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Paul Signac - Samois, La Berge, Martin, 1901 at Musée des beaux-arts de Montréal - Montreal Quebec Canada
Originally the private collection of Siegfried and Angela Rosengart. The museum reflects the tastes of Siegfried Rosengart and his daughter Angela. They were friends with Pablo Picasso and the collection displays 30 of his works. Paul Klee is also well represented with 125 drawings, watercolours and paintings. In all the museum houses 300 works by 23 different "Classic Modernist" artists: Bonnard, Braque, Cézanne, Chagall, Dufy, Kandinsky, Laurens, Léger, Marini, Matisse, Miró, Modigliani, Monet, Pissarro, Renoir, Rouault, Seurat, Signac, Soutine, Utrillo and Vuillard.
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).
Tribute to Henri Claude Manguin (1874 - 1949).
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Henri Charles Manguin is a French painter and engraver born in Paris on March 23, 1874 and died in Gassin on September 25, 1949.
He was one of the main representatives of French Fauvism in 1905 .
In 1889, Henri Manguin abandoned his studies at the Lycée Condorcet in Paris to devote himself to painting. In 1894, he attended the studio of Gustave Moreau at the École des Beaux-Arts in Paris , where he became friends with Albert Marquet, Henri Matisse, Jean Puy, Albert Huyot, and Georges Rouault .
In 1899, he married Jeanne Carette who would be, with a few exceptions, his only model, and with whom he had three children. He exhibited at the B. Weill gallery and in 1897 at the Salon de la Société nationale des beaux-arts. In 1902, he participated for the first time in the Salon des indépendants.
In 1904, Manguin discovered Saint-Tropez and became friends with Paul Signac. He exhibited at the Salon d'Automne and became a member. Ambroise Vollard bought 150 paintings from him. During a private exhibition at the Druet gallery in 1906, Manguin became friends with Henri-Edmond Cross. He travelled to Italy and exhibited in Zurich and Bucharest.
In 1909, he settled in Neuilly-sur-Seine and participated in a group exhibition in Russia. He stayed in Honfleur with Félix Vallotton, where he met Swiss collectors, the Hahnlosers. He settled in Sanary-sur-Mer for the summer , where he often saw Henri Lebasque, and exhibited in Berlin. In 1913, he was among the French artists exhibited in the United States, including the Armory Show 3 , and at the Venice Biennale.
He lived in Lausanne during the First World War. In 1924, he participated in the project of the future Musée de l'Annonciade in Saint-Tropez. He exhibited at the Bing gallery in 1927. In 1938 , the Druet gallery closed, his son bought the unsold items: Manguin destroyed eight of them, then exhibited all over the world. He rented a studio in Avignon in 1942.
Henri Manguin died in his house in Oustalet in Gassin on September 25, 1949.
The Salon organized a posthumous retrospective of his works in 1950.
Source: In: RUHRBERG, Karl; SCHNECKENBURGER, FRICKE & HONNEF (2001) - Kunst van de 20e eeuw. Samenstelling Ingo F. Walther. Deel 1. Schilderkunst. Tachen, Koln/Librero.
1891 Moulin Rouge poster proof by Toulouse-Lautrec, featuring performer Valentin and can-can dancer La Goulue.
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
On the coldest day ever, a visit to see the best art ever, Metropolitan Museum, New York, February 2016.
A languid scene by a French riverbank, painted in the pointillist style - Georges Seurat was my immediate thought. Mais non! So who was Hippolyte Petitjean (1854-1924)? Wikipedia records that Petitjean did meet Seurat in 1884 and under his influence adopted the pointillist style, which he continued for many years until later reverting to a Neo-Impressionist style. A further influence was Paul Signac, likewise keen on the pointillist style.
Rainbow in a fountain @ Orto Botanico (Botanical Gardens), Pavia
From Wikipedia:
"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."
Aquarelle de Paul Signac (1863-1935) Concarneau, 1925. Un certificat de Marina Ferretti sera remis à l'acquéreur. Aquarelle mise en vente
le vendredi 15 août 2014 à Cannes et sur le Live d'Interencheres par Maître Jean-Pierre Besch.http://bit.ly/1sn0ajl
Here's another Blue Kazoo puzzle featuring the work of Paul Signac, in this case his 1893 scene "Place des Lines, Saint Tropez." (Previously, I made their Le Clocher de Saint Tropez.) He was fully into the pointillism phase of his career, which he and Georges Seurat developed in the post-Impressionist era. As such, the pieces contain lots of tiny dots of oranges, blues and greens to create what looks from afar like a purple and gold landscape. (The colors and technique remind me a lot of Van Gogh's "sower" paintings.)
I've reviewed Blue Kazoo in depth before, but their puzzles are of excellent quality with large, chunky pieces, a matte finish and a very easy cut style that makes it difficult to misplace a piece. This was the most difficult of their puzzles that I've done so far, but still it wasn't too challenging. I have some extra challenging titles waiting in my stash, including their outer space series.
For anyone interested in Blue Kazoo puzzles, they are currently running a "secret sale" on their web site with a couple dozen, mostly fine art puzzles, from the new Sustainable series, at 40 percent off. They are now shipping internationally.
Completed in 5 hr., 6 mins. with no box reference. 1,000 total pieces: 18.4 secs./piece; 196.1 pcs./hr. Difficulty rating: 1.8/10.
Paul Signac (French, 1863–1935)
Detail from: Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles
Oil on canvas 1905
Signed and dated (lower righ): P Signac / 1905
Gift of Robert Lehman, 1955
55.220.1
From the placard: Metropolitan Museum of Art
Paul Signac (French, 1863–1935)
Detail from: Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles
Oil on canvas 1905
Signed and dated (lower righ): P Signac / 1905
Gift of Robert Lehman, 1955
55.220.1
From the placard: Metropolitan Museum of Art
Oil on canvas
18 1/4 x 25 5/8 in. (46.4 x 65.1 cm)
The Jetty at Cassis, Opus 198 - Paul Signac 1889
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
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).
Saint Tropez, France
Petit port de pêche varois, Saint Tropez a de longue date attiré des peintres de renom tels Signac, Cézanne ou Seurat du fait de sa lumière exceptionnelle. L'arrivée de quelques célébrités dans les années 1950 en fera de Saint Trop' un lieu de villégiature du tout Paris mondain qui accèdera au statut de mythe avec l'arrivée de Brigitte Bardot (« BB ») dans les années 1960.
Bien que la jet set internationale soit de plus en plus sollicitée par d'autres stations, le « village», tel que les initiés l'appellent aujourd'hui, attire toujours autant touristes et stars, hommes d'affaires russes ou pakistanais, paparazzis ou simples curieux. Le mythe perdure...
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.
Collection pointilliste du KMM, Otterlo, NL,
Signac, Seurat, un van Gogh, et d'autres.
visite du 27 mai 2009
© gaelle kermen 2009
En haut une petite aquarelle de Paul Signac (1863-1935) - "La Rochelle", date inconnue. Celle-ci serait la toute première oeuvre d'art occidental acquise par Shôjirô Ishibashi.
Ensuite, en haut de gauche à droite :
- Honoré Daumier, vers 1850, "Don Quichotte et Sancho se rendant aux noces de Gamaches"
- Camille Pisarro, 1878, "Jardin potager au jardin de Maubuisson"
- Alfred Sisley, 1884, "Saint-Mammès et les coteaux de la Celle, matin de juin"
- Vincent Van Gogh, 1886, "Moulins et jardins à Montmartre"
- Paul Gauguin, 1889, "Les foins"
En bas, trois Monet, de gauche à droite :
- Crépuscule à Venise, vers 1908 (superbe tableau !)
- L'inondation à Argenteuil, 1872-73
- Nymphéas, temps gris, 1907 (des nymphéas aux teintes roses inhabituelles)
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
Puntillismo - Divisionismo (1900-1906)
Características: Técnica que consiste a utilizar un punto de color para crear el máximo de intensidad en contraste de colores.
Principales artistas: Henri-Edmond Cross, Georges Seurat, Paul Signac.
Fauvismo (1900-1906)
Características: Simplificación de las formas y de la perspectiva. Utilización de colores puros.
Principales artistas: Raoul Dufy, Henri Matisse, Maurice De Vlaminck, Georges Braque, André Derain.
Detail from a 1921 Pointillist painting by Paul Signac (1863-1935). Signac collaborated with Georges Seurat to develop the Pointillist style of Neo-Impressionism.
Paul Signac French, 1863-1935
Detail from: Lighthouse at Groix . 1925
Oil on Canvas
Signed and dated (lower left): P Signac / 1925
Signac, and avid yachtsman, is best known for his glorious views of French ports and luminous seascapes. This work depicts the harbor of Port-Tudy on the Ile-de-Groix, a small island off the coast of southern Brittany opposite Lorient. Painted in 1925, it shows the mosaic-like strokes of color that were the hallmark of Signac’s late style.
Partial and Promised Gift of Mr. and Mrs. Douglas Dillon, 1998
1998.412.3
From the Placard; The Metropolitan Museum of Art, New York, New York
(© 2009 Príamo Melo) Mediterranean stone pines (Pinus pinea) at Saint Tropez which inspired Paul Signac, shot at sunset.
(© 2009 Príamo Melo) Pinheiros mansos do mediterrâneo (Pinus pinea) que inspiraram Paul Signac, fotografados no pôr-do-sol.
Fecha: 1901 a 1902.
Museo: Staatliche Galerie Moritzburg Halle.
Dimensiones: 140 x 140 cm.
Técnica: Oleo sobre Lienzo.
Maria Anna Hinterhuber nació el 23 de septiembre de 1851 en Salzburgo. Su padre era farmacéutico y cuando falleció en 1880, Maria ejercía como profesora en Amstetten, cerca de Austria. Se casó el 21 de agosto de 1888 con el físico Hugo Franz Simon Henneberg, doce años menor que ella, hecho curioso en la Viena del momento. Se construyeron una casa en el distrito XIX de Viena, diseñada por el arquitecto Josef Hoffman, decorando el salón principal con el retrato pintado por Klimt. La relación del matrimonio con los artistas de la Secession fue muy estrecha, apareciendo a menudo citados en los diarios de Alma Mahler. Franz Simon falleció el 11 de julio de 1918 y Marie el 23 de junio de 1931.El retrato pintado por Klimt fue presentado a la exposición secesionista de 1902 sin concluir. Hevesi se sintió fascinado por la atmósfera lírica que envolvía a la pintura: "la figura está sentada en un sillón invisible -que todavía no está pintado- que la hace más artificial y más ligera". Un crítico alemán empleó el término "sillón astral" para referirse a él. En efecto, las líneas del sillón apenas están esbozadas, especialmente la zona de la izquierda, creando cierto aspecto fantasmagórico. La mujer se hunde en el sillón y dirige su mirada al espectador, resaltando su luminoso rostro ante la coloreada atmósfera del entorno. Viste un elegante traje blanco con diversos volantes, creando un magnífico efecto de cascada que se acerca al primer plano. La influencia del neo-impresionismo de Seurat y Signac se manifiesta tanto en el estilo pictórico como en el efecto atmosférico, acercándose al puntillismo. El resultado es una obra de gran calidad, culminando el dinamismo del color lila en la flor que adorna el pecho de Frau Henneberg.
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.
Gallery 823 - The Annenberg Collection: Nineteenth- and Twentieth-Century Masters
Part of Nineteenth-Century, Modern, and Contemporary Art
from the permanent display of the Batliner Collection at Albertina, Vienna
for educational purpose only
please do not use without permission
Paul Signac French, 1863-1935
Detail from: The Jetty at Cassis, Opus 198 1889
Oil on canvas
Signed, dated, and inscribed: ( lower left) P. Signac 90; (lower right) Op. 198; ( on stretcher) La jette de Cassis – PS [monogram]
Between 1887 and 1891, Signac spent winters in Paris, and during the warmer months, he pursued his two passions, marine painting and boating, on excursions to seaside resorts. One of the five views he brought back from his sojourn in April-June 1889 in the Mediterranean port of Cassis, this work was singled out for praise when the series debuted at the Salon des Independants later that year. At Cassis, Signac found “White, blue and organge, harmoniously spread over the beautiful rise and fall of the land. All around the mountains with rhythmic curves”. Until 1894, Signac evoked analogies with musical compositions by inscribinb each of his pictures with an opus number.
Bequest of Joan Whitney Payson, 1975
1976.201.19
From the Placard; The Metropolitan Museum of Art, New York, New York
Design of the ground floor by Henry van de Velde. Ca. 1922. The design was not executed. SEMBACH, Klaus-Jurgen (1989). Henry van de Velde. Thames and Hudson Ltd., London.
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Henry Clemens van de Velde (3 April 1863 – 15 October 1957 was a Belgian painter, architect and interior designer. Together with Victor Horta and Paul Hankar he could be considered as one of the main founders and representatives of Art Nouveau in Belgium. Van de Velde spent the most important part of his career in Germany and had a decisive influence on German architecture and design at the beginning of the 20th century.
Van de Velde was born in Antwerp, where he studied painting under Charles Verlat at the famous Royal Academy of Fine Arts, Antwerp. He then went on to study at Carolus-Duran in Paris. As a young painter he was thoroughly influenced by Paul Signac and Georges Seurat and soon adopted a neo-impressionist style (pointillism). In 1889 he became a member of the Brussels-based artist group "Les XX". After Vincent van Gogh exhibited some work on the yearly exhibition of Les XX van de Velde became one of the first artists to be influenced by the Dutch painter. During this period he developed a lasting friendship with the painter Théo van Rysselberghe and the sculptor Constantin Meunier.
In 1892 he abandoned painting, devoting his time to arts of decoration and interior design (silver- and goldsmith’s trade, chinaware and cutlery, fashion design, carpet and fabric design). His own house, Bloemenwerf in Ukkel, was his first attempt at architecture, and was inspired by the British and American Arts and Crafts Movement. He also designed interiors and furniture for the influential art gallery "L'Art Nouveau" of Samuel Bing in Paris in 1895. This gave the movement its first designation as Art Nouveau. Bing’s pavilion at the 1900 Paris world fair also exhibited work by Van de Velde. Van de Velde was strongly influenced by John Ruskin and William Morris’s English Arts and Crafts movement and he was one of the first architects or furniture designers to apply curved lines in an abstract style. Van de Velde set his face against copying historical styles, resolutely opting for original (i.e. new) design, banning banality and ugliness from people’s minds.
Van de Velde's design work received good exposure in Germany, through periodicals like Innen-Dekoration, and subsequently he received commissions for interior designs in Berlin. Around the turn of the century, he designed Villa Leuring in the Netherlands, and Villa Esche in Chemnitz, two works that show his Art Nouveau style in architecture. He also designed the interior of the Folkwang Museum in Hagen (today the building houses the Karl Ernst Osthaus-Museum) and the Nietzsche House in Weimar.
In 1899 he settled in Weimar, Germany, where in 1905 he established the Grand-Ducal School of Arts and Crafts, together with the Grand Duke of Weimar. It is the predecessor of the Bauhaus, which, following World War I, eventually replaced the School of Arts and Crafts, under new director Walter Gropius, who was suggested for the position by Van de Velde.
Although a Belgian, Van de Velde would play an important role in the German Werkbund, an association founded to help improve and promote German design by establishing close relations between industry and designers. He would oppose Hermann Muthesius at the Werkbund meeting of 1914 and their debate would mark the history of Modern Architecture. Van de Velde called for the upholding of the individuality of artists while Hermann Muthesius called for standardization as a key to development.
During World War I, Van de Velde, as a foreign national, was obliged to leave Weimar (although on good terms with the Weimar government), and returned to his native Belgium. Later, he lived in Switzerland and in the Netherlands where he designed the Kröller-Müller Museum in Otterlo. In 1925 he was appointed professor at the Ghent University Institute of Art History and Archaeology, where he lectured architecture and applied arts from 1926 to 1936. He was instrumental in founding in Brussels, in 1926, today's renowned architecture and visual arts school La Cambre, under the name of "Institut supérieur des Arts décoratifs."
He continued his practice in architecture and design, which had demarcated itself significantly from the Art Nouveau phase, whose popularity was by 1910 in decline. During this period, he mentored the great Belgian architect, Victor Bourgeois. In 1933 he was commissioned to design the new building for the university library (the renowned Boekentoren). Construction started in 1936, but the work would not be completed until the end of the Second World War. For budget reasons, the eventual construction did not entirely match the original design. For instance, the reading room floor was executed in marble instead of the black rubber Van de Velde originally intended. He was also involved in the construction of the Ghent University Hospital. He died, aged 94, in Zürich (Wikipedia).
Original Info:
Le pin de Bonaventura a Saint-Tropez
1892
Oil on canvas
25 x 32 in.
Museum of Fine Arts, Houston
Yesterday I went out about 8:30am to do some errands--and catch some rays of Vitamin D, too. As I walked, I enjoyed a little photo shoot, as the light was truly splendid and the sky couldn't have been more blue. When I reached the corner of 181st & Broadway (one of Uptown Manhattan's "crossroads of humanity"), I encountered Kay, a friendly neighbor whom I'm very fond of, but hadn't seen in ages.
As we chatted, I became fascinated by the way the sunlight came through her knit sun hat, creating a pattern of tiny, bright, semi-rectangular spots on the side of her face. I asked her if I could photograph this "pointillist" artwork created by the sun, explaining that I wouldn't photograph her whole face. Thankfully, she trusts me and agreed to participate in my experiment, and I showed her the results afterwards.
Pointillism was a sub-genre of French Impressionist painting, practiced by Paul Signac and Georges Seurat, who painted large canvases using thousands (millions?) dots of different colors, including white ones--though not in a linear pattern. Folk art traditions of many countries feature the use of white dots. In the Indian state of Bengal, Hindu brides are decorated above the eyebrows with a linear pattern of white dots (as well as red), called bindi. In several African traditions, including those of the Mursi people of Ethiopia, faces and bodies are frequently painted with patterns of white dots. In Australia, many Aboriginal painters use flat-ended twigs to paint white dots (also multi-colored ones) in their artwork. Patterns of white dots also found on certain "Vejigante" masks in Puerto Rico. And these are but a few places & peoples I've encountered in my white-dot cultural wanderings.
As you can see, I have a "thing" for decorative white-dot patterns, which have fascinated me since I saw them being painted on Bengali actress Sharmila Tagore (grandaughter of the great poet Rabanindrath Tagore) in Satyajit Ray's film, "Apur Sansar" (The World of Apu, 1959), the final film of his Apu trilogy.
Isn't it funny how you can "get hooked" on something at a young age, and never fail to find it fascinating for the rest of your life? :- >
Washington Heights, Upper Manhattan
New York, NY USA
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For the group six word story.
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