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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.
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
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Artist || Henri Edmond Cross (1856-1910 in France)
Title || Beach at Cabasson (Baigne-Cul) (1891-1892)
oil on canvas
65.3 x 92.3 cm
Exhibitor || Art Institute of Chicago
www.artic.edu/artworks/100476/beach-at-cabasson-baigne-cul
As a result of his rheumatoid arthritis, Henri Edmond Cross moved in 1891 to Cabasson, a hamlet on the Côte d'Azur in southeastern France. The move deeply affected his art: after settling on the Mediterranean coast, he abandoned the spontaneous, intuitive strokes of the Impressionists and embraced the deliberate dots and precise tonal gradations that defined pointillism. Cross's personal style was less calculated and complex than the “scientific Impressionism" of his friends Paul Signac and Georges Seurat (see their work on view nearby). Rather than placing dabs of contrasting color side by side, here the artist used monochromatic layers to create depth and evoke the warm Mediterranean sun.
AIC634
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.
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.
Le château des Papes, 1900
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.
Vincent Van Gogh
Oil on canvas
This self-portrait painted in Paris in the autumn of 1887, illustrates the radical changes in Van Gogh's painting since his arrival in the French capital in March 1886. His palette is paler and his brushstrokes are longer and more fragmented. This new style, which was influenced by his contact with Gauguin and Bernard, emphasises the expressiveness of the subject influenced also by the "scientific painting" of Seurat and Signac, he exploited the strong contrast between the complementary colours blue and orangey-yellow. The face of the artist, a recent convert to modern art, radiates a degree of confidence.
[Musée d'Orsay]
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.