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Paul Signac (French, 1863–1935)
Title
Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles
Date
1905–6
Medium
Oil on canvas
Dimensions
35 x 45 3/4 in. (88.9 x 116.2 cm)
Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure color, and he arranged rectangular brushstrokes like tesserae in a mosaic. In 1901 Signac had painted a smaller and less vibrant version of this view of the Marseilles, crowned by the church of Notre Dame de la Garde. The luminosity and brilliant color of the present picture are dependent on his continued use of unmixed pigments, but also on his contact with the young Fauve painters Henri-Edmond Cross and Matisse and Saint-Tropez in summer 1904.
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
The Postcard
A postally unused Éditions d'Art Munier carte postale published by Le Voyer, 19 Rue Marceau, Nice.
Juan-les-Pins
Juan-les-Pins is a town, health resort and spa in the commune of Antibes, in the Alpes-Maritimes, in southeastern 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.
Camille Pissarro (1830–1903)
Camille Pissarro was a French landscape artist best known for his influence on Impressionist and Post-Impressionist painting.
Camille Pissarro was born on July 10, 1830, on the island of St. Thomas. Relocating to Paris as a young man, Pissarro began experimenting with art, eventually helping to shape the Impressionist movement with friends including Claude Monet and Edgar Degas. Pissarro was also active in Post-Impressionist circles, continuing to paint until his death in Paris on November 13, 1903.
Jacob-Abraham-Camille Pissarro was born on July 10, 1830, on St. Thomas, in the Danish West Indies. Pissarro’s father was a French citizen of Portuguese Jewish descent who traveled to St. Thomas to help settle the estate of his late uncle and wound up marrying his uncle’s widow, Rachel Pomié Petit. The marriage was controversial and not immediately recognized by the small Jewish community where they lived. As a result, the Pissarro children grew up as outsiders.
At the age of 12, Pissarro was sent by his parents to a boarding school in France. There, he developed an early appreciation of the French art masters. After completing his education, Pissarro returned to St. Thomas, and although he initially became involved in his family's mercantile business, he never stopped drawing and painting in his spare time.
In 1849 Pissarro made the acquaintance of Danish artist Fritz Melbye, who encouraged him in his artistic endeavors. In 1852 Pissarro and Melbye left St. Thomas for Venezuela, where they lived and worked for the next few years. In 1855 Pissarro returned to Paris, where he studied at the École des Beaux-Arts and Académie Suisse and worked closely with painters Camille Corot and Gustave Courbet, honing his skills and experimenting with new approaches to art. Pissarro eventually fell in with a group of young artists, including Claude Monet and Paul Cézanne, who shared his interests and questions. The work of these artists was not accepted by the French artistic establishment, which excluded nontraditional painting from the official Salon exhibitions.
Though Pissarro kept a studio in Paris, he spent much of his time in its outskirts. Like many of his contemporaries, he preferred to work in the open air rather than the studio, painting scenes of village life and the natural world. During this period, he also became involved with his mother's maid, Julie Vellay, with whom he would have eight children and eventually marry in 1871. However, their budding family life was interrupted by the Franco-Prussian War of 1870–71, which forced them to flee to London. Returning to his home in France at the end of the conflict, Pissarro discovered that the majority of his existing body of work had been destroyed.
But Pissarro rebounded quickly from this setback. He soon reconnected with his artist friends, including Cézanne, Monet, Edouard Manet, Pierre-Auguste Renoir and Edgar Degas. In 1873, Pissarro established a collective of 15 artists with the goal of offering an alternative to the Salon. The following year, the group held their first exhibition. The unconventional content and style represented in the show shocked critics and helped to define Impressionism as an artistic movement. For his part, Pissarro exhibited five paintings in the show, including Hoar Frost and The Old Road to Ennery. The group would hold several more exhibitions over the coming years, though they slowly began to drift apart.
By the 1880s, Pissarro moved into a Post-Impressionist period, returning to some of his earlier themes and exploring new techniques such as pointillism. He also forged new friendships with artists including Georges Seurat and Paul Signac, and was an early admirer of Vincent van Gogh. While in keeping with his lifelong interest in innovation, Pissarro’s turning away from Impressionism contributed to the general decline of the movement, which he had influenced greatly.
In his later years, Pissarro suffered from a recurring eye infection that prevented him from working outdoors during much of the year. As a result of this disability, he often painted while looking out the window of a hotel room. Pissarro died in Paris on November 13, 1903, and is buried in Père Lachaise Cemetery.
More than a century after his passing, Pissaro was back in the news for events related to his 1887 work Picking Peas. In 1943, during the German occupancy of France, the French government confiscated the painting from its Jewish owner, Simon Bauer. It was later purchased in 1994 by Bruce and Robbi Toll, an American couple known for their involvement in the art world.
After the Tolls lent Picking Peas to the Marmottan museum in Paris, Bauer's descendants embarked on a legal bid for its retrieval. In November 2017, a French court ruled that the painting belonged to Bauer's surviving family.
Dans l'entrée de l'immeuble du 14 rue Jean de La Fontaine à Paris, l'architecte Hector Guimard a installé, dès la construction du bâtiment, une cabine téléphonique. Cet équipement très rare à l'époque servait à l'ensemble des habitants de l'immeuble.
Le peintre Paul Signac et Hector Guimard lui-même ont habité et travaillé dans cet immeuble très innovant pour l'époque.
1882, Oil on canvas, 81 x 65.1 cm (31-7/8 x 25-5/8 in)
Pissarro was an important force in the developement of Impressionism. Receptive to new ideas, he altered his style in the 1880s under the influence of Seurat. He replaced the intuitive method of Impressionism with the deliberate, semi-geometric construction of forms. The technique of this painting anticipates Pointillism, which Pissarro named, and used along with Seurat and Signac three years later.
Claude Monet (1840-1926): Mill at Limetz, 1888
The mill is at the far right, whereas half the composition is devoted to the overhanging trees above the river Epte, near the artist's home at Giverny. Monet creates a dense and near-abstract mosaic of paint with flecks of light and dark green, blue and pink. The painting exemplifies Monet's meticulous and thickly encrusted paint surfaces in the 1880s, in contrast to his earlier sketchy handling. This new approach may have been a response to Seurat and Signac, who developed their pointillist style in the 1880s.
De dames laten zich door een kunsthistoricus alles uitleggen over de moderne kunst in de Lage Landen.
Paul Signac, , Paris 1863 - 1925
Les Andelys, Ufer - Les Andelys, The Riverbank - Les Andely, La berge (1886)
Musée d'Orsay, Paris
1886 was a crucial year in the development of Signac's style. In his early works painted in the Paris suburbs, at Port-en-Bessin or Saint-Briac, the influence of the Impressionists was still strong. But at the beginning of 1886, Signac was attracted by Georges Seurat's latest experiments with the division of colour and optical mixes. At the last Impressionist exhibition, which opened in May 1886, Seurat showed Sunday at La Grande Jatte, which was a veritable manifesto of Divisionism. The paintings that Signac entered in the same event used much the same technique.
In June 1886, Signac lived for three months in the small Norman town of Les Andelys. He painted a series of ten landscapes there, using the Divisionist technique. Les Andelys; The Riverbank is one of the most important canvases in that series.
Source: Musée d'Orsay
1905-1906 painting by Matisse “Interior with a Young Girl (Girl Reading).” Originally owned by Félix Fénéon, who gave Matisse his first gallery show, and now in MoMA’s 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
Another nice puzzle cut by Simon Stocken at Puzzleplex. This one is of Pissarro's lovely 1894 painting. Quite a challenging, if small, puzzle due to the impressionist image and the fine cutting.
328 pieces
10.5" x 9"
Wikipedia:
Jacob Abraham Camille Pissarro (1830-1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.
In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".[1] Paul Cézanne said "he was a father for me. A man to consult and a little like the good Lord", and he was also one of Paul Gauguin's masters. Pierre-Auguste Renoir referred to his work as "revolutionary", through his artistic portrayals of the "common man", as Pissarro insisted on painting individuals in natural settings without "artifice or grandeur".
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
Oil on canvas
29 1/8 x 36 3/8 in. (74 x 92.4 cm)
Lighthouse at Groix - Paul Signac 1925
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
El Museo van Gogh es una pinacoteca ubicada en Ámsterdam, Países Bajos, que alberga la colección de obras del pintor holandés Vincent van Gogh.
El museo consta de dos edificios. La construcción original es obra del arquitecto holandés Gerrit Rietveld (1888-1964) y fue inaugurado en 1973. El arquitecto del ala de exposiciones fue Kishō Kurokawa, siendo terminada en 1999 por Gojko.
El museo posee más de 200 pinturas de Vincent van Gogh, de todos sus periodos de creación, y unos 400 dibujos. Entre las obras principales expuestas se encuentran Los comedores de patatas, “La recámara de Arlés” y una versión de “Los girasoles”. Además, el museo tiene la custodia de la mayoría de las cartas de Vincent van Gogh. La colección de obras de artistas del siglo XIX iniciada por Theo van Gogh ha sido extendida continuamente con recursos de la fundación, de modo que el museo cuenta con obras de artistas como: Alma-Tadema, Bernard, Boulanger, Breton, Caillebotte, Courbet, Couture, Daubigny, Denis, Gauguin, Israëls, Jongkind, Manet, Mauve, Millet, Monet, Pissarro, Puvis de Chavannes, Redon, Seurat, Signac, Toulouse-Lautrec, van Dongen y von Stuck.
Camille Pissarro was the only artist to exhibit in both Impressionism and Post-Impressionism, and in this painting done towards the end of of life it is clear to see both of their influences. While unmistakeable as an Impressionist piece, in the brush strokes the influence of working alongside Post-Impressionists like Seurat and Signac at this point in Pissarro's life is also evident.
Accession Number: 1950P23
Pierre Bonnard
French, 1867-1947
View of The Old Port, Saint-Tropez, 1911
Oil on canvas
Signed (lower left): Bonnard
In 1911, Bonnard made three separate trips to Saint-Tropez, on the Mediterranean coast of France, which was still a small fishing port. He probably painted this work during his second visit in the summer, when he stayed with his friend the artist Paul Signac. The old port, with its narrow streets, is seen from the place de la Mairie through an opening between two shuttered buildings facing the quay. Several figures are discernible in the street: the forms of all but the central one, cast in purple shadow, are diffused by the light.
Bequest of Scofield Thayer, 1982
1984.433.1
From the placard: Metropolitan Museum of Art
1904. Aquarel·la i carbonet sobre paper. 40,6 x 26,7 cm. Museu d'Art Modern, Nova York. 24.1951. Obra no exposada.
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
El Museo van Gogh es una pinacoteca ubicada en Ámsterdam, Países Bajos, que alberga la colección de obras del pintor holandés Vincent van Gogh.
El museo consta de dos edificios. La construcción original es obra del arquitecto holandés Gerrit Rietveld (1888-1964) y fue inaugurado en 1973. El arquitecto del ala de exposiciones fue Kishō Kurokawa, siendo terminada en 1999 por Gojko.
El museo posee más de 200 pinturas de Vincent van Gogh, de todos sus periodos de creación, y unos 400 dibujos. Entre las obras principales expuestas se encuentran Los comedores de patatas, “La recámara de Arlés” y una versión de “Los girasoles”. Además, el museo tiene la custodia de la mayoría de las cartas de Vincent van Gogh. La colección de obras de artistas del siglo XIX iniciada por Theo van Gogh ha sido extendida continuamente con recursos de la fundación, de modo que el museo cuenta con obras de artistas como: Alma-Tadema, Bernard, Boulanger, Breton, Caillebotte, Courbet, Couture, Daubigny, Denis, Gauguin, Israëls, Jongkind, Manet, Mauve, Millet, Monet, Pissarro, Puvis de Chavannes, Redon, Seurat, Signac, Toulouse-Lautrec, van Dongen y von Stuck.
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).