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Fragmentos de las obras de Béraud y Goeneutte.
Tanto Béraud como Goeneutte para tener estas vistas del 2º Tramo del bulevar en invierno y en primavera, debieron estar situados justo en el ángulo del bulevar Clichy, de espaldas a la Rue Capron y a la manzana de pisos donde tuvieron sus estudios Seurat y Signac.
Antes de la remodelación de la zona por los trazados de Haussmann, muy próximo se encontraba el Jardín del Père Forest, lugar frecuentado por Toulouse-Lautrec. Más tarde este lugar será la desembocadura del nuevo puente de la Rue de Caulaincourt y estará presidido por la monumental estructura del Hippodrome, que reformará el ángulo con el trazado de la Rue Forest. (Ver plano anterior y las Cinco vistas del Bv. Clichy de la imagen 0037).
Lugares de las obras de Signac
- 1. Lugar de la obra Boulevard Clichy nevado.
- 2. Lugar de la obra Place de Clichy.
Debajo un Plano de la zona en 1882.
Signac, como ya lo hicieran antes Béraud y Goeneutte, vuelve a tomar una vista de este segundo tramo del Boulevard de Clichy, desde el punto que hemos marcado con 1 en el plano superior, en el ángulo B de esta arteria principal de Montmartre. No nos cabe duda de que este es el punto de vista de la obra, pese a que otros autores la localicen en la Place Blanche en dirección Pigalle.
El lugar debiera ser muy familiar para el pintor ya que se encontraba frente a su estudio situado en el 130 del Bvd. de Clichy, al lado del de Seurat, (donde también lo tendría Picasso en 1901), en uno de los edificios laterales que formaban el antiguo Passage de Clichy (antes de St.Pierre), colindante a la desembocadura de la Rue Forest (R.Capron) en el ángulo del bulevar. En 1886, fecha de datación de la obra, aún no se había abierto el viaducto sobre el Cementerio de Montmartre (de 1888) que daría lugar a la desembocadura de la Rue Caulaincourt en este rincón histórico donde una década más tarde entre 1897-1899, se construirá el magnífico edificio del "Hippodrome Bostock".
Title: Comblat-le-Château, the Meadow (Le pré), Opus 161
Artist: Paul Signac
Year: 1887
It is an oil on canvas.
The Dallas Museum of Art (DMA) is an art museum located in the Arts District of downtown Dallas, Texas. In 1984, the museum moved from its previous location in Fair Park to the Arts District. The new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal.
The museum collection is made up of more than 24,000 objects, dating from the third millennium BC to the present day. It is also defined by its dynamic exhibition policy and award-winning educational programs. The Mildred R. and Frederick M. Mayer Library (the museum’s non-circulating research library) contains over 50,000 volumes available to curators and the general public. With 159,000 square feet of exhibition spaces, it is one of the largest art museums in the United States.
Information from: en.wikipedia.org/wiki/Dallas_Museum_of_Art
1887 Image autorisée à charles jousselin Oonops par charles jousselin
Detail de l'image :
Numéro d'oeuvre : RMN73501
Cote cliché : 00-009214
N° d’inventaire : RF50853
Fonds : Dessins
Titre : Passage du Puits-Bertin (Clichy)
Auteur : Signac Paul (1863-1935)
Droits d'auteur :
Crédit photographique : (C) RMN (Musée d'Orsay) / Michèle Bellot
Période : 19e siècle
Date : 1887
Technique/Matière : encre noire, plume (dessin)
Hauteur : 0.163 m.
Longueur : 0.248 m.
Localisation : Paris, musée du Louvre, D.A.G. (fonds Orsay)
Conditions d'utilisation : Charles Jousselin - MHEU - 15/9/2008 - Type de facturation : x Achat InternetSupport : Internettype : Site Culturel et éducatifTerritoire : un pays/une seule langueDurée : 2 ans - JPEG - 2048X3072 pixels
© RMN (Musée d'Orsay) / Réunion des Musées Nationaux
La station Musée d'Orsay a longtemps été une des plus sinistres de la ligne C. A part une grande photo d'un portrait de Van Gogh à l'entrée, rien ne rappellait visuellement les centaines de tableaux exposés dans le musée au-dessus des quais. Les murs noirs et les plafonds lépreux de cette station du RER C étaient tout à fait déprimants et la structure métallique des piliers n'était pas mise en valeur. Depuis la reprise du trafic fin août entre Invalides et Paris-Austerlitz, la station Musée d'Orsay a fait peau neuve grâce à un nouvel éclairage. Intitulées "l'art en mouvement", de grandes reproductions photographiques de tableaux impressionnistes, pointillistes et symbolistes embellissent les murs repeints de la station. D'un côté des scènes de Renoir, Signac, Seurat, Gauguin, de l'autre des paysages au fil de l'eau dont le fameux petit pont de Giverny peint par Monet. "Laissez vous transporter" est le slogan à double sens de cette exposition souterraine.
In 1907, in Rotterdam, Van Dongen saw a drag act by Romanian bass and soprano Modjesko, who was known as 'the black 'Patti'. This is one of the studies he made during the show. Back in Paris, he painted a portrait which he showed at his solo exhibition at Galerie Bernheim-Jeune in 1908. Artist Paul Signac bought the painting (now at the MoMa, New York).
Málaga (Espagne) 1881 – Mougins (France) 1973
De la série des "Saltimbanques"
Eau-forte, grattoir (1904, édition de 1913)
Une famille malheureuse (An Unhappy Family, 1849) by Octave Tassaert, a haunting tableau of grief and despair. The images have successfully come through.
Painted in oil on canvas and now housed in the Musée d'Orsay, this work was originally commissioned by the French state and exhibited at the Salon of 1850–51. It illustrates a passage from Félicité de Lamennais’s Paroles d’un croyant, a radical religious text that denounced social injustice and clerical oppression.
The scene shows a family devastated by suicide: a man lies lifeless, while a woman and child mourn beside him. The composition is stark and theatrical, with chiaroscuro lighting that recalls Caravaggio, yet the emotional realism is unmistakably 19th-century French. Tassaert’s brushwork is restrained, his palette somber, and the message unflinching—this is not allegory, but indictment.
Tassaert, often overlooked, was a master of melodramatic genre painting, using domestic tragedy to critique the moral failures of society. This painting is one of his most powerful statements.
PAUL SIGNAC Phare de Gatteville et le sémaphorre 12 x 18,4 à vue aquarelle signée en bas à droite datée 24 sept .... circa 1933
Estimation : 6 000 € - 9 000 €
Paul Signac. El Boulevard Clichy nevado. 1886
El encuadre de la obra desplazado hacia la izquierda del paseo central, nos permite ver la perspectiva de esa acera interrumpida por la empinada cuesta de la Avenida del Cementerio (Av.Rachel), hasta perderse en la Place Blanche al fondo. De la parte derecha del bulevar solo vemos el angulo cortado en bisel que forma un muro delante del cual se encuentra una figura, marcando el comienzo del primer tramo del bulevar en dirección a la Place de Clichy. Posiblemente se trate del final del que aparece a la derecha en la obra de Béraud. Por delante de este, en primer término, se observa la curvatura del paseo central arbolado en el que sobresale un edificio con tejado a dos aguas junto a dos árboles y una farola. Que esta construcción se encuentre en un extremo del paseo central se deduce por las direcciones que a ambos lados del mismo marcan las huellas dejadas en la nieve por el tránsito de vehículos tirados por caballos, calesas, hippomobiles y tranvía à impériale, como vemos, mucho mayor por la zona de la derecha del bulevar, que forma la curva más cerrada y alejada, que por la más próxima al espectador en primer plano mucho más abierta.
La imagen de la postal, tomada desde el comienzo del Boulevar de Clichy, recoge casi el mismo lugar de la obra de Signac, señalado con el número 2 en el plano. En primer término, la "isleta" o rotonda con la entrada "art nouveau" de Hector Guimard de una estación del metro, que en el cuadro está ocupada por lo que parece ser un carrusel o tiovivo. El punto de vista de Signac, estaría más a la izquierda, donde aparece la figura de ese lado en la foto, por ello se observa casi frontal la fachada de los edificios de pisos que hacen bisel en el ángulo de la plaza con la Rue Biot. Tras el monumento central dedicado al Mariscal Moncey, se extiende hacia el fondo el Boulevard des Batignolles, y a la derecha el inicio de la Avenue de Clichy.
El punto de vista de Signac se localiza muy próximo al de Grandjean, en sentido contrario al de Bonnard y en el mismo lugar que el de Goeneutte para su obra Elegantes en el Boulevard de Clichy, solo que este encuadrará su obra hacia el bulevard desde el ángulo de la plaza.
Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure colour, 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 colour 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.
[Metropolitan Museum of Art, New York - Oil on canvas, 88.9 x 116.2 cm]
Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles
1905–6
Paul Signac French
After visiting Marseilles in late 1905, Signac proceeded to paint two canvases in his studio: one showing the entrance to the port and this view, facing the hill surmounted by Notre-Dame-de-la-Garde, the church nicknamed the "Good Mother" by seamen. Bright and boldly colored, the composition reflects Signac's contact with the artists Henri-Edmond Cross and Matisse at Saint-Tropez in the summer of 1904. The rectangular strokes of unmixed pigment, arranged like tesserae in a mosaic, are Signac’s variation on the innovative painting method pioneered by Seurat.
Hull, Marie (1890–1980)
Red Parrots
Oil on canvas
25 1/8 x 25 1/8 inches
Circa 1925
Marie Hull was one of Mississippi’s most beloved artists and teachers, probably more popular and better known during the course of her ninety years than since her death. Longevity, productivity, and an indefatigable constitution gave her the extended runway needed to build up a national reputation. She made two lengthy trips to Europe, one in 1913 and another in 1929, and thereafter had dozens of exhibitions and entered scores of competitions across the country, bringing home a bounty of accolades, prizes, and awards.
Anyone even casually familiar with the long arc of Hull’s career will know that she was extremely prolific. There are, however, no more than sixty-five of her oil paintings in museum collections, with perhaps another 250 in private hands. Throughout her very social life, Hull both sold and gave away an untabulated number of works and frequently traded her paintings for those by other artists, such as Georgia O’Keeffe and Ida Kohlmeyer. With few exceptions, there are no records of these hundreds of transactions.
It was not until about 1920 that Hull’s stylistic personality began to emerge. The gestation had been a protracted one because her artistic education (at prestigious institutions such as the Pennsylvania Academy of the Fine Arts, the Colorado Springs Fine Arts Center, and the Art Students League in New York) had been episodic—interrupted by other personal and professional pursuits—and multivalent, influenced by the contradictory forces of traditional academic training and the more avant-garde strategies of European modernism as represented in the Armory Show of 1913. Dating to the years 1919–1929, there survives a handful of small but highly accomplished floral still lifes and landscapes, executed in a vibrant divisionist technique most clearly reliant on the Neo-Impressionism of French painters Henri-Edmond Cross, Maximilien Luce, and Paul Signac.
The artist was working in this vein in late 1925, when the Hulls arrived in St. Petersburg, Florida, where Emmett (whom Marie had married in 1917) opened an architectural practice. The venture was a short one—lasting less than a year—during which time Hull made just a handful of captivating paintings of beaches and fishing boats. On the other hand, she produced hundreds of drawings and watercolors of the exotic birds to be seen in a sub-tropical Eden—as the Gulf Coast of Florida must have seemed in those days. These studies and their extensive companion annotations were later used as points of reference when Hull created a limited number of “portraits” of her favorite specimens. The finished paintings in gouache or oil—on canvas, compressed fiberboard, and wood—are of exceptional rarity in the artist’s oeuvre: only a dozen or so can be accounted for today, including Red Parrots. In this example, she combines the technique of brush and palette knife with solid black outlines, applies gem-like fields of color resembling stained glass, and dramatically asserts the surface plane by means of flattened floral blossoms. The result is highly decorative and the nearest Marie Hull came to working in the fashionable, contemporaneous style of Art Deco.
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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/
THE JOHNSON COLLECTION - A Private Collection for Public Good
thejohnsoncollection.org/the-collection/
Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.
What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.
Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.
.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.
Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.
Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.
Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.
In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."
"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'
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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.
Experience the Cultural District
Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.
Come experience how we put the art in SpARTanburg."
Cinco vistas del segundo tramo del Bv. Clichy, tomadas desde el ángulo del boulevard hacia la Place Blanche, con un punto de vista semejante.
De arriba abajo:
- Eugéne Favius, 1870
- Norbert Goeneutte, 1875
- Jean Béraud, 1876
- Norbert Goeneutte, 1876
- Paul Signac, 1886
ЛАДО ГУДИАШВИЛИ - Зелёные нимфы
☆📀
Private collection.
Sotheby's London / Russian Art Evening, November 26, 2007.
Sources: www.sothebys.com/en/auctions/ecatalogue/2007/russian-art-...
sputnik-georgia.ru/20170117/Gruzinskij-avangard-v-Moskve-...
ru.m.wikipedia.org/wiki/%D0%93%D1%83%D0%B4%D0%B8%D0%B0%D1...
Gudiashvili's early association with the Tbilisi association of symbolist poets and writers The Blue Horn had a profound effect on the young artist, inspiring the same the desire for psychological impact in his own art and a penchant towards the imaginary and magical which would run through his entire oeuvre.
The beautifully serene and lyrical composition Green Nymphs dates to Gudiashvili's Paris period (1919-1925), and is possibly the finest early oil by him still in private hands. Gudiashvili achieved a great following in the French capital, with both European and American collectors as well as gallery-owners clamouring to purchase his paintings and drawings and he was an active participant in the Salon d'automne, regularly exhibiting alongside Derain, Matisse and Signac.
Throughout these 6 years away from Georgia, Gudiashvili's painting became infused with an ever-increasing nostalgia for his homeland, albeit couched within his fantastical universe. Typically, the motherland is depicted as a beautiful woman, set against a background of exotic scenery, but in perfect harmony with it. Here, the defined ripples of the water echo the sensual curves of the nymphs' bodies.
In the offered work, as with many of his preceding compositions, humans and animals are shown in harmonious partnership, underscoring the artist's vision of a world in complete unity, and which can be traced back to the most primitive art. The presence of a bull with its allusion to the Greek legend of the Rape of Europa is a further unmistakable reference to the mythological undertones of his early works. Moreover, it firmly links Green Nymphs with the tradition of Russian Synthetism epitomised by World of Art artists such as Valentin Serov.
The combination of undulating forms and the bright green and blue hues pulsating in waves of varying intensity throughout the composition, betray the influence of modern French masters such as Matisse, whose masterpiece of human movement, La danse provides a pertinent comparison with the offered lot.
However, as L'Echo de Paris reported in 1925, "The Georgian Gudiashvili has studied in Paris and is as familiar with our artistic movements as he is with all our recipes, but he still remains completely Georgian." Indeed it was this national orientation which Maurice Raynal praised in the first foreign monograph of the artist at the time of Gudiashvili's 1925 show, where the offered lot was exhibited.
'The artist has felt it imperative to build the basis of his art on the foundations of popular Georgian art, which themselves could not have escaped the influence of Russian and Persian culture. Hence, he depicts these groups of elongated figures, painted in opaque hues, and slightly two-dimensional as in Byzantine art or Persian miniatures. Perspective [...] is cast aside in favour of a freer composition, and therefore results in a more inspired line and modelling.'
Green Nymphs can be considered the best work from Gudiashvili's Parisian period and it is a measure of the artist's attachment to this composition that he chose to keep for himself and bring it back to Georgia in November 1925
Railroad to Dieppe, 1886, oil on canvas
Camille Pissarro, French, born 1830, died 1903
Pissarro -- the oldest of the Impressionists and the only one to exhibit in all eight Impressionist exhibitions -- embraced Neoimpressionism in the late 1880s. He was intrigued by the bold optical experiments of the young painters Georges Seurat and Paul Signac, who used small dabs of juxtaposed color to build pictures of great effect and intensity. Pissarro eventually abandoned the style, claiming it was fussy and time-consuming.
On loan from a private collection.
On view at Philadelphia Museum of Art, July 2013.
By Theo van Rysselberghe (1862-1926), a Belgian-born Neo-Impressionist painter. This scene shows how he adopted the pointillist technique of Georges Seurat and Paul Signac. He spent his later years based on the French Riviera.
Vues de l'exposition "Trésors impressionnistes. La Collection Ordrupgaard" à la Fondation Pierre Gianadda dans le Valais Suisse, à Martigny.
L'exposition est présentée du 8 février au 16 juin 2019
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© CLAD / THE FARM
Février 2019
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[Photo réalisée dans le cadre de la mission de communication digitale de THE FARM pour son client]
Ferens Art Gallery, Queen Victoria Square, Hull.
Portrait of the Artist's Wife, Esther Bensusan (1870-1951).
Lucien Pissarro (1863-1944).
Oil on canvas, 1893.
This portrait of the artist's wife creates a complex of elements, composed of the tapestry background of a Morris pattern, and the formalized, profile pose of the head.
Lucien Pissarro was an important link between the first generation of Impressionists and their British followers. His personal contact with Cezanne, Seurat and Signac led him to adopt the pointillist techniques which may have influenced his father's style. In the 1890s in London he also represented an awareness of French symbolism, which chimed well with the indigenous work of Beardsley, and the decorative arts of Morris.
Art Exhibition - Crossing Borders, 3 Sep 2018 - 6 Jan 2019.
Crossing Borders invites viewers to consider the politics of citizenship and national identity within the context of British 20th Century art.
The exhibition features the work of British migrant artists who, by choice or necessity, crossed borders to live, work and often nationalise in Britain. By recognising the talent of these artists, Crossing Borders hopes to celebrate the cultural diversity that is inherent in British art’s history.
The exhibition aims to highlight the positive impact migration and free movement has had historically on the art and culture of Britain; emphasising Britain’s multi-cultural history and challenging assumptions of national identity.
Crossing Borders features paintings by influential Jewish-immigrant artists Jacob Kramer, Bernard Meninsky and Alfred Wolmark. Part of a generation of Anglo-Jewish painters, these artists settled in Britain after fleeing the anti-Semitic regimes of Europe. They sought to create art which reflected both their faith and their experiences of personal trauma. The artworks on display at Ferens Art Gallery are an expression of this complex identity.
Albertina: Seurat, Signac, Van Gogh - Wege des Pointillismus (16.9.2016 - 8.1.2017, Presseführung) esel.cc/seuratsignacvangogh | Foto: eSeL.at