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In 1900, André Derain and Maurice de Vlaminck became friends and soon rented a studio together in the Paris suburb of Chatou, where they had both grown up. They went on extended excursions together in the surrounding countryside. The artists tried out new possibilities of coloration on the banks of the Seine. From 1901 to 1904, Derain served in the military, but he and Vlaminck remained in close contact and continued working together after Derain's return. In the winter of 1904, Matisse visited the two in Chatou and realized that they were pursuing pictorial strategies similar to his own. The following summer, on Signac's recommendation, Matisse traveled with his family to the remote Southern French fishing village of Collioure near the Spanish border. Derain joined them and worked side by side with Matisse. Here, they developed a new visual language around the depiction of Mediterranean light and the negation of shadow. Matisse and Derain developed an impasto, expressive kind of painting that reconceptualized the relationship between light and shadow as well as foreground and background. The landscape paintings created at Collioure were groundbreaking for the further development of Fauvism and led to the Salon scandal of 1905.
Exposición celebrada en la Fundación Mapfre de Madrid en la que se exponían diversas obras de artistas consagrados de principios del siglo XX con el Mediterraneo como tema e hilo conductor.
Paul Signac
Oil on canvas
Taken in Musée d'Orsay
The Musée d'Orsay, in the Beaux-Arts former railway station of Gare d'Orsay, built 1898-1900 for the Chemin de Fer de Paris à Orléans, designed by Lucien Magne, Émile Bénard and Victor Laloux. The train services were electric, which defined the building structure and allowed a canopy rather than train shed. Until 1939 the station was the terminus for trains from the southwest, until the trains became too large for the station to support, with suburban services continuing for a bit longer. After being railway station, the building was used as a mailing centre during the war and then to process prisoners of war (returning or departing). Post-war, the building was used for various films and theatre, before coming under threat of demolition in the 1970s, and then proposed as a museum - a competition was held in 1978 and the contract awarded to ACT Architecture (Pierre Colboc, Renaud Bardon and Jean-Paul Philippon) and Gae Aulenti to design the interior. The museum was formally opened in December 1986 by President François Mitterrand.
Paris 1863 - Paris 1935
1901
Oil on canvas
On loan from a private collection
Inventory 41.2013
Signac showed this painting for the first time in 1902, at an exhibition of Neo-Impressionist works held at the Berlin Gallery of PaulCassirer. After featuring in several other exhibitions in Germany, it was purchased by Dr. Karl Bett, a fervent admirer of Matisse and a leading collector pf avant-garde art. Signac comes close to abstraction in this painting; to convey the misty morning atmosphere, he makes light his principal subject.
The Pointilist technique put to good use in this work illustrates the virtuosity with which the painter succeeded in capturing the moment. Keeping in mind the investigations of landscape made by his companion in the Neo-Impressionist venture, Seurat, who had died the entire surface of the canvas "vibrates." Under Seurat's guidance, in 1883 Signac had discovered the potential of Divisionism in respect to colour, nothing - in line with the research conducted by the chemist Eugène Chevreul - that, in terms of the way the retina causes them to be perceived visually, two dots of colour blend. With the objective of achieving the "instantaneousness" so characteristic of his future work, Signac, worked relentlessly, developing the spontaneity of his brushwork and brightening his palette.
The exhibition Paris in the Days of Post-Impressionism: Signac and the Indépendants is organized by the Montreal Museum of Fine Arts (MMFA). Its presentation has been made possible thanks to the outstanding support of the collector and his family, long-time friends of the MMFA.
The Museum wishes to acknowledge the generous contribution of Hydro-Québec, presenting sponsor of the exhibition in association with XN Worldwide Insurance and Tourisme Montréal, as well as the vital contribution of its official sponsor Air Canada and Denalt Paints. It also thanks the MMFA's Angel Circle for its support of major exhibitions and the media partners Bell, La Presse and the Montreal Gazette.
Paris in the Days of Post-Impressionism has benefited from Heritage Canada's Canada Travelling Exhibition Indemnification Program. The MMFA extends its appreciation to the Ministère de la Culture et des Communications and the Conseil des arts de Montréal for their ongoing support.
The Museum's International Exhibition Program receives financial support from the Exhibition Fund of the MMFA Foundation and the Paul G. Desmarais Fund.
The Museum would like to thank its Volunteer Guides for their abiding dedication, as well as all its members and the many individuals, corporations and foundations - in particular the Fondation de la Chenelière, directed by Michel de la Chenelière, and Arte Musica, presided by Pierre Bourgie - for their generosity.
We further extend our gratitude to all those who, through their generous assistance, encouragement and support, made this exhibition and its scholarly publication possible.
Artist | Paul Signac (1863-1935)
Title | Port of Concarneau (1925)
oil on canvas
73.4 x 53.9 cm
Exhibitor | Artizon Museum, Tokyo
Exhibition | Selections from the Ishibashi Foundation Collection
In 1900, André Derain and Maurice de Vlaminck became friends and soon rented a studio together in the Paris suburb of Chatou, where they had both grown up. They went on extended excursions together in the surrounding countryside. The artists tried out new possibilities of coloration on the banks of the Seine. From 1901 to 1904, Derain served in the military, but he and Vlaminck remained in close contact and continued working together after Derain's return. In the winter of 1904, Matisse visited the two in Chatou and realized that they were pursuing pictorial strategies similar to his own. The following summer, on Signac's recommendation, Matisse traveled with his family to the remote Southern French fishing village of Collioure near the Spanish border. Derain joined them and worked side by side with Matisse. Here, they developed a new visual language around the depiction of Mediterranean light and the negation of shadow. Matisse and Derain developed an impasto, expressive kind of painting that reconceptualized the relationship between light and shadow as well as foreground and background. The landscape paintings created at Collioure were groundbreaking for the further development of Fauvism and led to the Salon scandal of 1905.
Paul Signac. 1863-1935. Paris. Le Golfe de Calvi. The Gulf of Calvi. 1930. Bruges Oud Sint Jan. Vieil Hôpital Saint Jean.
Paintings from the MOMA collection put through object detection with Darknet Yolo with a threshold of 0.001
Artist | Paul Signac (1863-1935 in France)
Title | Capo di Noli (1898)
oil on wood
91.5 x 73 cm
Exhibitor | Wallraf-Richartz Museum, Köln
www.kulturelles-erbe-koeln.de/documents/obj/05017327
Color Magic
On the Italian Riviera, the Gulf of Genoa, is the little town of Noli. From Saint-Tropez, Paul Signac hiked there in 1896. Inspired by the beauty and the colour magic of the landscape, he started two years later on work for this picture, re-porting: "In order to spur myself on, I use patterns of dyed silk, which are so colour-intensive, so glossy. One after the other, I implement in my picture. I (...) would like to take every corner of the canvas to the utmost extreme in terms of colour." The master achieved his goal: a radiant colourfulness conjures up a shimmering ensemble of light and air, water and matter.
WRM033
Portrait of Monsieur and Madame Manet (1860) by Édouard Manet, a deeply personal and stylistically conservative work that marked his debut at the Paris Salon.
This double portrait depicts Manet’s parents: Auguste Manet, a retired judge, and Eugénie Désirée Fournier, seated side by side in a quiet, domestic setting. Manet painted it in a sober, academic style, with dark tones and restrained brushwork—likely influenced by Spanish masters like Velázquez and Goya, whom Manet admired. The composition is formal, almost austere, with little ornamentation, reflecting both the bourgeois dignity of the sitters and the conventions of mid-19th-century portraiture.
Though it lacks the radical flair of Manet’s later works, this painting was accepted by the Salon of 1861, shown alongside The Spanish Singer, which signaled his emerging interest in modern life and painterly innovation.
The portrait remained in the family for decades, passing from Manet’s brother Eugène to Julie Manet, daughter of Berthe Morisot, before being donated to the French state in 1977. It now hangs in the Musée d'Orsay.