris versions van Gogh exchanged with Gauguin in December 1887 or January 1888, were both sold to Ambroise Vollard: one in January 1895 and the other in April 1896. The first canvas resided for a short time with Félix Roux, but was reacquired by Vollard and sold to Degas, then from his estate to Rosenberg, then to Hahnloser and bequested to the Kunstmuseum Bern. The second was acquired by the Dutch collector Hoogendijk at the sale of his collection by Kann, who ceded the painting to Richard Bühler and then via Thannhauser to the Metropolitan Museum in New York.
Two of van Gogh's Sunflowers paintings never left the artist's estate: the study for one of the Paris versions (F377) and the repetition of fourth version (F458). Both are in the possession of the Vincent van Gogh Foundation, established 1962 by Vincent Willem van Gogh, the artist's nephew, and on permanent loan to the Van Gogh Museum, Amsterdam.
Five other versions are recorded in the van Gogh estate papers:
the final Paris version (F.452) in the artist's estate was sold 1909 via C. M. van Gogh, The Hague (J. H. de Bois) to Kröller-Müller
(F457) sold 1894 to Émile Schuffenecker. (Tokyo version).
(F456) sold 1905 via Paul Cassirer to Hugo von Tschudi. (Munich version).
(F459) sold 1908 C. M. van Gogh (J. H. de Bois), The Hague to Fritz Meyer-Fierz, Zürich (destroyed by U.S. air raid in Japan on 6 August 1945).
(F454) sold 1924 via Ernest Brown & Phillips (The Leicester Galleries) to the Tate Gallery; since on permanent loan to the National Gallery, London. (London version).
Two Arles versions left the artist's estate unrecorded:
(F453) (private collection). Sold 1891 to Octave Mirbeau, Paris, (via Tanguy, Paris) for £12 (about £1,300 in 2013 £). Sold 1996 to a private collector for an undisclosed sum.
(F455) (Philadelphia version).
(Wikipedia)
Das Van Gogh Museum ist ein Kunstmuseum am Museumplein im Amsterdamer Stadtteil Oud-Zuid, Stadtbezirk Amsterdam-Zuid, das am 2. Juni 1973 eröffnet wurde. Es beherbergt die größte Sammlung mit Werken des niederländischen Malers Vincent van Gogh. Seit dem 1. Mai 2013 ist das Museum nach Umbau und einem vorübergehenden Umzug in ein anderes Gebäude wieder zugänglich. 2016 hatte das Haus 2.076.526 Besucher und gehört damit zu den meistbesuchten Kunstmuseen der Welt.
Geschichte
Als van Gogh 1890 mit 37 Jahren starb, hinterließ er mit etwa 900 Gemälden und 1.100 Zeichnungen ein umfangreiches Werk. Hiervon hatte er nur wenig verkauft und einige Arbeiten an Freunde verschenkt. Seinen Nachlass erbte sein jüngerer Bruder, der Kunsthändler Theo van Gogh. Dieser hatte neben den Werken von Vincent auch Arbeiten von Künstlern wie Paul Gauguin, Henri de Toulouse-Lautrec, Léon Lhermitte und Jean-François Millet gesammelt. Nachdem Theo bereits ein Jahr nach seinem Bruder verstarb, verwaltete seine Witwe Johanna van Gogh-Bonger das Erbe. Sie kehrte in die Niederlande zurück und organisierte erste Ausstellungen mit Werken Vincent van Goghs und trug wesentlich dazu bei, den Künstler einer größeren Öffentlichkeit bekannt zu machen. 1905 fand die erste große Ausstellung im Stedelijk Museum in Amsterdam statt, während sich das Rijksmuseum geweigert hatte, Leihgaben mit van Goghs Werken anzunehmen. Da van Gogh häufig mehrere Versionen des gleichen Themas gemalt hatte, konnte Johanna van Gogh einzelne Bilder der Sammlung verkaufen, ohne den Gesamteindruck wesentlich zu schmälern. Sie war es auch, die frühzeitig die Veröffentlichung der Briefe Vincent van Goghs in mehreren Sprachen vorantrieb. Nach ihrem Tod 1925 erbte ihr Sohn, der Ingenieur Vincent Willem van Gogh (1890–1978) die Sammlung. Er stellte verschiedenen Museen Werke als Leihgabe zur Verfügung, bevor er 1960 die Vincent van Gogh Stiftung gründete und ihr die Sammlung übergab. Zunächst gelangten die Bilder als Dauerausstellung ins Amsterdamer Stedelijk Museum, bevor 1973 das Van Gogh Museum eröffnet werden konnte.
1991 war das Van Gogh Museum Schauplatz eines aufsehenerregenden Kunstraubs, bei dem 20 Gemälde im Wert von mehreren Hundert Millionen Euro entwendet wurden. Dank einer Reifenpanne des Fluchtfahrzeugs konnten die Gemälde aber kurz nach der Entdeckung des Raubs von der Polizei sichergestellt werden. 2002 wurden bei einem Einbruch die Van-Gogh-Gemälde Stürmische See bei Scheveningen und Die Reformierte Kirche in Nuenen gestohlen, sie wurden 2016 wieder aufgefunden. Die im Haus eines neapolitanischen Drogenbarons sichergestellten Malereien konnten erst mit Zustimmung der Italienischen Justiz im Januar 2017 nach Amsterdam zurückkehren.
Gebäude
Das Museum besteht aus zwei Gebäuden. Der ursprüngliche Bau geht auf einen Entwurf von Gerrit Rietveld zurück. Nach seinem Tod im Jahr 1964 wurde der Bau von seinen Partnern J. van Dillen und J. van Tricht fortgeführt und nach Fertigstellung am 2. Juni 1973 eingeweiht. In diesem Gebäude ist heute die ständige Sammlung untergebracht. 1999 wurde ein Ergänzungsbau für Sonderausstellungen eingeweiht, der vom japanischen Architekten Kishō Kurokawa in Form einer Ellipse entworfen wurde. 2015 wurde der Ausstellungsbau durch einen neuen, großflächig verglasten Eingangsbereich ergänzt, dessen Entwurf ebenfalls aus dem Büro des 2007 verstorbenen Kurokawa stammt. Beide Gebäude sind durch einen unterirdischen Übergang miteinander verbunden.
Sammlung
Das Museum besitzt über 200 Gemälde Vincent van Goghs aus allen Schaffensperioden und 400 seiner Zeichnungen. Zu den ausgestellten Hauptwerken gehören Die Kartoffelesser, Das Schlafzimmer in Arles und eine Version der Sonnenblumen. Außerdem bewahrt das Museum den Großteil der Briefe Vincent van Goghs auf. Auch findet sich in der Sammlung die Suizidwaffe van Goghs, eine verrostete Lefaucheux à broche. Die von Theo van Gogh begonnene Sammlung mit Werken anderer Künstler des 19. Jahrhunderts wurde mit Stiftungsgeldern kontinuierlich ausgebaut, sodass das Museum heute auch Werke von Alma-Tadema, Bernard, Boulanger, Breton, Caillebotte, Courbet, Couture, Daubigny, Denis, Gauguin, Israëls, Jongkind, Manet, Mauve, Millet, Monet, Munch, Pissarro, Puvis de Chavannes, Redon, Seurat, Signac, Toulouse-Lautrec, van Dongen und von Stuck besitzt.
(Wikipedia)
Die Bilder mit den Titeln Drei Sonnenblumen, Fünf Sonnenblumen, Zwölf Sonnenblumen (in einer Vase) und Fünfzehn Sonnenblumen sind eine Serie von sieben Gemälden, die von August 1888 bis Januar 1889 von Vincent van Gogh in Arles (Südfrankreich) gemalt wurden.
Entstehung
Die Serie entstand in der Vorbereitung auf die Ankunft seiner Malerkollegen Paul Gauguin und Emile Bernard. Vincent hoffte, mit ihnen und weiteren Künstlern eine Malerkolonie in der Provence gründen zu können. In seinem Brief 526 an den Bruder Theo schrieb Vincent: „In der Hoffnung, dass ich mit Gauguin in unserem eigenen Atelier wohnen werde, will ich eine Reihe von Bildern dafür machen. Weiter nichts als lauter große Sonnenblumen. […] Wenn ich also diesen Plan ausführe, wird es ein Dutzend Bilder geben. Das Ganze eine Symphonie in Blau und Gelb. Ich arbeite jeden Morgen von Sonnenaufgang an. Denn die Blumen verwelken schnell, und das Ganze muss in einem Zug gemalt werden.“
Van Gogh ergänzte die Sonnenblumenserie im Januar 1889 durch drei weitere Bilder (Zwei Bilder mit dem Titel Fünfzehn Sonnenblumen in einer Vase und Zwölf Sonnenblumen in einer Vase).
Veränderung des Farbtons
Das leuchtende Chromgelb der gemalten Sonnenblumen wird mit der Zeit bräunlicher. Das Deutsche Elektronen-Synchrotron Desy in Hamburg fand heraus, dass dies eine Reaktion des gelben Pigments (Blei(II)-chromat) auf UV-Licht ist.
Verbleib der einzelnen Gemälde
1912 erwarb die Neue Pinakothek München im Rahmen der Tschudi-Spende aus der Reihe das Bild mit zwölf Sonnenblumen aus dem Jahr 1888.
Am 30. März 1987 ersteigerte Yasuo Gotō (後藤 康男; 1923–2002) der japanischen Versicherungsgesellschaft Yasuda (heute: Songai Hoken Japan) bei Christie’s in London eines der späteren Bilder aus der Sonnenblumenserie zum damaligen Rekordpreis von 24,75 Millionen englische Pfund. Das Bild hängt heute im Sompo Museum of Art in Tokio. Nach der Auktion entwickelte sich eine Kontroverse um die Echtheit des Bildes. Die Kunsthistorikerin Geraldine Norman vertrat dabei die These, dass es sich bei dem Gemälde um eine Fälschung des Malers Émile Schuffenecker handelt, der 1901 mit der Restaurierung des Originals betraut worden war. Dieser Ansicht ist von verschiedenen Seiten widersprochen worden. In den offiziellen Ergebnislisten der Auktionshäuser wird dieses Bild jedoch nicht mehr als Originalgemälde van Goghs geführt.
Beschädigungen 2022 und 2024
Am 14. Oktober 2022 übergossen zwei Frauen das in der National Gallery in London ausgestellte Gemälde Nr. 3 der Sonnenblumen-Serie mit Tomatensuppe. In Zusammenhang mit der Aktion forderte die Umweltgruppe Just Stop Oil die britische Regierung dazu auf, alle neuen Öl- und Gasprojekte aufzugeben. Die National Gallery teilte mit, dass durch die Aktion kleinere Schäden am Rahmen entstanden seien; das Bild selbst, das hinter einer Glasscheibe gezeigt wird, sei nicht beschädigt worden. Im Juli 2024 verurteilte der Londoner Southwark Crown Court beide Frauen wegen Sachbeschädigung. Bei der Tat gegen das Gemälde, dessen Wert auf bis zu 72,5 Millionen Pfund Sterling geschätzt wird, entstand laut Staatsanwaltschaft an dem Rahmen aus dem 17. Jahrhundert durch die Tomatensuppe ein Schaden von möglicherweise bis zu 10.000 Pfund Sterling. Ende September 2024 wurde das Strafmaß von zwei Jahren respektive zwanzig Monaten Haft für die beiden Frauen verkündet. Wenige Stunden nach der Gerichtsentscheidung bewarfen als Reaktion darauf erneut Aktivisten von Just Stop Oil in der National Gallery dasselbe Gemälde sowie das als Leihgabe des Philadelphia Museum of Art sich in der Ausstellung befindliche Exemplar Zwölf Sonnenblumen von 1889 mit Suppe.
Trivia
Der japanische Animationsfilm Die Sonnenblumen des Infernos aus der Detektiv-Conan-Reihe dreht sich inhaltlich um die Sonnenblumen-Bilder van Goghs. Teil der Handlung ist eine Version des Motivs, das sich in Japan befindet.
(Wikipedia)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
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, merci journaldunenicoise.com pour la photo).
El noruego Eduard Munch está considerado el precursor del expresionismo. Sus obras destacan por la capacidad de expresión mediante una gama cromática fuerte, así como por las figuras contorsionadas, que son capaces de transmitir un gran clima de angustia vital.
Autores como André Derain, Maurice Vlaminck y Henri Matisse, cabeza éste último del grupo, son algunos de los miembros más destacados del grupo fauvista francés. El fauvismo se caracteriza por una primera etapa en la que se aplican técnicas mixtas, muy influenciada por el puntillismo de Signac, y una segunda etapa en la que se da el uso de tintas planas, pero en cualquiera de sus etapas el movimiento fauvista utiliza el color para transmitir una pintura tranquila y calmada.
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’
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).
The Annenberg Galleries: Cezanne
Gallery 825 - CézannePart of Nineteenth-Century, Modern, and Contemporary Art
www.metmuseum.org/collections/galleries/ncmc/825
Bench 7 13 14 37 38
Rodin's sculpture of Eternal Springtime in front of Paul Signac's Pink Clouds, Antibes and a Monet waterlilies painting in the Rabb (Impressionist) Gallery at the Museum of Fine Arts in Boston.
(Brume, neige, paysage romantique -style 19e- ou ce que vous voulez)
Prisons (suite) tentatives d'autoportraits (2017 / 2018 retouches finales 2020)
Bracketing d'exposition fusionné avec Photomatix et re-traité localement avec DXO PhotoLab
le résultat de la superposition de photos -avec le logiciel "Photomatix" - est volontairement sous-exposé pour permettre le travail -dans "DXO PhotoLab"- de (ce que j’assimile à des) glacis, par des « points de contrôle », cercles de masques en dégradés radiaux, dans lesquels peuvent être inclus différents effets, j’utilise principalement les mesures d’exposition, pour remodeler l’image à ma guise -et, surtout : " La figure existe déjà dans le bloc de marbre" affirmait Michel ange , "il suffit de savoir l'en détacher"
Le cadre est le même que celui de la première série (2011/2012), celui d’un mur de mon atelier qui continue à raconter son vécu, ses clous, ses vis et ses graffitis.
Mais là où la première série était cadrée en « portrait » (en pied -l’appareil photo étant à la même distance du mur dans les 2 séries), la 2ème l’est en « paysage » et comprend sur la gauche une porte, et sur la droite, une fenêtre.
Il n'y a plus ce drap, au sol, qui recouvrait les tomettes.
Au fil de tirages (sans compression, j’utilise le .tif pour cette série) j’ai éliminé ou réduit la présence de la porte, de la fenêtre et des tomettes, privilégiant le(s) personnage(s) situé(s) plus ou moins au centre gauche du cadre. J’ai beaucoup utilisé la « gomme » de DXO qui permet, selon sa dimension, l’espace couvert et l’endroit du clic de départ, des variations dans la duplication de parties de l’image.
La trame, boyaux, lianes, paysages, sont mes sculptures en papier toilette dont j’ai varié les positions dans le cadre, au fil des photos, et dont la fusion permet ces ouvertures sur d’autres contrées
Mon corps, que mon corps, nu, mais dont les parties qui peuvent être censurées sont enlevées (castrées) -ce ne sont pas les seuls sévices que (dans la seule représentation de l’aléatoire des fusions d’images et du travail de dévoilement que j’y fais) je me fais subir.
Une amie -que l’on retrouve dans certaines photos- a bien voulue me servir de "modèle" pour illustrer cette autre geôle qu’est la projection dans "l’autre" et les systèmes qui s’installent pour perpétuer des prédéterminismes.
Pour la 1ère série, j’avais écrit :
« Ma prison c'est aussi mon corps, ma maison, ma vision du monde et l'espace entre la naissance et la mort
Jeux de bracket avec Nikon D300S, Photomatix et CaptureNX2
Cadre serré, enfermé de ma condition, comment contredire le destin ?
Un coin d’appart, un drap sur le sol, un rideau à la fenêtre, parfois d’anciens modelages en pq, et le corps.
Demain cinquante ans.
Raws de sous-exposés à surexposés, fusionnés pour une image ouverte à la transformation de ses lumières, de ses couleurs et de ses contrastes, jusque dans les traitements locaux les plus fins.
Je presse le sujet pour en sortir les jus les plus profonds, et pourtant, il parvient toujours à m’échapper…
Parti de Muybridge et Marey j’ai rencontré toute l’histoire de l’image, du taureau de Lascaux au boeuf écorché, crucifié ou autre compotier, de l’odalisque à la Vénus en fleur offerte, à toute l’histoire de la vanité…
Aujourd’hui cinquante ans. »
herve-germain-prisons.blogspot.fr/
Aujourd’hui, sur les photos de la nouvelle série, j’ai 56 ans, mais je suis en route, après des centaines de possibilités d’images, après des milliers d’heures de travail, vers les 59 ans.
Je rencontre Rubens, Rembrandt, Vermeer, le Caravage, Georges de la Tour, beaucoup Turner, je rencontre Van Gogh, Pissaro, Monet, Renoir, Gauguin et Cézanne, bien sûr, mais aussi des fresques antiques, des visages de Francis Bacon, des corps de Vladimir Veličković, des textures de jeux vidéos ou encore des affiches de films d’horreur
Et ce n'est pas fini, je continue à rencontrer les Alpes de Courbet, le romantisme de Caspar David Friedrich, de Camille Corot, de Jean-Baptiste Millet, les courbes de François Boucher et les envolées de Fragonard, la théâtralité d’Antoine Watteau...
Je n'oublie pas Seurat ou Signac, auquels les "points de contrôles" peuvent faire penser, en particulier quand il s'agit de retoucher ou de contraster les couleurs par les "teintes", la "vibrance" ou la "saturation", mais aussi, sur certaines photos, le grain du "Tonemapping", ou encore, plus simplement, le grain de la photo.
Je n'oublie, non plus, les fauves, les cubistes et les expressionnistes, Joos de Momper (l'un des premiers surréalistes, avec Arcimboldo et d'autres), et bien sûr, l'histoire de la photographie (c'est ainsi que je me limite à des logiciels "révélateurs", le tirage étant "fixateur").
Cette énumération ne donne aucune place aux femmes, mais je citerai, entre beaucoup d’autres, Artemisia Gentileschi, Camille Claudel, Georgia O'Keeffe, Valie Export, Cindy Sherman, Gina Pane, Marina Abramović...
Quant aux arts « non occidentaux », je suis très influencé par les peintures de paysage réalisé en Chine, depuis des siècles, sans retenir, je l’avoue, le nom des artistes.
Je suis aussi influencé par la culture africaine et maghrébine, dont nous sommes proches, à Marseille.
Et j’aime aussi, particulièrement, l’art populaire mexicain, les arts traditionnels en général, l’art brut (tel que l’entend Dubuffet) et tout ce qui peut se faire de marginal
Je rencontre la jungle, la forêt en feu, la tempête, les fonds sous-marin, les montagnes sous les nuages, des orages et des éclairs, les égouts, des monstres, des êtres originels, etc.
Les titres des photos sont formés par les algorithmes de l'appareil photo et des 2 logiciels utilisés, et témoignent des multiples tirages qu'il a fallu avant d'arriver au tirage final
[Les gilets jaunes m’ont permis (et continuent !) une fenêtre thérapeutique par rapport à ce travail qui devenait, fin 2018, très dépressif, et finalement laissé en suspend.
Alors j’ai pu revenir à la vie dans la lutte collective pour le bien commun, sans cesser d’expérimenter -bien sûr- les formes d’expression utilisées pour transmettre l’expérience : vidéo / montage]
Je reviens, depuis quelques mois, à ce travail d'autoportrait avec plus de recul, même s'il reste désespéré
Jacob Abraham Camille Pissarro was born to a Jewish-Portuguese family and grew up in St. Thomas in the US Virgin Islands, then the Danish West Indies. His parents, Frederic Pissarro and Rachel Petit, owned a modest general hardware business and encouraged their four sons to pursue the family trade. In 1842, Pissarro was sent away to a boarding school in Passy near Paris, France, to complete his education. His artistic interests began to emerge thanks to the school's headmaster, Monsieur Savary, who encouraged him to draw directly from nature and to use direct observation in his drawings, empirically rendering each object in its truest form. At age 17, Pissarro returned to St. Thomas to immerse himself in the family business; however, the artist quickly tired of mercantile pursuits and continued to draw ship scenes in his leisure time at the shipping docks.
In the early 1850s, Pissarro abandoned the family business after meeting the Danish painter Fritz Melbye, following Melbye to Caracas, Venezuela, and committing himself to becoming a painter. This act signals a dedicated independence that Pissarro would never abandon in his career; largely if not entirely self-taught, Pissarro was uncompromising in his commitment to his art, a major factor that contributed to his persistent poverty. By 1855, Pissarro had returned to Paris, where he was exposed to the artwork of Eugène Delacroix, Jean-Baptiste-Camille Corot, Gustave Courbet, Charles-François Daubigny, and Jean-François Millet at the Exposition Universelle and where he began attending private classes at the Ecole des Beaux-Arts in 1856. He began working with Corot, who encouraged him to submit to the Salon. Taking classes at the Academie Suisse in 1859, Pissarro met Cézanne, who would become one of his closest lifelong friends. In 1861, Pissarro registered as a copyist at the Musée du Louvre, and around this same time he met Julie Vellay, the daughter of a vineyard owner in the Burgundy region. They married in London in 1871, eventually having eight children. His daughter Jeanne-Rachel (nicknamed "Minette") grew ill and died of tuberculosis in 1874 at the age of eight, an event that deeply impacted Pissarro, leading him to paint a series of intimate paintings detailing the last year of her life.
Pissarro began submitting to the Salon in the late 1860s. His landscapes of that decade reflect his profound knowledge of and exposure to the compositional techniques of the eighteenth-century French masters. However, it was in these years that Pissarro also grew close with the Impressionist circle. Keeping a studio in Paris, he preferred to spend his time in Louveciennes, a rural region about 12 miles west of Paris favored by the Impressionists. There, distanced from the urban environment, he painted en plein air, depicting peasant subjects in natural settings and focusing on light effects and atmospheric conditions created by the change of the seasons. These new concerns in his art resulted in a more purely Impressionist mature style. Though Pissarro had work accepted at the official Salon in 1859, he would exhibit at the Salon des Refusés with Edouard Manet's dissident circle in the 1860s, an important antecedent to his contributions to the first Impressionist exhibition in 1874.
The first half of the 1870s is considered the height of Pissarro's career, when he completed some of his most significant pieces, including Hoar Frost, the Old Road to Ennery, Pointoise (1873). Several personal developments contributed to the sophisticated output of his mature period. From 1870 to 1871, he fled to London to escape the chaotic events of the Franco-Prussian War and the Paris Commune, during which time the majority of his earlier works were destroyed. In London, Pissarro was introduced to Claude Monet, and the two grew to favor J.M.W. Turner's work exhibited at the National Gallery. Daubigny introduced them to the art dealer Paul-Durand Ruel, who would later serve as Pissarro's agent in France. Having returned to Paris, Pissarro and Monet organized the first Impressionist exhibition in 1874 at the photographer Felix Nadar's gallery. Though the exhibition was met with harsh criticism and confusion from viewers, Pissarro's contributions received the more thoughtful commentary from writer and art critic Philippe Burty, who noticed the stylistic rapport between the work of Pissarro and Millet. The critic Theodore Duret would reiterate this in personal correspondence with Pissarro. Perhaps most importantly, Pissarro's professional and personal relationship with Cézanne reached its height in the mid-1870s when the two worked together, closely reexamining and reworking Pissarro's paintings from the 1860s.
By the late 1870s, Pissarro's work revealed conflicting stylistic choices drawing him away from a purely Impressionist aesthetic. As Impressionism became more widely accepted, Pissarro worked to keep his art avant-garde and relevant by testing new theoretical concepts. He and Edgar Degas made prints together based on the compositional techniques used by Japanese woodblock engravers; he also began collaborating with the next-generation Neo-Impressionist painters Paul Signac and Georges Seurat in the mid-1880s. This affiliation with younger artists was due to both political and professional affinity. Aesthetically, Pissarro was interested in the Pointillist technique espoused by these artists for its theoretical basis in color theory, a concept that resonated with his original exposure to empirical drawing as a child and his Impressionist fascination with the effect of light on color. Politically, he was a committed anarchist, and the color harmonies underpinning Pointillism, created by the juxtaposition of complementary colors, were linked in his mind to the utopian promise of social harmony achieved by the union of individuals in an anarchist society.
Though the notion of Pissarro as a political painter is a contested one, events in his personal life bear out his deeply held affiliations. In 1894, after an Italian anarchist assassinated the French president, Pissarro briefly moved his family into exile in Belgium to avoid political persecution. Briefly thereafter, Pissarro fell out with his close friend Degas over the Dreyfus Affair (1894-1906), which began when the French government convicted the Jewish military captain Alfred Dreyfus of treason. When it was discovered that Dreyfus was innocent and that the government chose to cover up their mistake rather than admit their fallibility, the reaction in French society showed a tendency toward anti-Semitism that was intensely troubling to the Jewish Pissarro. Degas was among those whose latent anti-Semitism came to the fore in response to the scandal, to the extent that he would cross the street to avoid his former friend and artistic collaborator. Pissarro died before the Dreyfus Affair was ultimately resolved, but the polarizing incident magnified his dedication to social justice in his final years. He contracted a recurring eye infection late in life that negatively affected his ability to work outdoors, but he continued painting from the windows of his home and certain Parisian hotels. He died of sepsis, or blood poisoning, in 1903 and was survived by his wife and seven children.
Pissarro was greatly influenced by the Realist landscapists Corot, Courbet, and Millet and greatly influential to a host of younger painters. As a result, his body of work created a vital bridge between 19th- and 20th-century realism and abstraction, especially within the legacy of French modernist painting. His personal investment in the evolution of aesthetic technique contributed to significant developments in the later avant-gardes.
In particular, Cézanne famously learned the Impressionist style in the early 1870s by copying a work of Pissarro's when the two were painting together in Louveciennes. It is not a stretch to say this relationship was a pivotal step on the long road that ended with Cézanne becoming the father of 20th-century modernism. Their artistic interchange lasted for decades, and Cézanne, three years after Pissarro's death, identified himself in a retrospective exhibition as "Paul Cézanne, pupil of Pissarro." Specifically, Cézanne's work shows a willingness to construct a painting not only via the intense study of nature, but also through the manipulation of color to arrive at a "truer" visual image. Gauguin affectionately referred to the "intuitive" nature of Pissarro's art, and Gauguin's frank and naive rendering of French peasants in his early career and Tahitian villagers in his mature work owes to Pissarro's direct, unadorned depictions of the rural countryside.
1895-1896. Litografia en colors sobre paper verjurat. 37,8 x 50,2 cm. Museu de Belles Arts de Houston, Houston. 2001.519. Obra no exposada.
Large Coqui, a 2004 bronze sculpture by Tom Otterness is on display outside the Marlborough Gallery, at 40 West 57th Street..
Founded in London in 1946, Marlborough Gallery is widely recognized as one of the world’s leading contemporary art dealers. Initially embracing a new generation of post-World War II artists including Henry Moore, Francis Bacon, Graham Sutherland and Ben Nicholson, the gallery was soon selling masterpieces of the late 19th century including bronzes by Edgar Degas and paintings by Mary Cassatt, Paul Signac, Claude Monet, Camille Pissarro, Alfred Sisley and Auguste Renoir. By the late 1950s and early 1960s Marlborough held a string of prime exhibitions related to Expressionism and the modern German tradition. In 1960 an exhibition of new paintings by Francis Bacon proved sensational and was followed in 1961 Henry Moore’s important exhibition of stone and wood carvings. That same year saw an exhibition of work by Jackson Pollock and in 1964 an extraordinary exhibition of paintings, watercolors and drawings by Egon Schiele was held in London for the first time. During the 1970s and 1980s, Marlborough staged some of London’s most remarkable exhibition by such artist as Frank Auerbach, Francis Bacon, Lynn Chadwick, Lucian Freud, Babara Hepworth, R.B. Kitaj, Henry Moore, Ben Nicholson, Victor Pasmore, John Piper and Graham Sutherland. Important exhibitions were held of work by Jacques Lipchitz and René Magritte in 1978; and the innovative Schwitters in Exile show of 1981 that reshaped opinion of the late work of this artist.
The Postcard
A postally unused carte postale that was published by CAP of Strasbourg. The image is a glossy real photograph, and the card has a divided back.
Note the restaurant on the beach advertising bouillabaisse.
Juan-les-Pins
Juan-les-Pins is a town, health resort and spa in the commune of Antibes, in the Alpes-Maritimes, in south-eastern France, on the Côte d'Azur. It is situated between Nice and Cannes, 13 kilometres (8 mi) from Nice Côte d'Azur Airport.
It is a major holiday destination popular with the international jet-set, with casino, nightclubs and beaches, which are made of fine grained sand, and are not straight, but instead are cut with small inlets.
History of Juan-les-Pins
Situated west of the town of Antibes on the western slope of the ridge, halfway to the old fishery village of Golfe-Juan (where Napoleon landed in 1815), it was an area with many stone pine trees (pins in French).
The inhabitants of Antibes used to go there for a promenade, for a picnic in the shadow of the trees, or to collect fallen tree branches and cones for their stoves.
The village was given the name Juan-les-Pins on the 12th. March 1882. The spelling Juan, used instead of the customary French spelling, Jean, derives from the local Occitan dialect. Other names discussed for the town included Héliopolis, Antibes-les-Pins and Albany-les-Pins (after the Duke of Albany, the fourth son of Queen Victoria).
The following year, 1883, it was decided to build a railway station in Juan-les-Pins on the Paris-Lyon-Méditerranée line that had been there since 1863.
In 1926, the famous hotel Le Provençal was opened, and received guests like Charlie Chaplin, Lilian Harvey, Jack L. Warner and Man Ray.
Ray Charles' hand impression can be seen on the Boulevard Edouard Baudoin, Juan les Pins. He was there for the Jazz à Juan Festival.
Cultural References to Juan-les-Pins
Peter Sarstedt famously mentions Juan-les-Pins in his 1969 UK number one hit, 'Where Do You Go To (My Lovely)' - a verbal portrait of a girl who becomes a member of the Euro jet-set. The song mentions that the girl spends her summer vacations in Juan-les-Pins.
F. Scott Fitzgerald mentions Juan les Pins in 'Tender is the Night'.
Juan-les-Pins is prominent in Sartre's 'The Reprieve', the second volume of his 'Roads to Freedom' trilogy.
The area is also the home of Lanny Budd, the protagonist in eleven Upton Sinclair novels.
In Charles R. Jackson's novel 'The Lost Weekend', the main character, Don Birnam, mentions a holiday in Juan-les-Pins.
In Alan Furst's novel 'Kingdom of Shadows', protagonist Nicholas Morath, his Argentine girlfriend Cara, and assorted friends spend early June 1938 in Juan-les-Pins.
Near the end of Donna Tartt's 'The Goldfinch', the protagonist travels to many 'exotic places,' such as Juan-Les-Pins, to rectify his wrongdoings.
Camille Aubray's fictional novel 'Cooking for Picasso' takes place in Juan-les-Pins.
'Golfe Juan' is the name of a pointillist painting done by Paul Signac, a French neo-impressionist, in 1896.
Rouen Cathedral. Harmony in Blue
1893
Oil on canvas (H. 0.91; L. 0.63 m)
by Claude Monet.
Paris, Musée d'Orsay
www.ibiblio.org/wm/paint/auth/monet/rouen/
www.mcah.columbia.edu/monet/swf/
During the 1890's, faithful to the Impressionist idea that shape is perceived through changing patterns of light, Monet began to paint pictures of the same scene observed at different times of the day. Of the various series produced in this way (Haystacks, Poplars), the one devoted to Rouen Cathedral is the most important, both because it is the largest (thirty paintings in all) and because it is the only series in which all the pictures represent an identical motif. Here, the Gothic architecture is no longer a subject, but a motif and a pretext for the spectacular depiction of instantaneous impressions, an idea by which Monet was obsessed. The thick, crude brush-strokes suggest the texture of the stone as it literally traps the light which falls upon it.
The importance of Monet's artistic approach was recognized immediately by artists and personalities of his time, such as Signac, Pissarro and Clemenceau.
Louis VALTAT, 1869-1952 Arbres en fleurs, Cagnes, circa 1905 Huile sur toile rentoilée (petites restaurations), monogramme en bas à droite en rouge, cachet au dos et châssis : Douanes Françaises. Le Calvez n°1588 33x55 cm Un avis d inclusion aux Archives de l Association des Amis de Louis Valtat sera remis à l acquéreur. Louis Valtat fut remarqué lors de ses premières expositions grâce à ses paysages du Midi, à une époque où le Sud de la France était parcouru par des artistes comme Matisse, Derain, Signac, Camoin, etc., partis à la recherche de la lumière et des couleurs vives que la nature pouvait offrir. Il se rend à Cagnes afin de visiter son ami le peintre Renoir, qui s y était installé dès 1905. Dans ce paysage des alentours de Cagnes, que l on peut dater autour de 1905, la vivacité du pinceau et la touche d une grande souplesse démontrent la maîtrise technique de l artiste. Les nuances rosées de l arrière-plan, un signe de l influence du maître impressionniste, laissent entrevoir avec finesse l atmosphère lointaine des montagnes, en opposition aux couleurs vives qui attirent l oeil du spectateur sur le premier plan. Louis Valtat combine ici l art de composer à une exécution moderne qui fait de lui l un des grands paysagistes de son époque.
1889. Litografia en color sobre paper de teixit gruixut. 15,5 x 18 cm. The Metropolitan Museum of Art, Nova York. 1990.1056. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
Huile sur toile, 46 x 65 cm, 1886, musée Norton Simon, Pasadena (Californie).
Signac a composé 16 tableaux dans le style néo-impressionniste pour la dernière des expositions du groupe impressionnistes en 1886 et se retira dans la petite ville normande des Andelys, où il en peignit 10 autres au cours de l’été. Cette vue des Andelys, de la cheminée au clocher, reflétée dans l’eau lente de la Seine, oscille entre Impressionnisme et Néo-Impressionnisme. Les longs coups liquides utilisés pour sa surface de la rivière doivent une dette à Monet, tandis que la couleur marbrée du feuillage à droite, les toits, et la plage pointent vers Seurat et le néo-impressionnisme (cf. musée Norton Simon).
Henri Matisse French, 1869-1954
Detail from: Chapel of Saint Joseph, Saint-Tropez
Oil on canvas 1904
At the suggestion of the artist Paul Signac ( some of whose canvases are displayed in the adjacent gallery), Matisse spent mid-July through mid-October 1904 in the remote fishing town of Saint-Tropez. Among the many local sites he painted that summer is the seventeenth-century Chapel of Saint Joseph with its panoramic view of the surrounding countryside and Mediterranean Sea.
The Pierre and Maria-Gaetana Matisse Collection, 2002
2002.456.13
From the placard: Metropolitan Museum of Art
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
Paul Signac's Antibes, the Pink Cloud (1916). "In a 1916 letter to a critic, Signac annotated a sketch of this 'portrait of a cloud' to reveal the cloud's 'personalities.' He referred to the vaporous form at upper left as Loie Fuller -- an American dancer who had taken Paris by storm in the 1890s -- and pointed out some 'Michelangelesque' in the dark underside of the cloud at right."
At the Museum of Fine Arts, Boston.
P1000479 (2)
The interior of all Proust's homes had been somewhat kitschy, so Mendini used a fake baroque armchair as his starting point. He covered it with small colourful dots inspired by the pointillist painter Paul Signac (1863 - 1935), one of Proust's comtemporaries. A unique giant version is a nice photographers playground.