View allAll Photos Tagged Signac
Haven Volendam.
Het hotel dateert uit 1881. Beroemde schilders zoals Paul Signac, Henry Cassiérs en Austin Hanicotte kwamen naar dit hotel om inspiratie op te doen. Vele van deze oude meesters betaalden hun verblijf met schilderijen. Dit heeft geresulteerd in een unieke verzameling van meer dan 100 kunstwerken.
The hotel dates from 1881. Famous painters as Sinac, Cassiérs and Hanicotte came here for inspiration. A lot of them paid their bills with paintings. So now the hotel owns a unique collection of approximately 1200 paintings.
Paul SIGNAC (1863-1935): Voiliers dans le port de Groix, vers 1927. Aquarelle (légère insolation) signée et datée en bas à gauche. Dim.: 19x28,5 cm. Un certificat de Madame Marine Ferretti en date du 30 mai 2016 sera remis à l acquéreur.
Camille Pissarro (10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.
In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality". 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 Gauguin's masters. 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".
Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin.
en.wikipedia.org/wiki/Camille_Pissarro
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Henri-Edmond CROSS (Henri-Edmond DELACROIX, dit)
Douai (France), 1856 - Le Lavandou (France), 1910
Le Cap Layet 1904
Henri-Edmond DELACROIX dit Henri-Edmond CROSS
Le Cap Layet, 1904
Avec Seurat et Signac, Cross est l'un des trois représentants du néo-impressionnisme. Brillant coloriste de la fin du siècle, il a exercé une influence déterminante sur la naissance du fauvisme. L'année 1891 est capitale pour lui : il adopte le divisionnisme alors que Seurat vient de mourir, et s'installe définitivement dans le Midi. À partir de 1903 et jusqu'à sa mort en 1910, Cross réalise le meilleur de son œuvre.
Le Cap Layet est un des nombreux sites de la côte provençale peints par Cross. Les éléments naturels servent de cadre à la composition. Le sol et deux pins très sinueux se détachent nettement sur la droite du tableau, au premier plan. Traités dans des valeurs foncées et des couleurs froides, bleu et vert, les arbres dessinent des arabesques purement décoratives. Les branches et les troncs, dégagés de toute réalité, sont prétextes à des lignes courbes dont le dessin autonome contraste avec l'ensemble du tableau. À l'arrière-plan, les motifs du paysage ensoleillé ne respectent pas davantage le ton local. Les passages et les gradations se font dans des couleurs plus lumineuses et plus transparentes mais tout aussi éclatantes et expressives que celles des arbres. L'exécution de la toile à l'aide de touches nettes et identiques participe à l'harmonie chromatique que l'artiste entend mettre en valeur.
Cross veut désormais faire de son art non seulement "la glorification de la Nature" mais la "glorification même d'une vision intérieure", où l'imagination jouerait un plus grand rôle.
L'itinéraire de Henri Edmond CROSS commence symboliquement dans le nord de la France puisqu'il naquit à Douai en 1856. Dès l'âge de dix ans un cousin, le Dr Soins, perçut en lui des dons artistiques et lui fit prendre des cours de dessin à Lille. Le jeune Henri Edmond Delacroix (son vrai nom) eut pour mentor et professeurs Carolus Duran, Alphonse Colas et plus tard à Paris, François Boivin. A 25 ans, il exposa pour la première fois au salon de 1881 sous son nom traduit en anglais : Cross, pour éviter toute confusion avec Eugène Delacroix.
Partageant les mêmes vues en esthétique picturale que Signac, Angrand ou Maximilien Luce et Théo van Rysselberghe, Cross adhèra très vite à la technique du pointillisme dans ses premières oeuvres. A cette époque celles-ci sont pour la plupart consacrées à la description des jardins de l'Observatoire et du Luxembourg. Ce fut aussi le temps d'une première découverte du midi de la France qui influença fortement Cross par la suite.
Mais la grande mutation de son style s'opéra en 1891. Au moment où disparaissait Georges Seurat, H.E.Cross vint au divisionnisme. Il rompit ainsi avec une esthétique qu'il pratiquait depuis dix ans pour adopter avec enthousiasme celle du groupe qui animait le Salon des Indépendants (manifestation dont il fut l'un des initiateurs dès 1884). L'ancien disciple des impressionnistes accrocha aux cimaises des Indépendants le portrait divisionniste de sa femme (conservé au Musée d'art moderne). Cross choisit de vivre en grande partie de l'année dans le Var, à Saint-Clair où il put méditer à loisir ses recherches sur la lumière et son observation de la nature. Il créa ainsi des chefs-d'oeuvres qui firent de lui l'égal d'un Turner ou d'un Poussin. La ferme le matin (1893), puis Mère jouant avec son enfant (1897), La vague. Cross réussit à exprimer une libération romantique du paysage. Dès lors son style si particulier commença à connaître la notoriété : les expositions se suivirent : en 1896 au Salon de l'art nouveau, et en 1899 à la Galerie Durand-Ruel.
Mais Cross fut aussi engagé politiquement puisqu'il fut l'ami des anarchistes et apporta son soutien à Jean Grave. Cependant le malheur physique accabla très vite ce poète de la lumière : des troubles rhumatismales puis occulaires vinrent altérer sa santé . Le peintre fit alors un séjour en Italie où il médita les oeuvres du Tintoret et de Canaletto. Avec Signac, Cross révèla de la provence une beauté naturelle inédite et incomparable : le fauvisme est là ,pressenti, annoncé et on sent poindre dans ses oeuvres du début du XXè siècle le germe d'une nouvelle harmonie chromatique qui fit école par la suite avec Matisse dans Luxe, calme et volupté et préfigura ainsi la doctrine de la nouvelle peinture abstraite.
Impressionists on the Water features approximately 85 works by Pre-Impressionists, Impressionists, and Post-Impressionists, including Charles-François Daubigny, Claude Monet, Pierre-Auguste Renoir, Gustave Caillebotte, Camille Pissarro, Alfred Sisley, Georges Seurat, Paul Signac, Théophile van Rysselberghe, Pierre Bonnard, and others. The exhibition also includes two boats and six boat models that further demonstrate the important role sailing, rowing, and yachting played in the social and artistic contexts of 19th-century France.
Presented in the Legion of Honor’s landmark building overlooking the Pacific Ocean and the Golden Gate Bridge, Impressionists on the Water offers a perfect opportunity for deeper engagement with maritime history, as well as the summer’s exciting regattas on the Bay.
Visiting Legion of Honor
Lincoln Park, 34th Avenue and Clement Street
San Francisco, CA 94121
legionofhonor.org
415-750-3600
Hours: Tuesdays–Sundays, 9:30 am–5:15 pm, last ticket 4:30 pm. Closed Mondays.
"Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles"
by Paul Signac, 1905-06
Metropolitan Museum of Art, NYC
19th- and Early 20th -Century European Paintings and Sculpture in The Metropolitan Museum of Art NHL & NHP in the Upper West Side in New York City, NY
Les Andelys, La Berge (Les Andelys The Riverbank)
1886
Paul Signac (1863-1935)
Oil on canvas, H. 65; W. 81 cm
Musée d'Orsay, Paris, France
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.
Signac exhibited this painting at the Salon des Artistes Indépendants in 1887, with three others also painted in Les Andelys. His work was noticed by the critics Paul Alexis, Gustave Kahn, Jules Christophe and Félix Fénéon. The latter commented: "Mr Signac's verve accentuates the bright contrasts in his new canvases, landscapes of Les Andelys, water and greenery" (Les Impressionnistes en 1886). Gustave Kahn was struck by the extraordinary luminous effect of these paintings: "It is the glare of the midday sun which is caught in these landscapes; of all those that we know they are the most deeply infused with the joy of things and illustrated with the magical effects of light" (La Vie moderne, 9 April 1887). The painting stayed in the artist's family until it joined the national collections in 1996.
Collection pointilliste du KMM, Otterlo, NL,
Signac, Seurat, un van Gogh, et d'autres.
visite du 27 mai 2009
© gaelle kermen 2009
Afin de pouvoir se dédier pleinement au chantier de la Chapelle des Saints-Anges, Delacroix souhaite, dès 1855, déménager de la rive droite vers la rive gauche. Au début de l’année 1857, son ami et marchand Etienne Haro lui trouve un appartement à louer rue de Fürstenberg, avec l’usage exclusif du jardin où il fait construire son atelier.
Ce lieu de travail, havre de paix au cœur de Paris, compose l’ermitage choisi pour l’artiste.
Il est ouvert au public depuis 1932. En effet, le musée Eugène-Delacroix a été fondé à la fin des années 1920 par la Société des Amis d’Eugène Delacroix. Cette Société rassemble, sous la présidence de Maurice Denis, les grands artistes de l’époque – Paul Signac, Edouard Vuillard notamment, des historiens et des collectionneurs qui se battirent avec succès pour sauver de la destruction le très bel atelier du grand peintre romantique. Fondé en hommage à la création de Delacroix, le musée rassemble une collection qui présente toutes les facettes de son art : peintre, dessinateur, graveur et écrivain.
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So as to dedicate himself fully to his work at the Holy Angels Chapel, in 1855 Delacroix moved from the right bank to the left bank of the Seine. At the beginning of 1857, his friend and merchant Etienne Haro found him an apartment to rent on rue de Fürstenberg, with the exclusive use of the garden in which he had his studio built.
This workplace, a haven of peace in the heart of Paris, provided the artist with the seclusion he sought.
It opened in 1932. The Eugène-Delacroix Museum was indeed founded in the late 1920s by the Society of Friends of Eugène Delacroix. Under the presidency of Maurice Denis, this Society brought together the great artists of the time, notably Paul Signac and Edouard Vuillard, historians and collectors who fought successfully to safeguard the beautiful studio of the great romantic painter from destruction. Founded in homage to Delacroix’s oeuvre, the museum brings together a collection that presents all the facets of his art as painter, draughtsman, engraver and writer.
Henri Matisse French, 1869-1954
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
Impressionists on the Water features approximately 85 works by Pre-Impressionists, Impressionists, and Post-Impressionists, including Charles-François Daubigny, Claude Monet, Pierre-Auguste Renoir, Gustave Caillebotte, Camille Pissarro, Alfred Sisley, Georges Seurat, Paul Signac, Théophile van Rysselberghe, Pierre Bonnard, and others. The exhibition also includes two boats and six boat models that further demonstrate the important role sailing, rowing, and yachting played in the social and artistic contexts of 19th-century France.
Presented in the Legion of Honor’s landmark building overlooking the Pacific Ocean and the Golden Gate Bridge, Impressionists on the Water offers a perfect opportunity for deeper engagement with maritime history, as well as the summer’s exciting regattas on the Bay.
Visiting Legion of Honor
Lincoln Park, 34th Avenue and Clement Street
San Francisco, CA 94121
legionofhonor.org
415-750-3600
Hours: Tuesdays–Sundays, 9:30 am–5:15 pm, last ticket 4:30 pm. Closed Mondays.
Our portrait session began with whether Jessica relates more to paintings by Seurat or Signac? This led to a whole art history discussion that included Van Gogh, Lichtenstein and Pollock.
Of course shooting in a near pitch black room led us to talk of constellations, the zodiac and whether anyone had ever wished upon one of her freckles at night. (Not yet)
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Gallery 823 - The Annenberg Collection: Nineteenth- and Twentieth-Century Masters
Part of Nineteenth-Century, Modern, and Contemporary Art
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
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(c) Dr Stanislav Shmelev
I am absolutely delighted to let you know that my new album, 'ECOSYSTEMS' has just been published: stanislav.photography/ecosystems
It has been presented at the Club of Rome 50th Anniversary meeting, the United Nations COP24 conference on climate change, a large exhibition held at the Mathematical Institute of Oxford University and the Environment Europe Oxford Spring School in Ecological Economics and now at the United Nations World Urban Forum 2020. There are only 450 copies left so you will have to be quick: stanislav.photography/ecosystems
You are most welcome to explore my new website: stanislav.photography/ and a totally new blog: environmenteurope.wordpress.com/
#EnvironmentEurope #EcologicalEconomics #ECOSYSTEMS #sustainability #GreenEconomy #renewables #CircularEconomy #Anthropocene #ESG #cities #resources #values #governance #greenfinance #sustainablefinance #climate #climatechange #climateemergency #renewableenergy #planetaryboundaries #democracy #energy #accounting #tax #ecology #art #environment #SustainableDevelopment #contemporary #photography #nature #biodiversity #conservation #coronavirus #nature #protection #jungle #forest #palm #tree #Japan #Europe #USA #South #America #Colombia #Brazil #France #Denmark #Russia #Kazakhstan #Germany #Austria #Singapore #Albania #Italy #landscape #new #artwork #collect #follow #like #share #film #medium #format #Hasselblad #Nikon #CarlZeiss #lens
1905–6
Oil on canvas
35 x 45 3/4 in. (88.9 x 116.2 cm)
Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles - Paul Signac
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
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
1905–6
Oil on canvas
35 x 45 3/4 in. (88.9 x 116.2 cm)
Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles - Paul Signac
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
I have always delighted in Pointillism as exemplified by Georges Seurat.
From Wikipedia, the free encyclopedia:
Pointillism is a style of painting in which small distinct dots of color create the impression of a wide selection of other colors and blending. Aside from color "mixing" phenomena, there is the simpler graphic phenomenon of depicted imagery emerging from disparate points. Historically, Pointillism has been a figurative mode of executing a painting, as opposed to an abstract modality of expression.
The technique relies on the perceptive ability of the eye and mind of the viewer to mix the color spots into a fuller range of tones and is related closely to Divisionism, a more technical variant of the method. It is a style with few serious practitioners and is notably seen in the works of Seurat, Signac and Cross. The term Pointillism was first coined by art critics in the late 1880s to ridicule the works of these artists and is now used without its earlier mocking connotation.
The practice of Pointillism is in sharp contrast to the more common methods of blending pigments on a palette or using the many commercially available premixed colors. Pointillism is analogous to the four-color CMYK printing process used by some color printers and large presses, Cyan (blue), Magenta (red), Yellow and Black (called "CMYK"). Televisions and computer monitors use a pointillist technique to represent images but with Red, Green, and Blue (RGB) colors.
If red, blue and green light (the additive primaries) are mixed, the result is something close to white light. The brighter effect of pointillist colours could rise from the fact that subtractive mixing is avoided and something closer to the effect of additive mixing is obtained even through pigments.
The painting technique used to perform pointillistic color mixing is at the expense of traditional brushwork which could be used to delineate texture.
Georges Seurat - La Parade (1889) - detail showing pointillism technique.
Instead of painting outlines and shapes with brush strokes and areas of colour, pointillism builds up the image from separate coloured dots of paint. From a distance, the dots merge and appear to be areas of shaded tones, but the colours have an extra vibrancy from the juxtaposition of contrasting dots.
Due to the limitations of printing and video displays, the true effect can only really be seen looking at an original painting.
Source: www.artchive.com/artchive/S/seurat/paradetl.jpg.html
and
commons.wikimedia.org/wiki/File:Seurat-La_Parade_detail.jpg
Img_0299_2.Jpg
from the permanent display of the Batliner Collection at Albertina, Vienna
for educational purpose only
please do not use without permission
Brinon-sur-Sauldre (Cher).
Eglise Saint-Bathélémy (XIe - XIIe siècle).
Jusque vers 1800, l’église porte le vocable de Saint Aignan qui est ensuite remplacé par celui de Saint Barthélemy.
La particularité de l’église est son "caquetoire". C’est une galerie extérieure construite sous charpente et auvent, sur un soubassement en pierre et brique. Elle garnit non seulement la façade mais également une grande partie du côté sud. On peut en dater la construction au XVe-XVIème siècle, après l’affranchissement des habitants. Le caquetoire servait d’abri aux réunions paroissiales qui se tenaient à la sortie de la messe sous la présidence du bailly. Il servait aussi d'abri, de halles pour les marchés et de lieu de repos et de discussion entre les paroissiens qui venaient y "caqueter"…
C'est le dernier caquetoire du Département du Cher.
Une aquarelle de Paul Signac (1863-1935), représentant l'église de Brinon-sur-Sauldre, datée de 1929, était mise en vente à Versailles, en 2015. (www.pillon-encheres.com/html/fiche.jsp?id=5175053&np=...)
1905 oil and pencil work by Matisse, “La Japonaise: Woman Beside the Water.”
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
Grafika (France) 2015. No. 00492.
1.000 pcs, 67,2 x 47,2 cm. One of Grafika's better puzzles.
Paul Victor Jules Signac (11 November 1863 – 15 August 1935) was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style.