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Claude Monet; Cathédrale de Rouen, Effets du Soleil, Fin de Journée; 1892
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Le port de Nice
Oeuvre de Paul Signac (1863-1935)
2 mai 1931
Aquarelle et mine de plomb sur papier vergé
Collection particulière
Le dernier grand projet de Signac est, selon l'exposition, la série des ports de France dont il réalise deux cents aquarelles entre 1929 et 1931. Pour le mener à bien, il bénéficie de l'appui de son ami et mécène Gaston Levy, le co-fondateur de la chaîne des magasins Monoprix. Plus d'une dizaine d'aquarelles sont présentées dans l'exposition du musée Jacquemart-André dont celle sur Nice et Villefranche-sur-mer.
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Oeuvre présentée dans l'exposition "Signac, les harmonies colorées" au musée Jacquemart-André à Paris
L’ensemble de l’exposition suit un parcours chronologique, depuis les premiers tableaux impressionnistes peints par Signac sous l’influence de Claude Monet jusqu’aux oeuvres vivement colorées réalisées par l’artiste au XXe siècle, en passant par sa rencontre avec Georges Seurat en 1884. L’exposition, qui retrace la vie de Signac et son travail de libération de la couleur, évoque également l’histoire du néo-impressionnisme. Extrait du site de l'exposition
Temporary exhibit on loan from the Fondation Bemberg
Raoul Dufy (1877-1953), was a French Fauvist painter. He developed a colorful, decorative style that became fashionable for designs of ceramics and textile as well as decorative schemes for public buildings. He is noted for scenes of open-air social events. He was also a draftsman, printmaker, book illustrator, scenic designer, a designer of furniture and a planner of public spaces.
Henri Matisse's Luxe, Calme et Volupté, which Dufy saw at the Salon des Indépendants in 1905 directed his interests towards Fauvism. Les Fauves (the wild beasts) emphasized bright color and bold contours in their work. Dufy's painting reflected this aesthetic until about 1909 when contact with the work of Paul Cézanne led him to adopt a somewhat subtler technique. However, it was not until 1920, after he had flirted briefly with yet another style, Cubism, that Dufy developed his own distinctive approach. It involved skeletal structures, arranged with foreshortened perspective, and the use of thin washes of color applied quickly, in a manner that came to be known as stenographic. Dufy's cheerful oils and watercolors depict events of the time period, including yachting scenes, sparkling views of the French Riviera, chic parties, and musical events. The optimistic, fashionably decorative, and illustrative nature of much of his work has meant that his output has been less highly valued critically than the works of artists who have addressed a wider range of social concerns.
Source: Wikipedia
Since 1994, the Hôtel d'Assézat has housed the Bemberg Foundation (Fondation Bemberg), an art gallery which presents to the public one of the major private collections of art in Europe: the personal collection of the wealthy Argentine Georges Bemberg (1915–2011). His foundation was created in collaboration with the City of Toulouse. The large Bemberg collection features paintings, drawings, sculptures, ancient books and furniture. Paintings and drawings are the highlights of the collection, especially 19th and early 20th century French paintings (with impressionism, Nabis, post-impressionism and fauvism) and Venetian paintings of the 16th and 18th centuries.
The painting and drawing collection includes an impressive set of 30 paintings by Pierre Bonnard and 18th century Venetian paintings by Canaletto, Francesco Guardi, Pietro Longhi, Rosalba Carriera, Giovanni Paolo Pannini, Tiepolo. 18th century French painting is represented by François Boucher, Nicolas Lancret, Élisabeth Vigée Le Brun and Hubert Robert.
From the Flemish and Netherlandish schools of painting are artworks by the studio of Rogier van der Weyden, Lucas Cranach, Gerard David, Adriaen Isenbrandt, Joachim Patinir, Pieter Brueghel the Younger, Frans Pourbus the Elder. For the 17th century paintings are displayed by Antoon van Dyck, Pieter de Hooch, Nicolaes Maes, Jan van Goyen, Philips Wouwerman, Isaac van Ostade.
Italian Renaissance painting is centered on Venice with paintings by Paris Bordone, Jacopo Bassano, Titian, Paul Veronese and Tintoretto while for the 17th century there are works by Pietro Paolini, Giovanni Battista Carlone, Evaristo Baschenis, Mattia Preti.
French Renaissance and 17th century painting are represented with Jean Clouet, François Clouet, Nicolas Tournier while the Foundation bought in 2018 a canvas by Spanish painter Francisco de Zurbarán.
French painting from the second half of the 19th century is well represented with paintings by Henri de Toulouse-Lautrec, Eugène Boudin, Claude Monet, Henri Fantin-Latour, Edgar Degas, Édouard Vuillard, Odilon Redon, Paul Sérusier, Paul Gauguin, Louis Valtat, Alfred Sisley, Camille Pissarro, Gustave Caillebotte, Berthe Morisot, Paul Signac and Paul Cézanne.
20th century French art is represented by Georges Rouault, André Derain, Henri Matisse, Raoul Dufy, Albert Marquet, Maurice de Vlaminck, Kees van Dongen, Pablo Picasso, Georges Braque, Othon Friesz, Amedeo Modigliani and Maurice Utrillo.
Source: Wikipedia
Foto scattata dall'ingresso del LAC (Lugano Arte e Cultura) un magnifico e modernissimo edificio che racchiude al suo interno numerose mostre d'arte, sia permanenti che temporanee. Il questi giorni la mostra di Signac, padre del puntinismo, la fa da padrona. Per notizia, la prima domenica del mese l'ingresso è gratuito.
A poche decine di metri, in uno spazio sotto il silos parcheggio, si può visitare la "Collezione Olgiati" una splendida raccolta di opere di artisti contemporanei. Questa rassegna è sempre gratuita.
Art Deco staircase of the extension from the 1930s in the Musée des Beaux-Arts de Nancy, Nancy, Grand Est, France
Some background information:
The Musée des Beaux-Arts de Nancy (in English "Museum of Fine Arts of Nancy") is one of the oldest museums in France. Established in 1793, the museum is housed in one of the four large pavilions on the Place Stanislas created in 1755 by Stanislas Leszczyński, duke of Lorraine. In 1930, the town council decided to convert the building into a museum in order to host the fine art collection hitherto held in the city hall.
Initially, the pavilion in which the museum is located was home to a theatre called "La Comédie" on the first floor, a medical college on the second and the apartment of the college dean on the third. The college moved during the 19th century and the theatre burnt in 1906. After the museum was opened in 1930, it was extended in 1933, although the extension remained unfinished until another modern extension was made in the 1990s. Some of the painters whose work is featured in the collections are Perugino, Tintoretto, Jan Brueghel the Younger, Caravaggio, Georges de La Tour, Charles Le Brun, Ribera, Rubens, Claude Lorrain, Luca Giordano, François Boucher, Eugène Delacroix, Édouard Manet, Claude Monet, Paul Signac, Amadeo Modigliani, Pablo Picasso and Raoul Dufy.
Nancy is a city in the Grand Est region of France, located about 282 km (175 miles) to the east of French capital city of Paris. The town that is situated on the left bank of the river Meurthe is the capital of the Lorraine department of Meurthe-et-Moselle. Currently the metropolitan area of Nancy has a population of approx. 450,000 inhabitants, making it the 20th largest urban area in France, whilst the inner city of Nancy has about 105,000 residents.
Nancy is famous for its three squares Place Stanislas, Place de la Carrière and Place de l'Hémicycle (resp. Place d'Alliance). The first one is considered one of the most beautiful places in the world, while the second one is the extension of its axis and the third one is located in close proximity. The baroque architectural ensemble comprising all three places is very unique and was therefore inscribed in the UNESCO World Heritage List as early as 1983.
Furthermore, Nancy is also known for its Art Nouveau and Art Déco architecture, implemented by the so-called School of Nancy. The School of Nancy was born when the Moselle regions were annexed by the Prussians in 1871. Nancy, a French border town at that time, was home to much of the intelligentsia who refused the annexation. These conditions in particular, as well as the presence of industrialists, entrepreneurs and a thriving artistic community led to the establishment of the School of Nancy. World War I marked the end of the Art Noveau movement, but with the between war period came the style Art Déco. In the roaring twenties French Art Déco was at its zenith. In 1930, in the course of the Great Depression, the Art Déco movement lost ground siignificantly, until it had absolutely no more bearing on architecture in the mid-1930s. However, there are still many architectural witnesses of both Art Noveaui and Art Déco movements in today’s Nancy, which even stand side by side quite often.
Around 1050, a small fortified town named Nanciacum was built by Gérard, Duke of Lorraine. In 1218, at the end of the War of Succession of Champagne, the town that was already renamed Nancy was burned and conquered by Emperor Frederick II. It was rebuilt in stone over the next few centuries as it grew in importance as the capital of the Duchy of Lorraine. In 1477, Duke Charles the Bold of Burgundy was defeated and killed in the Battle of Nancy and René II, Duke of Lorraine, became the ruler.
In the next few centuries Nancy flourished. At that time in the south of the old town the new town was founded, which was characterised by a street network laid out in a gridiron pattern. But in the Thirty Years’ War, Nancy was affected by heavy demolitions. However, it soon turned upward again.
Following the failure of both Emperor Joseph I and Emperor Charles VI to produce a son and heir, the Pragmatic Sanction of 1713 left the throne to the latter's next child. This turned out to be a daughter, Maria Theresa of Austria. In 1736 Emperor Charles arranged her marriage to Duke François of Lorraine, who reluctantly agreed to exchange his ancestral lands for the Grand Duchy of Tuscany.
The exiled Polish king Stanislaus Leszczyński, father-in-law of the French king Louis XV, was then given the vacant duchy of Lorraine. Under his nominal rule, Nancy experienced even more growth and a flowering of baroque culture and architecture. Stanislaus oversaw the construction of Place Stanislaus, Place de la Carrière and Place de l'Hémicycle. But after Stanislaus' death in 1766, the Duchy of Lorraine that was still part of the Holy Roman Empire (of German Nation) by then became a regular French province. At the same time, Nancy lost its position as a residential capital city with a princely court and patronage.
As unrest surfaced within the French armed forces during the French Revolution, a full-scale mutiny, known as the Nancy affair, took place in Nancy in the latter part of summer 1790. A few units loyal to the government laid siege to the town and shot or imprisoned the mutineers. In 1871, Nancy remained French when Prussia annexed Alsace-Lorraine, following the Franco-Prussian War. The flow of refugees reaching Nancy doubled its population in three decades. Artistic, academic, financial and industrial excellence flourished, establishing what is still the capital of Lorraine's trademark to this day. In 1940, Nancy and other areas of France were occupied by German forces. But in September 1944, Nancy was liberated from Nazi Germany by the U.S. Third Army at the Battle of Nancy.
Today, Nancy is not only known for its beautiful baroque squares and its many Art Noveau as well as Art Déco buildings, but also for its excellent cuisine. Macarons are from Nancy, Madeleines, likewise biscuits, are from the region, Bergamotes, sweets made of bergamot, are also from the city and the famous Quiche Lorraine can be savoured almost everywhere in the town.
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Claude Monet; En Promenade près d‘Argenteuil; 1875
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Claude Monet; Bras de Seine près de Giverny; 1897
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
The Musée Carnavalet in Paris is dedicated to the history of the city. The museum occupies two neighboring mansions: the Hôtel Carnavalet and the former Hôtel Le Peletier de Saint Fargeau. On the advice of Baron Haussmann, the civil servant who transformed Paris in the latter half of the 19th century, the Hôtel Carnavalet was purchased by the Municipal Council of Paris in 1866; it was opened to the public in 1880. By the latter part of the 20th century, the museum was full to capacity. The Hôtel Le Peletier de Saint Fargeau was annexed to the Carnavalet and opened to the public in 1989.
Within its magnificent painting collection, we find an extensive selection from the Renaissance to today, ranging from very diverse painters such as Joos Van Cleve, Frans Pourbus the Younger, Jacques-Louis David, Hippolyte Lecomte, François Gérard, Louis-Léopold Boilly, and Étienne Aubry, to Tsuguharu Foujita, Louis Béroud, Jean Béraud, Carolus Duran, Jean-Louis Forain, Pierre Puvis de Chavannes, Johan Barthold Jongkind, Henri Gervex, Alfred Stevens, Paul Signac, and Simon-Auguste. There are landscapes depicting the city's history and development, and portraits of its notable characters.
Carnavalet Museum is one of the 14 City of Paris' Museums that have been incorporated since January 1, 2013 in the public institution Paris Musées. In October 2016, the museum was closed to the public for a major renovation. It reopened on May 29, 2021.
Claude Monet; Le Pont Japonais; 1918-19
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Signac used the technique of “ pointillism” , trying to capture the brilliance of light by means of making dots instead of applying strokes of paint.
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Landscape at Varengeville, Gray Weather (1899)
by Camille Pissarro French, 1830 - 1903
Object Number: 1964.236, Phoenix Art Museum
Photo taken 18 January 2017
Camille Pissarro (French: [kamij pisaʁo]; 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. ... Wikipedia
egallery.phxart.org/view/objects/asitem/items$0040:13087
en.wikipedia.org/wiki/Camille_Pissarro
Paul Signac - Notre Dame de la Garde Marseilles, 1906 at Metropolitan Museum of Art New York City NY
Paul Signac - Le château des Papes - Avignon - 1909
t the tender age of seventeen Paul Signac dropped out of school and immersed himself in the avant-garde life of Montmartre where his family had been living. He soon came into contact with the literary and artistic circles that frequented this hedonistic area of belle époque Paris. Painting emerged as his passion and Signac later cited an exhibition of paintings by Monet in 1880 at La Vie Moderne as the inspiration for his choice of vocation. Consigned by some to the footnotes of history as a mere follower of the great Seurat, noteworthy only because of his many friendships with celebrated artists, his tireless promotion of the Neo-Impressionist cause and his involvement in radical politics, Paul Signac in fact produced a substantial body of brilliantly expressive work. But it was undoubtedly his meeting with Georges Seurat during the inaugural Salon des Indépendants in 1884 which was the defining moment of his artistic career. In many ways they were opposites – the genial, extrovert but occasionally abrasive, mainly self-taught Signac and the aloof, Beaux-Arts trained Seurat. However Seurat’s academic background and experience proved to be an inspiration for Signac who was seduced by the older painter’s rigorous theories, in many ways the antithesis of the spontaneous, instinctive approach of the Impressionists from whom Signac had previously taken his lead. Signac and Seurat worked together to develop Seurat’s technique in which tiny dots of pure colour were juxtaposed in order that the viewer’s eye would, at a distance, fuse them to ‘see’ another colour. It was Signac’s friend, the anarchist writer and art critic Felix Fénéon (the subject of a most striking portrait by Signac now in New York) who, in 1886, coined the phrase Neo-Impressionism to distinguish this new approach from the earlier generation of Impressionists, and it was Fénéon who wittily observed that Signac had become the Claude Lorrain of Neo-Impressionism to Seurat’s Poussin.
Signac’s style developed over time from the closely structured pointillism of the late 1880s and early 1890s, to a freer divisionist technique employing larger brushstrokes to achieve a shimmering, shifting, mesmeric surface. Palais des Papes, Avignon is the product of this later style, possibly one of a number of paintings completed in 1909 (scholars differ as to the date of execution) depicting famous buildings seen from the sea or adjoining river (the others included views of Genoa, Venice and Istanbul). Part of a longer term project depicting famous ports (visited on cruises in his yacht – he was a very keen sailor), this was the first of Signac’s oil paintings to be purchased by the state, entering the French national collection in 1912. Two versions of the scene exist, one shows the château just after dawn, but this painting gives us a dazzling evocation of evening light playing on the venerable residence of the Avignon popes. Unlike early pointillist output which used small points of paint, here Signac’s brush strokes have become much larger giving a more fractured surface, each stroke like the tesserae of the ancient mosaics he greatly admired. But the picture is nevertheless underpinned by the theories of Neo-Impressionism, the careful arrangement of complementary colour creating a scintillating luminosity.
It was Signac and his friend and fellow ‘Neo’ Henri Edmond Cross who popularised the little port of St Tropez by settling there in the early 1890s. Signac welcomed a number of artists to his house there including Henri Matisse who, after his visit to St Tropez in 1904 produced his enchanting divisionist masterpiece Luxe, calme et volupté. Matisse’s involvement with Neo-Impressionism was short but it proved to be a vital stepping stone in his journey towards Fauvism and beyond. Signac remained loyal to the tenets of Neo-Impressionism for the rest of his life.
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Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
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Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Ancien village de pêcheurs, joyau de la Côte d'Emeraude et berceau de capitaines au long cours, Saint-Briac a conservé autour de son église (clocher du XVIIe siècle) des quartiers aux ruelles étroites et sinueuses, au charme particulier. Depuis toujours, de grands artistes (tels Signac, Renoir, Nozal ou Bernard) y ont trouvé l'inspiration. Ce site balnéaire est bordé de neuf plages de sable fin et d'un sentier côtier offrant de splendides panoramas (cf. france-voyage.com, merci Benoît Stichelbaut pour la photo.
Pissarro, Camille 1830–1903. – “Les Boulevards, extérieurs, effet de neige”, 1879
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Strasbourg (Bas-Rhin) - Musée d'Art moderne et contemporain - "Antibes, le soir" (Paul Signac, 1863-1935)
Huile sur toile, 1914
fr.wikipedia.org/wiki/Paul_Signac
fr.wikipedia.org/wiki/Mus%C3%A9e_d%27Art_moderne_et_conte...
Autres oeuvres de Paul Signac :
Week 6 Sue Roe: In Montmarte Picasso, Matisse and the Birth of Modernist Art Part 1 (1326 -1330) 3/12 – 3/16/2023
ID 1327
Henri Matisse French 1869 - 1954
Figure à l’ombrelle , 1905 Collioure, France
Huile sur toile
Dans cette peinture representant Amélie, Matisse paraît revenir à méthode de Signac, expérimentée l’année précédente à Saint-Tropez. La composition, le style divisionniste, le motif même de la femme à l’ombrelle, traité par Signac ou Maillol, semblent la relier au néo-impressioinnisme. C’est, l’un des reares tableaux qui comporte la trame d’une mise au carreau, au crayon, qui n’a pas été couverte ou effacée. On pourrait dés lors se demander, s’il ne constituerait pas, dans ce cas, une étape vers une composition plus grande qui aurait disparu. Dans une letter à “l’exécution d’une figure decorative grandeur nature”, don’t on a aujourd’hui perdu la trace.
Legs de Madame Henri Matisse, 1960 N° inv,: 63.2.14
From the placard: Musēe Matisse , Nice France
Before he left Collioure, Matisse had hoped to pull together all the ideas he had accumulated in sketches, drawings and watercolours into one definitive work that he could send to the Salon d’Automne. He was still painting in a mixture of divisionism and the ‘flat’ treatment of colour he and Derain had both discovered in Collioure, moving back and forth between Signac’s methods and the method of ‘la couleur pour la couleur’ which he and Derain were not progressing towards, albeit in their different ways. The discovery of a new method involved emotional complexity and daring, which, for Derain that summer, seemed to pose few problems. For Matisse matters were more complicated. His commitment to Signac was important from every point of view and the break from divisionism represented risk and uncertainty at a time when, after years of strain, he was searching for stability, not yet more stress.
Sue Roe: In Montmarte Picasso, Matisse and the Birth of Modernist Art, Penguin Press, 2016 pg. 109-110
Saint-Tropez. La Bouée rouge
Oeuvre de Paul Signac (1863-1935)
En 1895
Huile sur toile
H. 81,2 ; L. 65,0 cm.
Donation sous réserve d'usufruit du Dr Pierre Hébert, 1957
Musée d'Orsay, Paris
Notice complète du catalogue du musée d'Orsay, Paris
www.musee-orsay.fr/fr/oeuvres/saint-tropez-la-bouee-rouge...
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
‘Van Gogh aan de Seine’, met Vincent van Gogh, Georges Seurat, Paul Signac, Emile Bernard en Charles Angrand.
"Van Gogh on the Seine," with Vincent van Gogh, Georges Seurat, Paul Signac, Emile Bernard and Charles Angrand.
Pablo Picasso portrayed his close friend in 1903 in Barcelona, at a time when El Greco dominated the artistic imaginations (and discussions) of many of the avant-garde artists who gathered frequently at the famed Els Quatre Gats café. The group revered the Mannerist painter as a proto-modern genius, and his influence is seen here in the blacks and elongated proportions.
Since 1994, the Hôtel d'Assézat has housed the Bemberg Foundation (Fondation Bemberg), an art gallery which presents to the public one of the major private collections of art in Europe: the personal collection of the wealthy Argentine Georges Bemberg (1915–2011). His foundation was created in collaboration with the City of Toulouse. The large Bemberg collection features paintings, drawings, sculptures, ancient books and furniture. Paintings and drawings are the highlights of the collection, especially 19th and early 20th century French paintings (with impressionism, Nabis, post-impressionism and fauvism) and Venetian paintings of the 16th and 18th centuries.
www.fondation-bemberg.fr/fr/home.html#
The painting and drawing collection includes an impressive set of 30 paintings by Pierre Bonnard and 18th century Venetian paintings by Canaletto, Francesco Guardi, Pietro Longhi, Rosalba Carriera, Giovanni Paolo Pannini, Tiepolo. 18th century French painting is represented by François Boucher, Nicolas Lancret, Élisabeth Vigée Le Brun and Hubert Robert.
From the Flemish and Netherlandish schools of painting are artworks by the studio of Rogier van der Weyden, Lucas Cranach, Gerard David, Adriaen Isenbrandt, Joachim Patinir, Pieter Brueghel the Younger, Frans Pourbus the Elder. For the 17th century paintings are displayed by Antoon van Dyck, Pieter de Hooch, Nicolaes Maes, Jan van Goyen, Philips Wouwerman, Isaac van Ostade.
Italian Renaissance painting is centered on Venice with paintings by Paris Bordone, Jacopo Bassano, Titian, Paul Veronese and Tintoretto while for the 17th century there are works by Pietro Paolini, Giovanni Battista Carlone, Evaristo Baschenis, Mattia Preti.
French Renaissance and 17th century painting are represented with Jean Clouet, François Clouet, Nicolas Tournier while the Foundation bought in 2018 a canvas by Spanish painter Francisco de Zurbarán.
French painting from the second half of the 19th century is well represented with paintings by Henri de Toulouse-Lautrec, Eugène Boudin, Claude Monet, Henri Fantin-Latour, Edgar Degas, Édouard Vuillard, Odilon Redon, Paul Sérusier, Paul Gauguin, Louis Valtat, Alfred Sisley, Camille Pissarro, Gustave Caillebotte, Berthe Morisot, Paul Signac and Paul Cézanne.
20th century French art is represented by Georges Rouault, André Derain, Henri Matisse, Raoul Dufy, Albert Marquet, Maurice de Vlaminck, Kees van Dongen, Pablo Picasso, Georges Braque, Othon Friesz, Amedeo Modigliani and Maurice Utrillo.
Source: Wikipedia
Berthe Morisot; Les Foins à Bougival; 1883
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
C'est donc tout sourire que je vous emmène au musée Fabre découvrir l'exposition consacrée au peintre Paul Signac "les couleurs de l'eau".
Avez vous vos billets!
Et je rappelle que les photos sont interdites,n'est ce pas Karen. Hihi!
Euh ça doit être pour moi,enfin je crois!!
Le 13/07/2013.
La Albertina es un museo del centro de Viena, Austria. Alberga una de las más extensas colecciones gráficas del mundo con aproximadamente 65 000 dibujos y cerca de un millón de grabados, tanto antiguos como modernos. Sobresalen sus riquísimos fondos de Alberto Durero, de los cuales una selección se expuso en el Museo del Prado en 2005.
La institución debe su nombre a Alberto de Sajonia-Teschen (1738-1822), quien la fundó con su colección.
La Albertina se construyó en una de las últimas secciones que quedaban en pie de las murallas de Viena, el Bastión de Augusto. Originalmente estaba situado en ese lugar el Hofbauamt (Ministerio de Construcción), que había sido construido en la segunda mitad del siglo XVII. En 1745 el edificio fue remodelado por el director del Ministerio, Emanuel Teles Count Silva-Tarouca, para que fuera su palacio. El inmueble fue también conocido como Palais Taroucca.
El edificio fue más tarde ocupado por Alberto de Sajonia-Teschen, que lo utilizó como residencia y más tarde hizo traer su colección desde Bruselas, donde había ejercido como gobernador de los Países Bajos de los Habsburgo. Desafortunadamente, un tercio de la colección se perdió al naufragar el barco que la transportaba. El edificio fue ampliado con el nuevo propósito museal por Louis Montoyer.
La colección había sido empezada por el duque Alberto y el conde Giacomo Durazzo, el embajador austríaco en Venecia.[cita requerida] En 1776 el conde regaló 30 000 obras de arte al duque Alberto y su mujer Marie-Christine. Giacomo Durazzo —hermano de Marcello— dijo que «quería crear una colección para la posteridad que sirviese a propósitos más altos que el resto: la educación y el poder de la moral debe distinguir a esta colección» La colección fue enriquecida por los descendientes de Alberto.
En la década de 1820 el archiduque Carlos de Austria emprendió algunas modificaciones del edificio que afectaron principalmente a la decoración interior.
A principios de 1919 el edificio y la colección pasaron de los Habsburgo a la propiedad de la República de Austria. En 1920 la colección de grabados se unificó con la colección de la antigua biblioteca oficial de la corte (Hofbibliothek). Se le impuso el nombre de Albertina en 1921. En marzo de 1945 la Albertina fue gravemente dañada por los bombardeos. Fue totalmente remodelada en 1998 y está actualmente abierta.
El grueso de la colección lo conforman obras sobre papel: unos 65 000 dibujos (incluyendo también acuarelas) y cerca de un millón de grabados. También se custodian fotografías y planos de arquitectura.
El repertorio de dibujos incluye un núcleo sin parangón de Durero, con unas 120 piezas (Autorretrato a los 13 años, Gran mata de hierba, Liebre joven, vistas de Innsbruck...) así como ejemplos de Pisanello, Lorenzo Ghiberti, Leonardo da Vinci, Miguel Ángel, Rafael, El Bosco (El hombre árbol), Pieter Brueghel el Viejo, Cranach, Federico Barocci, Rubens, Van Dyck, Rembrandt, Boucher, Fragonard, hasta el impresionismo y movimientos de finales del XIX y buena parte del XX (Renoir, Signac, Cézanne, Klimt, Egon Schiele).
El fondo de grabados es colosal, uno de los más extensos del mundo; arranca en el siglo XV e incluye ejemplos abundantes de Durero, Martin Schongauer, Lucas van Leyden, Marcantonio Raimondi, Francisco de Goya, hasta Pablo Picasso, pop art y autores vivos.
Debido a las exigencias de conservación de todas las obras sobre papel, que es un material muy sensible a la luz y los cambios de humedad, la Albertina solamente expone este tipo de piezas de manera temporal, y basa su exhibición permanente en la Colección Batliner.
Desde 2007, la Albertina alberga en préstamo unas 500 obras (mayormente pinturas) de los siglos XIX y XX, del Impresionismo hasta Alex Katz: la Colección Batliner, reunida desde la década de 1960 por el matrimonio del mismo apellido. Arranca con Claude Monet, Edgar Degas y Paul Cézanne, prosigue con los fovistas Henri Matisse y André Derain, y continúa con Kandinsky, los expresionistas alemanes, la vanguardia rusa y el surrealismo (Max Ernst, René Magritte, Joan Miró).
Mención aparte merece Pablo Picasso, con una decena de pinturas y abundantes dibujos y cerámicas en ejemplares únicos; en total el repertorio picassiano alcanza las cuarenta obras.
El arte más reciente queda representado por Alberto Giacometti, Francis Bacon, Gerhard Richter, Georg Baselitz...
Los almacenes de este museo cuentan con sofisticados sistemas de climatización y de seguridad. Las delicadas obras sobre papel se guardan ordenadas en kilómetros de estanterías a las que no acceden los visitantes. Mediante un sistema informático, un brazo o robot localiza y trae la caja que contiene la obra solicitada. Este sistema permite aprovechar al máximo el espacio, al reducir al mínimo los pasillos; pero en junio de 2009, una fuga de agua cubrió el suelo en varios centímetros y colapsó el sistema informático, obligando a un apresurado desalojo de miles de obras que afortunadamente se solventó sin daños.
es.wikipedia.org/wiki/Albertina
The Albertina is a museum in the Innere Stadt (First District) of Vienna, Austria. It houses one of the largest and most important print rooms in the world with approximately 65,000 drawings and approximately 1 million old master prints, as well as more modern graphic works, photographs and architectural drawings. Apart from the graphics collection the museum has recently acquired on permanent loan two significant collections of Impressionist and early 20th-century art, some of which will be on permanent display. The museum also houses temporary exhibitions.
The Albertina was erected on one of the last remaining sections of the fortifications of Vienna, the Augustinian Bastion. Originally, the Hofbauamt (Court Construction Office), which had been built in the second half of the 17th century, stood in that location. In 1744 it was refurbished by the director of the Hofbauamt, Emanuel Teles Count Silva-Tarouca, to become his palace; it was therefore also known as Palais Taroucca. The building was later taken over by Duke Albert of Saxen-Teschen who used it as his residence. Albert later brought his graphics collection there from Brussels, where he had acted as the governor of the Habsburg Netherlands. He had the building extended by Louis Montoyer. Since then, the palace has immediately bordered the Hofburg. The collection was expanded by Albert's successors. When his grandson Archduke Albrecht, Duke of Teschen lived there until his death in 1895 it was called the Palais Erzherzog Albrecht.
The collection was created by Duke Albert with the Genoese count Giacomo Durazzo, the Austrian ambassador in Venice. In 1776 the count presented nearly 1,000 pieces of art to the duke and his wife Maria Christina (Maria Theresa's daughter). Count Durazzo, who was the brother of Marcello Durazzo, the Doge of Genoa – "wanted to create a collection for posterity that served higher purposes than all others: education and the power of morality should distinguish his collection...." In the 1820s Archduke Charles, Duke Albert and Maria Christina's foster son, initiated further modifications to the building by Joseph Kornhäusel, which affected mostly its interior decoration. After Archduke Charles, his son Archduke Albert]] then Albrecht's nephew Archduke Friedrich, Duke of Teschen lived in the building.
In early 1919, ownership of both the building and the collection passed from the Habsburgs to the newly founded Republic of Austria. In 1920 the collection of prints and drawings was united with the collection of the former imperial court library. The name Albertina was established in 1921.
In March 1945, the Albertina was heavily damaged by Allied bomb attacks. The building was rebuilt in the years after the war and was completely refurbished and modernized from 1998 to 2003. Modifications of the exterior entrance sequence, including a distinctive roof by Hans Hollein were completed in 2008, when the graphics collection finally reopened. In 2018, the Albertina acquired the Essl Collection of 1,323 contemporary artworks, including pieces by Alex Katz, Cindy Sherman, Georg Baselitz, Hermann Nitsch, and Maria Lassnig.
From March 2020 will begin its existence a new Albertina Modern Museum. The collection of Albertina modern encompasses over 60,000 works by 5,000 artists.
Grenoble was first mentioned in 43 BC. The city lies at a strategic point on the Roman road and was fortified under Diocletian. A diocese is attested from at least 381.
After the collapse of the Roman Empire, the city became part of the first Kingdom of Burgundy in the 5th century, and later the Kingdom of Burgundy until 1032, when it was incorporated into the Holy Roman Empire. In 1242 it received city rights. The university was founded in 1339. In 1349 Grenoble came with the entire Dauphiné by sale to the Dauphin of France, who thereby became a de jure vassal of the Holy Roman Emperor.
In 1219, Grenoble experienced its worst flood, a veritable deluge due to the breach of the natural barrier at Lac de Saint-Laurent in the Romanche Valley. The resulting tidal wave killed about half of Grenoble's population.
Today Grenoble has about 160.000 inhabitants and is seen here from the Grenoble-Bastille cable car that takes the tourist within minutes to the top of the mountain where the Fort de la Bastille is located.
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The Museum of Grenoble was already founded in 1798. For decades up to the 1950s, it was considered the very first museum of modern art in France. In 1982 a plan to construct a new building was announced, the construction began in 1990, and four years later the new building housing the collections was inaugurated.
Paul Signac (1863 - 1935)
Le sentier de douane / 1905
1908 portrait of drag performer Modjesko by Kees van Dongen, shown by Fénéon at in the “Portraits of Men” exhibition at Galerie Bernheim-Jeune
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
Les Andelys. La Berge
Une toile réalisée par l'artiste avec la technique divisionniste inventée par Georges Seurat
Oeuvre de Paul Signac (1863-1935)
En 1886
Huile sur toile
Musée d'Orsay, Paris
Notice complète dans le catalogue du musée d'Orsay, Paris
www.musee-orsay.fr/fr/oeuvres/les-andelys-la-berge-78700
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
Chahut, seconde esquisse
Oeuvre de Georges Seurat (1859-1891)
1889
Huile sur toile
Buffalo (New York)
Collection Albright-Knox Art Gallery
General Purchase Funds, 1943
Les femmes et les hommes de ce tableau dansent assidûment le chahut, ou cancan, une danse audacieuse pour l'époque dans laquelle les femmes soulèvent leurs jupes et balancent leurs jambes haut. (Extrait du site du musée
Kröller-Muller où se trouve l'oeuvre définitive)
Oeuvre présentée dans l'exposition "Signac collectionneur", musée d'Orsay, Paris
www.musee-orsay.fr/fr/expositions/signac-collectionneur-423
Autodidacte, Signac apprend son métier en regardant les œuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.
Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des œuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des artistes indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. .. Extrait du site de l'exposition.
The tree of life may have been, in the first instance, a fruit-bearing genealogical tree, and hence a kind of tribal mother. The Tree of Life, World Tree, Tree of Evolution, Cosmic Tree, Soma Tree, The Human Spinal Column.As a whole, however, the tree is associated with growth, protection, life, unfolding of form, old age, personality, death and rebirth. ... The fourfold Mercurius, the four forms of the Hellenistic Hermes, Ezekiel's vision of four cherubim, the cross, the four gospels as pillars of Christ's throne, and the four animals in Daniel's vision .One must look at the two winged figures fighting on a branch to understand that Gauguin was initiated into esotericism.
Nabi means prophet[a] in both Hebrew and Arabic.
Exodus 4:10-16. The Old Testament uses three Hebrew words that are translated into the English word "prophet" or "seer": nabi, roeh, and hozeh. Nabi literally means "to bubble up." It describes one who is stirred up in spirit. It is the most frequently used of the three by the Hebrew writers. When the sense of "bubbling up" is applied to speaking, it becomes "to declare." Hence, a nabi, or a prophet, is an announcer—one who pours forth the declarations of God. Roeh means "to see" or "to perceive." It is generally used to describe one who is a revealer of secrets, one who envisions. Hozeh also means "to see" or "to perceive," but is also used in reference to musicians. It is also used to describe a counselor or an advisor to a king. The Hebrew does not necessarily indicate that the person is a prophet, but rather an advisor—someone who has wisdom. It means "one who has insight." The translators try to indicate whether the message is spiritual. If it is spiritual, then they tend to translate hozeh as "prophet." If it does not give any indication of being spiritually generated, then they would render it "advisor" or "counselor.” In the Greek language, a prophet is simply "one who speaks for another"—one who speaks for a god, and so interprets the god's will to the people. Hence, the essential meaning in Greek is "interpreter." Nobody knows whether God intends that any real difference be understood from the usage of the different words, but biblical usage is more important than etymology. In the context of these scriptures, it defines a prophet about as well as possible. The conclusion is that a prophet is one who speaks for another, a representative who carries a message, an expounder of God's Word. Overall, the Bible's usage conforms most closely to the Greek usage, one who speaks for another. But it is not limited to God. In this situation, Moses and Aaron's relationship is analogous to God and Moses'.
John W. Ritenbaugh
Les Nabis originated as a rebellious group of young student artists who banded together at the Académie Julian. Paul Sérusier galvanized Les Nabis and provided the name; he also disseminated among them the example of Paul Gauguin. Pierre Bonnard, Édouard Vuillard, and Maurice Denis became the best known of the group, but at the time they were somewhat peripheral to the core group. The term was coined by the linguist Auguste Cazalis, who drew a parallel between the way these painters aimed to revitalize painting (as prophets of modern art) and the way the ancient prophets had rejuvenated Israel.[1] Possibly, the nickname arose because "most of them wore beards, some were Jews and all were desperately earnest". Les Nabis regarded themselves as initiates, and used a private vocabulary. They called a studio an ergasterium and ended their letters with the initials E.T.P.M.V. et M.P., meaning "En ta paume, mon verbe et ma pensée" (In your palm, my word and my thoughts.
In search of a mythical paradise, Gauguin left for Tahiti in 1891 for a two-year stay. It is probably during this period that the artist executed several works on the theme of the Tahitian Eve, represented before the fault. The drawing of Grenoble and the painting he prepares, kept at the Ohara Museum of Fine Arts in Kurashiki, Japan, are both called Te nave nave nave fenua (Delicious Earth) and date from 1892. The model of this Tahitian Eve is none other than Gauguin's companion Teha' amana, but the attitude and gestures are directly borrowed from a bas-relief of Borobudur's Javanese temple whose artist had a photograph. Entirely naked, in the midst of a paradisiacal landscape, the young woman prepares to pick up a strange flower, similar to a peacock feather while a winged lizard, incarnation of the devil, whisper the words of temptation.May 1903 May in Atuona on Hiva Oa, French Polynesia was a French painter. He also made ceramics, woodcarvings and woodcuts. In public he is best known for his pictures from the South Seas. Gauguin's post-impressionist work strongly influenced Nabis and Symbolism, he was a co-founder of Synthetism and became a precursor of Expressionism. He thus played an important role in the development of European painting.Les Nabis (French pronunciation: [le nabi]) were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in contemporary art and literature, most of them studied at the private art school of Rodolphe Julian (Académie Julian) in Paris in the late 1880s.
Under the influence of folk art and Japanese prints, Gauguin's work evolved towards Cloisonnism, a style given its name by the critic Édouard Dujardin to describe Émile Bernard's method of painting with flat areas of color and bold outlines, which reminded Dujardin of the Medieval cloisonné enameling technique. Gauguin was very appreciative of Bernard's art and of his daring with the employment of a style which suited Gauguin in his quest to express the essence of the objects in his art. In Gauguin's The Yellow Christ (1889), often cited as a quintessential Cloisonnist work, the image was reduced to areas of pure color separated by heavy black outlines. In such works Gauguin paid little attention to classical perspective and boldly eliminated subtle gradations of color, thereby dispensing with the two most characteristic principles of post-Renaissance painting. His painting later evolved towards Synthetism in which neither form nor color predominate but each has an equal role.
In 1890, they began to participate successfully in public exhibitions, while most of their artistic output remained in private hands or in the possession of the artists themselves. By 1896, the unity of the group had already begun to break: Homage to Cézanne, painted by Maurice Denis in 1900, recollects memories of a time already gone, even before the term Nabis had been revealed to the public. Meanwhile, most members of the group, including Maurice Denis, Pierre Bonnard, and Édouard Vuillard, could stand on their own artistically. Only Paul Sérusier had problems to overcome – though it was his Talisman, painted at the advice of Paul Gauguin, that had revealed to them the way to go. This idyllic vision corresponds to Gauguin's dreamlike image of Tahiti before going there. The Eve of this period are as much embodiment of exoticism and primitivism as he ceaselessly sought. The originality of this drawing lies in its pointillist treatment, a technique that is almost absent from his work. Indeed, from 1886 onwards, following an unfortunate quarrel with Signac and Seurat, Gauguin was always dismissive of what he called "Le Point". Perhaps it is necessary to see in this watercolour and in another one, illustrating his manuscript of the Ancient Maori cult, similarly treated with coloured dots, a late homage to Seurat, who died a year before.By 1890, Gauguin had conceived the project of making Tahiti his next artistic destination. A successful auction of paintings in Paris at the Hôtel Drouot in February 1891, along with other events such as a banquet and a benefit concert, provided the necessary funds. The auction had been greatly helped by a flattering review from Octave Mirbeau, courted by Gauguin through Camille Pissarro.[a] After visiting his wife and children in Copenhagen, for what turned out to be the last time, Gauguin set sail for Tahiti on 1 April 1891, promising to return a rich man and make a fresh start. His avowed intent was to escape European civilization and "everything that is artificial and conventional".Nevertheless, he took care to take with him a collection of visual stimuli in the form of photographs, drawings and prints. He spent the first three months in Papeete, the capital of the colony and already much influenced by French and European culture. His biographer Belinda Thomson observes that he must have been disappointed in his vision of a primitive idyll. He was unable to afford the pleasure-seeking life-style in Papeete, and an early attempt at a portrait, Suzanne Bambridge (fr), was not well liked. He decided to set up his studio in Mataiea, Papeari, some forty-five kilometres from Papeete, installing himself in a native-style bamboo hut. Here he executed paintings depicting Tahitian life such as Fatata te Miti (By the Sea) and Ia Orana Maria (ca) (Ave Maria), the latter to become his most prized Tahitian painting. Many of his finest paintings date from this period. His first portrait of a Tahitian model is thought to be Vahine no te tiare (ca) (Woman with a Flower). The painting is notable for the care with which it delineates Polynesian features. He sent the painting to his patron George-Daniel de Monfreid, a friend of Schuffenecker, who was to become Gauguin's devoted champion in Tahiti. By late summer 1892 this painting was being displayed at Goupil's gallery in Paris.[77] Art historian Nancy Mowll Mathews believes that Gauguin's encounter with exotic sensuality in Tahiti, so evident in the painting, was by far the most important aspect of his sojourn there. Gauguin was lent copies of Jacques-Antoine Moerenhout's (fr) 1837 Voyage aux îles du Grand Océan and Edmond de Bovis' (fr) 1855 État de la société tahitienne à l'arrivée des Européens, containing full accounts of Tahiti's forgotten culture and religion. He was fascinated by the accounts of Arioi society and their god 'Oro. Because these accounts contained no illustrations and the Tahitian models were in any case long disappeared, he could give free rein to his imagination. He executed some twenty paintings and a dozen woodcarvings over the next year. The first of these was Te aa no areois (The Seed of the Areoi), representing Oro's terrestrial wife Vairaumati, now held by the Metropolitan Museum of Art. His illustrated notebook of the time, Ancien Culte Mahorie (it), is preserved in the Louvre and was published in facsimile form in 1951. In all, Gauguin sent nine of his paintings to Monfreid in Paris. These were eventually exhibited in Copenhagen in a joint exhibition with the late Vincent van Gogh. Reports that they had been well received (though in fact only two of the Tahitian paintings were sold and his earlier paintings were unfavourably compared with van Gogh's) were sufficiently encouraging for Gauguin to contemplate returning with some seventy others he had completed. He had in any case largely run out of funds, depending on a state grant for a free passage home. In addition he had some health problems diagnosed as heart problems by the local doctor, which Mathews suggests may have been the early signs of cardiovascular syphilis. Gauguin later wrote a travelogue (first published 1901) titled Noa Noa (ca), originally conceived as commentary on his paintings and describing his experiences in Tahiti. Modern critics have suggested that the contents of the book were in part fantasized and plagiarized. In it he revealed that he had at this time taken a thirteen-year-old girl as native wife or vahine (the Tahitian word for "woman"), a marriage contracted in the course of a single afternoon. This was Teha'amana, called Tehura in the travelogue, who was pregnant by him by the end of summer 1892. Teha'amana was the subject of several of Gauguin's paintings, including Merahi metua no Tehamana and the celebrated Spirit of the Dead Watching, as well as a notable woodcarving Tehura now in the Musée d'Orsay
Pissarro, Camille 1830–1903. – “Les Boulevards, extérieurs, effet de neige”, 1879
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.
Giverny (Eure) - Musée des impressionnismes Giverny - "Barfleur" (Paul Signac, 1931).
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fr.wikipedia.org/wiki/Mus%C3%A9e_des_impressionnismes_Giv...
L'arbre en fleur
Oeuvre d'Achille Laugé (1861-1944)
1893
Huile sur toile
Collection particulière
Ami de Bourdelle, le peintre Achille Laugé a rejoint la mouvance néo-impressionniste fondée par Seurat, Signac et Pissarro. Avec ce tableau "l'arbre en fleur", il a réussi à capter la lumière de manière magistrale en utilisant la technique de séparation des couleurs.
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Oeuvre présentée dans l'exposition "Signac, les harmonies colorées" au musée Jacquemart-André à Paris
L’ensemble de l’exposition suit un parcours chronologique, depuis les premiers tableaux impressionnistes peints par Signac sous l’influence de Claude Monet jusqu’aux oeuvres vivement colorées réalisées par l’artiste au XXe siècle, en passant par sa rencontre avec Georges Seurat en 1884. L’exposition, qui retrace la vie de Signac et son travail de libération de la couleur, évoque également l’histoire du néo-impressionnisme. Extrait du site de l'exposition
Berthe Morisot; Bateaux en construction; 1874
Musée Marmottan Monet is located at 2, rue Louis Boilly in the 16th arrondissement of Paris and features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise. It is the largest collection of his works.
The museum also contains works by Berthe Morisot, Edgar Degas, Édouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, Paul Signac, Pierre-Auguste Renoir and others. It also houses the Wildenstein Collection of illuminated manuscripts and the Jules and Paul Marmottan collection of Napoleonic era art and furniture.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
The nearest métro station is La Muette, on line 9.